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Mobility and International Cooperation experts met in Barcelona
On 30 November 2022, the Department of Education (International Mobility Unit) of the Government of Catalonia organised the first International Seminar on Mobility and Cooperation Projects, gathering over 200 participants, consisting mainly of teachers and trainers, coming from 16 different countries. EARLALL was invited by its member region to moderate the project matchmaking session in the afternoon.
The first Seminar focusing on international mobility was opened by Mr Angel Miguel, General Director of the Vocational Education and Training Department. The seminar took place just one week after the Erasmus+ call for proposals 2023 was published. Therefore, the event was the perfect occasion to discuss the opportunities that the Erasmus+ Programme offers from a policy perspective but also acted as a starting point to build future partnerships among the participants.
In the morning, sessions were focused on policy recommendations with presentations from the European Commission followed by an introduction to the Pact for Skills, which the Catalan Department of Education and EARLALL are members of. Ms Anna Barbieri, European Commission's Directorate-General for Employment, Social Affairs and Inclusion, introduced how the European Commission supports Vocational Education and Training internationalisation through the Erasmus+ programme. She guided the participants through the different European initiatives and stressed the importance of 2023 as the European Year of Skills. EARLALL is already planning events in the context of this important milestone for our regions. In her closing remarks, Ms Barbieri encouraged participants to submit their forward-looking project proposals in 2023. Ms Barbieri recommended that participants ensure the whole organisation is involved in the Erasmus+ project proposal and join forces to build partnerships with public authorities and labour market actors.
Ms Flavia Colonnese, from Ecorys-Pact for Skills Support Services, followed the European Commission presentation with an introduction about the Pact for Skills. This initiative aims to support public and private organisations to upskill and reskill, so they can thrive through the green and digital transitions. One of the key initiatives under the EU Skills Agenda is working to build relationships between stakeholders, such as regions, looking into tools for lifelong learning and exploring funding opportunities. Their new website https://pact-for-skills.ec.europa.eu/index_en explains how to join the pact, and includes a knowledge hub, among other services. The policy session was followed by an informative session where participants learnt more about the different VET networks, EPALE and also Work-Based Learning opportunities.
The afternoon was all about international cooperation projects. A project matchmaking session offered participants the opportunity to network and to get to know new innovative project ideas to partner with. EARLALL moderated the session which included the presentation of seven project proposals, coming from a wide range of countries. Participants showed their interest to work together on subjects such as "no gender in VET", "digital skills", "fashion skills", and "centres of vocational excellence" or "tourism". After the seminar, participants will explore the different opportunities to build their partnerships through the Erasmus + 2023 call for proposals.
The International Seminar was closed by the 'video competition awards ceremony' which recognised the excellence of international mobilities done by local learners and teachers during the past year.


EDUBIM is characterized by flat hierarchies and the importance of each and every employee of our team. We can only successfully implement our versatile digitization projects for further education and training together as a team with the combination of different employee competencies.
Pioneer: We are actively involved in shaping the digital construction and real estate industry. Working in our team means continuous learning with simultaneous development of innovative knowledge, which does not yet exist on the market. Become part of our pioneering team and design the digital state of the art through innovative solutions for the construction and real estate industry.
Diversity: Our employees work regularly with various experts and also learn a wide range of knowledge from other specialist areas during teamwork. Due to the variety in the exchange with colleagues and the different digitization projects we certainly never get bored in the EDUBIM team.
Further education and training: We don't just provide training for our customers. Internal training courses are also very important success factors in our company since the construction and real estate industry is still in the early stages of digitalization and only little published expertise exists. Regular workshops and training courses ensure the internal transfer of know-how. In addition, we support our employees with external individual training and further education measures.
Workplace: EDUBIM employees expect modern and bright offices in a central location in Düsseldorf and Berlin. Depending on their preferences, we give our employees the choice between Windows and Apple computers.
Events: We can do a lot of work, but the regular get-together after work is also important to us. That's why we regularly organize team events such as summer barbecues on the roof terrace of our Düsseldorf office.
EDUBIM stands for equal opportunities as an employer and welcomes applications from all parts of society. We do not discriminate on the basis of race, religion, origin, disability, age, nationality, marital status, partnership status, sexual orientation, gender or other legally protected grounds.
Have we aroused your interest? Then apply for one of the vacancies or send us your unsolicited application.


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Match day 6 of the season and our second league game Vs Doncaster Belles, in the first the game it ended with us winning 5-2. We were without Chloe and Courtney who both became poorly during the week, and long term absentee Danni Parker who will hopefully be returning in November, and Jiggy who was away this week.However we had been able to make the signing of Brooke Swann during the week, and Emily Casey returned after nearly a month out.
We started the game really well, and broke the deadlock in the second minute through Daisy who has found her scoring boots again in recent weeks. The a lot of time past in the game, around 20 minutes when we won a penalty. Hannah who had not been on the scoresheet in her last two games, stepped up confidently and put it into the top corner. Goals were like buses for Hannah who got her second of the day 5 minutes later after a poor clearence from the Doncaster keeper, Hannah was able to lift the ball over her into an empty net. We then had a lapse in concentration and lost our clean sheet after a corner went back to the corner taker, who made her way into the box and fire past Lisa giving no chance. We were able to restore the 3 goal lead immediately though with a brilliant team game. Hannah collected the ball, and fired a fantastic ball out the debutant Brooke, who skipped past a player, and delivered an inch perfect cross to Daisy who finished with her first touch! Brooke and Daisy combined again when Brooke played a through ball to Daisy who completed a first half hat-trick!
HT 5-1 - A brilliant first half for the ladies, not much of a team talk was needed except to tell them to keep doing more of the same, we were moving the ball incredibly well, and Izzy Wragg in particular finding a lot of room and supplying some great passes. Brooke and Olivia were torturing the Belles full back and our defence were doing a great job of containing them.
The half started and soon after the start we got our second hat trick of the day when Hannah completed hers. She then grabbed her fourth of the day, and goal number 12 of the season, through a magnificent long range drive right into the bottom corner. Katrina then chipped in with the goals and Olivia did some great work down the left, found Katrina with a great pass who pass the ball into the corner of the goal. Daisy then matched Hannah and got her fourth of the game before getting a great applause when coming off. As the game went on Doncaster pushed more players forward, and 3 times in the final 10 minutes were 5 on 2 against Jodie and Nicole, after breaking past Rachel, but they were able to limit the score to only one with some great last ditch defending from both of them. We had a quick change around with Brooke going up top and Becs going out to the right. Both of them came really close to scoring, if not for a great save Brooke would have got a debut goal she deserved, and as Becs went to finish, fell and hurt her knee. Daisy then returned to the pitch and within seconds grabbed her fifth of the game, our 10th and the final goal of the game, and a great ball in from Olivia, Daisy firmly finished.
FT 10-1 – A wonderful performance from all the girls, playing some great football, moving the ball quickly, creating some great chances, and taking them when they came! 6 out of 6 for the ladies now and on to Rotherham United next week. Brooke got 90 minutes in on an impressive debut, and Emily returned getting a valuable 60 minutes under her belt, which can only benefit us.
MOM – Isobel Wragg – Izzy has had a brilliant season so far, and this was her stand out performance of the season. Winning the ball several times through headers, interceptions and tackles. She was distributing quickly, supplying the wingers with some excellent through balls. She kept the tempo up for us, and switched the play at the right time. A brilliant all round performance from her, and was unlucky not to score in the second half.


Professor Christoph Meyer (MPhil, PhD, Cambridge) is the Head of the Department of European & International Studies at King's College London. Prof Meyer is a specialist in studying political communication and culture in Europe. He has written about the prospects for a European public sphere as a communicative space for European citizens to discuss issues of common concern and hold European institutions to account for their actions (published by Vistas 2002). He has also written about whether national ideas and norms about the use of force are converging towards a European Strategic Culture , i.e. whether Europeans can agree on how to use force, under what circumstances, and against what kind of threats (Towards a European Strategic Culture, Palgrave 2006). He has also worked on questions of risk and preventive action and is the Director of the Foresight research groups which looks at warning and preventive action. He has been active in policy debates through publishing, inter alia, in the Financial Times and the International Herald Tribune as well as through policy briefs written for the Centre for European Policy Studies and the Egmont Institute.
Britain's Role within a Changing EU: Is its Departure Inevitable?
A roundtable discussing the UK's position in the EU and the prospect of leaving the EU.


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HomeTopicsEducationWest Philadelphia: Organizations Working to Make an Elementary School Better
West Philadelphia: Organizations Working to Make an Elementary School Better
June 29, 2012 Education, West Philadelphia 0
Board President of the West Philly Coalition for Neighborhood Schools Amara Rockar advocates for Lea Elementary.
Board President of the West Philly Coalition for Neighborhood Schools Amara Rockar helped with the changes for Lea Elementary.
For a public school built in 1914, it comes as no surprise the building doesn't have a modern look, but the inside of the Henry C. Lea Elementary School in West Philadelphia is also running into some issues. Thanks to local organizations, some of those issues are beginning to turn around.
The West Philly Coalition for Neighborhood Schools was established in June 2010 in an effort to improve the local schools through the community and its resources. As its first project, the focus has been placed on Lea.
"We talked to a bunch of different teachers and principals and really found that at Lea, we had a principal that was open to letting us into their school," said Amara Rockar, the board president of the coalition.
When the Philadelphia School District was faced with budget cuts of over $300 million a year ago, Lea felt the slashes in its education as it had to part with the staff librarian.
The West Philly coalition stepped in with the West Philadelphia Alliance for Children to help the school.
"WePac provides volunteer librarians to schools," Rockar said. "Lea had an excellent retired librarian, Linda Kuffler, leading a team of volunteers to serve the kindergarten through third grade students this year on Tuesday and Thursday mornings."
With the much newer Penn Alexander School a few blocks east, it's difficult for Lea to get the same amount of attention. Parents line up outside every year to try and get a spot for their children to enroll.
A maintenance man worked on sprucing up the appearance of Lea Elementary.
The Lea Home, School and Community Association offers opinions when the enrollment time approaches regarding the population of Penn Alexander.
"This should not be the case," said Maurice Jones, the president of the association. "Opportunity should be equal across the district. That is why we work so hard for the betterment of Lea to create that choice."
Though both schools are part of the Philadelphia School District, people continue to make comparisons between the rival schools, but Lea is trying to take the differences and learn from them.
"The discussion is always there about best practices for a neighborhood school and there are some lessons learned at Penn Alexander that [we] can certainly try to incorporate into Lea Elementary," Rockar said. "They're neighboring schools and they're always going to have some shared history in the future."
The Home, School and Community Association works with other organizations throughout the community, like West Philly Coalition for Neighborhood Schools and the Garden Court Community Association, to help make a difference at Lea.
"We work as a liaison between the administration, teachers, parents and community to help all of these stakeholders with improving the school physically, academically and with enrichment opportunities," Jones said.
Visually, Lea has been going through some positive and colorful changes.
The outside play area was once just a slab of concrete, but through the help of these organizations, the school has added murals on the building and a playground. Murals have also been added in the hallways.
Lea Elementary School new playground adds life to the once empty area.
"We're trying to take the interior common spaces and beautify them in a way that sends a message to the students about this being a space that's cared for and contributing to that positive behavior that happens when you're in a space that is bright and has murals on the walls," Rockar said.
The days when people add the murals are known as "paint days," and the Renewal Church, Walnut Hill Community Association, West Philly Coalition for Neighborhood Schools and Garden Court Community Association have all been partners in this project, said Jones.
"We have been awarded grant funding of over $5,000 in the past two years for this project and Rep. Jim Roebuck was able to get us funding for paint during the first paint day when the district reneged on providing [it]," Jones said.
Despite the reputation schools may have in Philadelphia, Lea is different, and it could be attributed to all the effort put into it by groups like the coalition and the Home, School and Community Association.
"That's not the climate that Lea really has," Rockar said. "The visitors that we have come from the main office of the school district whose job it is to visit all different schools throughout the city have remarked on the sort of positive climate that is at Lea."
Paint Day, the playground and finding a volunteer librarian are just a microcosm of the things done to better Lea Elementary.
The hope is Lea will continue to grow with the help of these organizations and will one day soon be able to raise funds and host events to become a school parents are lining up to send their children to.
"Funding for neighborhood public schools is always going to be something that is a continual project," Rockar said. "What we're hoping to do is help provide Lea and the Lea community with the support that they need to become self-sustaining. Once that has been sustained, we're able to expand our focus and include other schools and replicate what we're doing at Lea at other schools."
Henry C. Lea Elementary School
Lea Home
School and Community Association
West Philly Coalition for Neighborhood Schools
West Philadelphia: Neighboring Schools Feature Vast Differences
West Poplar: Teens Harvest Fresh Produce for the Community
Overbrook: Catholic Church Merges Three Parishes
April 12, 2013 Neighborhoods, Overbrook, Religion, Sustainability, West Philadelphia 2
The Archdiocese of Philadelphia faces a challenge with their ongoing Pastoral Planning Initiative project. The Initiative is set up to help decide whether parishes within the archdiocese have the resources needed to remain a vibrant […]
Kensington: Organization Unites Community To Save Classrooms And Empower Educators
December 22, 2015 pnadmin Education, Kensington 0
Over the past few years, the educational funding crisis in Philadelphia has continued to cut jobs and important programs while class sizes have grown, leaving many classrooms with a lack of basic resources and a […]
South Philadelphia: Festival Helps Keep Catholic Parish Together
October 4, 2012 Education, Religion, South Philadelphia, Uncategorized 0
T-shirts, hot dogs, crafts and cannoli vendors lined the streets outside the stonewalls and stained glass windows of Annunciation B.V.M. Church for the eighth annual St. Pio Festival on the last weekend in September. Music […]

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Overview | Special Learning Opportunities | Rariden Scholarship | Class of 2019 | Faculty | Choral Music | Instrumental Music | Plan of Study | Courses | Visual and Performing Arts Events
The Earlham Music Department models the belief that all musics are worthy of study. This is reflected not only in the impressive range of our ensembles, it is also woven into the entire music curriculum.
Around our core curriculum are many options that allow students to individualize their study of music within the department. Whereas the Music Studies major gives students a solid liberal arts grounding in music, the Music major — with its various concentrations — gives more focused preparation for graduate schools or other pursuits.
The Center for Visual and Performing Arts, which was completed in 2014, provides state-of-the-art facilities, featuring separate rooms for rehearsing jazz, percussion and Javanese gamelan. There's also an acoustically superb recital hall, which doubles as rehearsal space for orchestra and choir, as well as sonically isolated practice rooms and teaching studios equipped with Steinway pianos.
We have particular distinction in the areas of computer-generated music, Latin jazz, percussion, ethnomusicology, the musics of Indonesia and Eastern Europe, and non-canonic choral music, along with many other strengths. Our offerings in musicology are as broad-ranging as are our ensembles, and challenge students to think about music from multiple perspectives.
Opportunities for student-faculty collaboration abound. Students interested in ethnomusicology receive an unusual degree of early training in this field (unique for undergraduate programs). Computer musicians get significant hands-on experience with many technologies; we place a special emphasis on creating new works for interactive live performance, and are in the process of building a Eurorack system for analogue electronic music exploration. Our popular music specialist engages with students across the campus in ways that deeply enrich and broaden the student's understanding of music in relationship to modern society. Instrumentalists and singers can expect expert instruction on their instrument or voice.
In addition, the Earlham music program aligns itself with the College's Principles and Practices. We seek to develop musicians who are socially conscious and emotionally aware, able to play and think about music from a standpoint of both inner stillness and outward concern for the planet and its people.
Rariden Scholarship
The Rariden Scholarship is awarded annually to a student entering Earlham who is interested in pursuing an area within the visual and performing arts — art, music or theatre. Preference is given to a student from Wayne County, Indiana, although the selection committee will consider Indiana students from outside the county as well. The scholarship is $5,000 for each of a student's four years at Earlham, totaling $20,000.
Earlham's admissions counselors will screen applications from Wayne, Fayette, Randolph, Union and Franklin counties. The convener of the Visual and Performing Arts Division will send eligible applicants a letter and an information form in March. The form should be promptly returned to the Admissions Office.
Candidates will be contacted in April for interviews, and the winner will be notified by May 1.
In addition there is financial assistance through the Len Holvig and Anna Morrisett awards for singers and pianists, and numerous awards for private lessons.
Nathaniel McCrickard
Starting a fellowship with Mountain Gardens in Burnsville, North Carolina.
Nora Tisel Farley
Participating in the JET program as the Coordinator for International Relations in Japan.
Chloe Halsted
Joining the Peace Corps and working as an Agriculture Extension Agent in Senegal.
Marc Benamou
Keith Cozart Steele
Instructor of Music; Director of Percussion Program
Jessica Hajek
Visiting Assistant Professor of Music
Assistant Director of Choral Activities
Pavel Polanco-Safadit
Adjunct Instructor of Music
Chris Rogan
Forrest Tobey
Jeff Templeton
Administrative Assistant for the Visual and Performing Arts
Marc Benamou — Javanese Gamelan; Ethnomusicology
Keith Cozart Steele — Percussion Director
Jessica Hajek — Ethnomusicology
Doug Johnson — Director of Choral Activities
Patrick Piper — Gospel Revelations Music Director
Pavel Polanco-Safadit — Jazz Ensemble Director
Chris Rogan — Music Theory, Musicianship and Applied Piano
Forrest Tobey — Orchestra, Music Theory and Music Technology
Applied Studio Instruction
Caryl Bailey
Piano Instructor
baileca@earlham.edu
Richard Begel
Trombone Instructor
richbeg@gmail.com
Elaine Bergman
Flute Instructor
betterliving@etczone.com
Julie Collins
Oboe Instructor
yesjuliecollins@gmail.com
Robert Dixon
Saxophone Instructor
rob@indyjazzfest.net
Charlie Estes
Guitar Instructor
charlieestes@frontier.com
Joanne King
Harp Instructor
jjking@bsu.edu
Lynnell Lewis
Voice Instructor
lynnell@mirabaimusic.com
Michael Majors
Bassoon Instructor
majormi@earlham.edu
Anton Neumayr
aneumayr@cinci.rr.com
Kevin Nordstrom
Violin/Viola Instructor
knordstrom86@gmail.com
David Palmer
Composition Instructor
rehugnant@gmail.com
Jessica Pinkham
French Horn Instructor
jessicapinkhamhorn@gmail.com
Patrick Piper
Gospel Revelations Music Director
ppiper1@ivytech.edu
Marcel Ramalho
mmellobari@gmail.com
Charles Ramsey
Guitar/Electric Guitar Instructor
ramsech@earlham.edu
Erin Roesch
Clarinet Instructor
ceroesch1998@gmail.com
Michael Ronstadt
Cello Instructor
mronstadt@michaelronstadt.com
Doug Johnson, Director
Open to all students by audition, this SATB large ensemble performs widely varied repertoire, both secular and sacred, from throughout Western music history, as well as music from non-Western traditions. Recent masterworks performances include Handel's Messiah, Lauridsen's Lux aeterna and Midwinter Songs, Orff's Carmina Burana and Tippett's A Child of Our Time, as well as William Culverhouse's own Requiem for chorus and harp. Performances also include choral compositions by Arab, African, Canadian, Cuban, Latvian and Russian composers, often featuring world percussion and traditional instruments. The Concert Choir also collaborates with living composers, having recently premiered Forrest Tobey's Keeping Still and David Arbury's Trade Winds, and having participated in residencies with Shireen Abu-Khader and Mari Valverde. The Concert Choir performs on campus, in the community and on tours of the Midwest and East Coast including Boston, Chicago, Cincinnati, Indianapolis, New York, Philadelphia, and Washington, D.C.
Alta Voce
This ensemble explores music from around the world, focusing on music by living composers and promoting the works of today's most talented female composers such as Mari Valverde, Joan Szymko, Abbie Betinis and Jocelyn Hagen. Alta Voce performs repertoire from all time periods, both sacred and secular, including classical and non-Western selections, learning traditional vocal production from countries such as Georgia, Serbia and Bulgaria. Recent performances include Randall Thompson's Place of the Blest, Holst's eight-part Ave Maria, and the original SSAA version of Vivaldi's Gloria with orchestra. Alta Voce engages with its community through collaborations with regional symphony orchestras, Cincinnati's premier women's chorus, MUSE, participation in International Women's Week concerts at Ball State University and at Centerville High School, as well as fundraising concerts for the Genesis Women's Shelter. Alta Voce performs on campus as well as on tours of the Midwest and East Coast including Boston, New York City, Philadelphia, and Washington, D.C.
Chamber Singers
Open to current members of Concert Choir and Alta Voce by audition, this highly selective, small SATB ensemble focuses on the rich repertoire of 16th-century madrigals from a variety of countries and also performs repertoire from other time periods and genres, including Baroque music, vocal jazz and music by living composers. Recent works of note include Victoria's Missa O Quam Gloriosum, Poulenc's Un soir de neige, Lauridsen's Chansons des Roses and Madrigali: Six Fire Songs, and Hindemith's Six Chansons on the poetry of Rilke. The Madrigal Singers often perform for special Earlham events and off-campus engagements. Recently, the group was invited to a master class with the Rose Ensemble.
Gentlemen's Ensemble
Open to current self-identified male members of Concert Choir by audition, this selective TTBB quartet performs a variety of styles ranging from Renaissance music to barbershop quartet repertoire, sea shanties and pop music, drawing inspiration from groups such as The King's Singers and Chanticleer. Strong, dynamic, engaging solo singers are encouraged to audition for this ensemble, as there are opportunities for special performances on and off campus that often include solo performance opportunities.
Gospel Revelations
Patrick Piper, Director
Open to all students as well as faculty and community members without audition, this ensemble performs traditional and contemporary African-American gospel music, both a cappella and accompanied. On-campus and outreach performances include Soul to Sole, Gospel Revs' yearly collaboration with Dance Alloy, Earlham's student-led dance troupe.
Richmond Chorale
Earlham Choirs regularly collaborate with Indiana University East and community members to produce larger-scale works with instrumental ensemble or orchestra. If you are an Earlham faculty member or Richmond community member, this group is open to both amateur and professional singers by audition. Traditionally, this group rehearses once a week with performances in late April. Recently, the Richmond Chorale has participated in performances of Handel's Messiah, Lauridsen's Lux aeterna and Midwinter Songs, Orff's Carmina Burana and Tippett's A Child of Our Time, as well as William Culverhouse's own Requiem for chorus and harp.
Earlham Symphony Orchestra
Forrest Tobey, Director
The Earlham College Orchestra is a large ensemble dedicated to the performance of both standard and unusual orchestral repertoire. It is comprised of both music majors and non-majors who seek an opportunity to continue playing on their instrument of choice, even as they pursue other academic interests. Standards are of the highest level. Past performances have included a celebration of Leonard Bernstein (spring 2019), an all-Beethoven concert to inaugurate Lingle Recital Hall, multi-media concerts that take advantage of the hall's excellent projection system, an evening of works by Geoge Crumb, with the composer present, a commissioned work by South Indian composer Ilayaraaja, and works that involve interactive computer music. Pictures at an Exhibition and Mahler's Symphony no. 5 have also been performed. The orchestra recently served as the pit orchestra for the College's production of Company.
Javanese Gamelan Ensemble
Marc Benamou, Director
A gamelan is a large set of Indonesian instruments consisting mostly of melodic percussion, which are tuned to non-Western intervals, and which are used for traditional ritual music in Java and Bali. Our gamelan is from central Java, which is known for its highly refined music and dance (the moods range from solemn to exuberant, but always within a fairly controlled register). Pieces in the repertoire may be extremely simple or exceedingly difficult and complex (we begin with the simpler ones, of course, since this is really just an introduction to the tradition) and the instruments within the ensemble also range from quickly learned parts to ones that require much skill. The ensemble can thus accommodate people of widely varying backgrounds and innate musical ability. No previous musical training is assumed: knowledge of Western staff notation and music theory is irrelevant. Typically a single public concert will be given towards the end of the semester.
Jazz Ensemble and Latin Jazz
Pavel Polanco-Safadit, Director
The Earlham Jazz Ensemble is a 24-member big band that performs classics from the Swing, Be-bop and Cool Jazz era in addition to more contemporary expressions. Unlike many other university jazz ensembles, the Earlham Jazz Ensemble embraces each player's unique style and instrumentation. Leaders of the ensemble participate in a steering committee, who help choose the repertoire and organize performances around the community, Indianapolis, and on-campus. Emphasis is on honoring the jazz tradition, while jazz improvisation is taught within the context of the rehearsal, with outside coaching available.
The Earlham Latin Jazz Combo explores salsa, merengue, cumbia, bolero, Latin jazz, and other multicultural musical genres of Latin America. With energy as the group's main component, the polyrhythmic material challenges as well as excites the players and the audience. The Earlham Latin Jazz Combo embraces each player's unique style and instrumentation. Leaders of the ensemble participate in a steering committee, who help choose the repertoire and organize performances around the community, Indianapolis, and on-campus. Outside coaching is available.
Hand Drum Ensemble
Keith Cozart Steele, Director
The Hand Drum Ensemble is open to all students, faculty and staff. No previous musical knowledge is necessary. It encourages and motivates a wide spectrum of musical backgrounds from the musical novice up through the experienced drummer/percussionist. The group learns most all material by rote/demonstration and incorporates a wide variety of musical styles and instruments, such as West African djembe/dundun, Brazilian batucada, Afro-Cuban congas/timbales/bongos, and North American keyboard percussion ensemble repertoire- just to name a few. Concerts occur at least twice a semester in addition to impromptu events, drum circles, and collaboration with community concerts, campus festivals and student dance groups. Come drum with Hand Drum Ensemble.
Rhythm Project
The Earlham Rhythm Project is open to all students, faculty and staff with the suggestion that previous musical and/or percussion experience is recommended. The ability to recognize standard sheet music notation is also recommended, but not required. This very active and fast passed ensemble rehearses, performs and functions as a typical percussion ensemble while also supporting the percussive needs of the Earlham orchestra, choirs and theatre. The Rhythm Project draws repertoire from a wide variety of composed percussion literature, jazz/pop/rock standards, and entertaining novelty pieces. Concerts occur at least twice a semester in addition to impromptu events and collaboration with community concerts, campus festivals and student dance groups.
Afro-Cuban Drumming: an introduction to Latin percussion
Keith Cozart Steele and Pavel Polanco-Safadit, Co-Directors
Afro-Cuban Drumming is open to all students with the suggestion that some previous musical experience is recommended. This course begins with the exploration of Afro-Cuban drumming and singing by first learning the basics of son, rumba and afro-cuban clave and the techniques of playing three primary sets of drums: congas, bongos and timbales. The ensemble frequently explores a bit of Batá drumming and singing as well, from the traditions of the land of Yoruba, Nigeria and its cross-continental/cultural continuation known as Santería — stemming from Cuba, Puerto Rico and the United States. The group performs at least once a semester in recital and/or concert and is an excellent course for students looking to hone Latin percussion skills prior to joining other ensembles such as Latin Jazz, Hand Drum Ensemble or Rhythm Project.
This group is auditioned from the orchestra and rehearses and performs masterpieces from the vast repertoire of string quartet music.
Flute Choir
Elaine Bergman, Coach
The Flute Choir assembles flute players from around the campus to rehearse and perform unique flute repertoire. In the spring semester, five players from the orchestra will be forming a woodwind quintet to rehearse and perform masterpieces from the genre.
Rich Begel, Coach
The Brass Ensemble rehearses and performs representative works from the literature for brass.
One course meets the International component of the Perspectives on Diversity Requirement, MUS 161. One course meets the Domestic component of the Perspectives on Diversity Requirement, MUS 353. The Department also offers Earlham Seminars.
Two Music Major Tracks
The Earlham Music Department offers two majors:
a Music Studies Major for students wishing for foundational training in music (often done in combination with another major), and
a Music Major for students expecting to go on to advanced study in the field of music.
Music Studies Major
To earn a major in Music Studies, students must successfully complete 41 hours of course work as follows:
Theory and Musicianship (13 credit hours)
MUSL 220 Keyboard Skills
MUS 271 Western Music Theory II: Foundations
MUS 272 Musicianship
MUS 371 Western Music Theory III: Compositional and Analytical Techniques
MUS 372 Making Music with Computers
Musicology (15 credit hours)
MUS 201 Thinking and Writing About Music
MUS 460 Ethnomusicology: Methods and Issues
Three additional musicology courses. Each course will be designated as emphasizing one or two of the following:
Western classical music (WC)
Traditional music that has developed outside the Western tradition (non-Eurogenic music) (NE)
Mass-mediated music (MM)
At least one course emphasizing each of these three broad repertoires is required of all music majors. In some cases a single course will count for two of these.
Applied (8 credit hours)
Eight additional credits of applied music, with a minimum of four being ensemble credits and two being applied lesson credits (up to 1 credit of MUS 481 - Internship may be used as one of the eight applied credits).
Credits in Visual Arts, Theatre or Film (3 credit hours)
Capstone Project (3 credit hours)
Music Major
To earn a major in Music, students must successfully complete 50-51 hours of course work as follows. In addition to the requirements of the Music Studies Major, the Music Major will require the following, based on area of concentration
Admission to the composition track is by audition. An initial sampling of works will be evaluated and an assessment of compositional ability will be determined by the faculty prior to admission.
Six additional credits in applied composition lessons above the two stipulated in the basic track.
An additional Western classical music seminar specifically in music after 1900 or an Independent Study survey of some aspect of contemporary composition.
A portfolio evaluation of works produced during the student's time at Earlham will be required before graduation.
MUS 472 Orchestration and Film Scoring
MUS 473 Programming Music for Computers
One Computer Science course in programming for three or four credits OR ideally, a Computer Science minor.
A combination of Independent Studies and Teaching Assistantships in ensemble direction, designed in consultation with the appropriate ensemble director, for nine credit hours.
Two additional courses in musicology for six credit hours. Note: at least two of the five total musicology courses should have a geographical focus.
One course in Sociology/Anthropology for three or four credit hours OR ideally, a Sociology/Anthropology minor.
Two additional courses in Western Classical Music for six credit hours.
One course in European history for three or four hours OR ideally, a History minor.
Independent studies in music teaching methods and conducting for six credit hours.
An education course to be determined for three hours
Students interested in pursuing Music Therapy after graduation are strongly encouraged to complete the Music Studies Major and the Psychology minor.
Admission to the performance track is by audition in the primary performing medium.
An additional six credits of applied lessons, above the two stipulated in the basic track.
One elective for three credit hours in an area of musicology closely related to the student's performance instrument.
Performance evaluations ("juries") will occur at the end of selected semesters.
To earn a minor in Music, students must successfully complete 21 credit hours as follows:
MUS 201 Thinking and Writing About Music (3 credits)
MUS 271 Western Music Theory II: Foundations (3 credits)
MUS 173 Sight Singing (1 credit)
MUSL 220 Piano Keyboard Skills (1 credit)
Two more 3-credit classes, one of which must be in musicology
Four credits of applied courses, of which at least one credit must be an ensemble.
Three additional credits of either applied or classroom courses.
* Key
Courses that fulfill
General Education Requirements:
(A-AR) = Analytical - Abstract Reasoning
(A-QR) = Analytical - Quantitative
(D-D) = Diversity - Domestic
(D-I) = Diversity - International
(D-L) = Diversity - Language
(RCH) = Research
(W) = Wellness
(WI) = Writing Intensive
(AY) = Offered in Alternative Year
*MUS 161 MUSICS OF THE WORLD (3 credits)
A first introduction to the study of music. Students learn to talk and write about music effectively, notice musical features when listening and understand the variety of ways in which music is made and valued around the globe. Explores musics of several distinct regions or ethnicities. (D-I)
MUS 171 MUSIC THEORY I: SOUND & NOTATION (3 credits)
An introduction to contemporary Western musical design and notation. This course introduces terminology and symbolic notation for sounds and their properties of frequency, duration, volume, and timbre. Students will gain musicianship through introductory singing, keyboard playing, listening, analyzing, reading, and composition exercises. Topics include staff notation, solfege, scales, intervals, triads, 7th chords, harmonic function, and simple musical forms. No previous knowledge of music notation or theory required.
Provides opportunities for developing and practicing sight singing skills using the movable do pitch system.
An introduction to the study of music as a scholarly pursuit, including the professional disciplines of ethnomusicology, historical musicology and popular music studies. This course explores diverse ways of thinking and writing about music using repertoires drawn from non-Eurogenic traditional, Western classical and mass-mediated musics as case studies. Reading, listening and writing projects pose core philosophical questions about music's nature, meaning, cultural significance and distinctiveness among the arts. After reading essays by musicians, composers, journalists and scholars, students will augment this body of literature with their own original research and writing project.
This course covers the essential material of notation-based Western music: the practice of part-writing, the study of diatonic and chromatic harmony, and the analysis of musical scores. Students will come away with an understanding of how melody, harmony, rhythm and form work together to create an expressive whole. Examples will be drawn from both classical and contemporary musical sources. Prerequisite: MUS 171 or Placement Exam.
MUS 272 MUSICIANSHIP (2 credits)
This course develops students' abilities in sight singing, ear training and aural skills in support of broader learning in Western music theory and applied music-making. Concepts are approached from Western classical and popular perspectives. Prerequisite: MUS 171, MUS 173, MUSL 220 or consent of the instructor.
MUS 273 INTERMEDIATE SIGHT SINGING (1 credit)
This course is a continuation of MUS 173 Beginning Sight Singing. Students continue developing sight-singing skills using movable-do solfège, expanding into more complex rhythms, chromatic melodies, and multi-part textures. Intended for intermediate choir singers and other musicians seeking to improve their sight-reading skills. Prerequisite: MUS 173 or consent of the instructor.
MUS 341 SURVEY OF WESTERN CLASSICAL MUSIC (3 credits)
This course offers a general introduction to the fascinating world of Western classical music by means of a case-study approach. Students will investigate selected musical works and situate them in their aesthetic, social, cultural, historical and political contexts. The course will include exploration in particular of women composers and of contemporary challenges in classical music culture and audience development. Prerequisites: Earlham Seminar I and II.
SERIES: TOPICS IN WESTERN MUSIC — MUS 341-349
Courses present concentrated study of both the life and the musical compositions of the individual composer. Students gain an in-depth look at the composer's unique musical style within the cultural context of the time period. (WC)
*MUS 350 HISTORY OF ROCK (3 credits)
This course surveys Rock from its roots in Blues, Folk and Country music to "Postrock" and recent developments of the "noughties." In addition to the "classic" sounds of artists such as the Beatles, Bob Dylan, the Rolling Stones, Janis Joplin, Jimi Hendrix, Led Zeppelin and Bruce Springsteen, students will explore Rock's fragmentation into subgenres such as Glam, Prog, Punk and Indie. The class will discuss issues that have occupied Rock musicians, scholars and critics over the past 50 years. Through extensive listening assignments, students will become familiar with landmark recordings, learn to distinguish between musical styles, and to analyze popular songs. While previous experience with music is useful, it is not a requirement for success in this course. (D-D)
MUS 351 TOPICS IN JAZZ HISTORY (3 credits)
This course explores specific topics within the broad area of the history of jazz. Pre-requisite: MUS 271 or permission of instructor.
MUS 352 THE BEATLES AND THEIR TIME (3 credits)
This course will explore the Beatles as a product of their "time," and it will also explore their "time" in the musical sense. This class is foremost a study of their music. Students will delve deeply into a number of their greatest (not always their most famous) songs, exploring why they are still considered masterpieces of popular musical style and expression. The course will look at the phenomenon of the Beatles as a cultural event, tracing their roots in African-American rhythm and blues, in early American rock 'n' roll, and in a myriad of American and British folk and popular musics. Students will look at their innovations in the recording studio and explore their involvement with both Indian classical music, and avant garde musical traditions. Students will learn a great deal about music, and music in relationship to culture, through the lens of the Beatles and their time. Prerequisite: Second-year status or permission of instructor.
*MUSC 353 TOPICS IN CONTEMPORARY POPULAR MUSIC (3 credits)
This course will examine recent and current trends in contemporary popular music with a particular focus on the variety of popular musics within the diverse communities of the United States. Students will explore the histories, contexts and aesthetics of a variety of contemporary musical genres, including examinations of the roles of race, class, education and gender identity within the genres. Prerequisites: Earlham Seminar I and II. (D-D)
MUS 360: REGIONAL APPROACHES TO MUSIC (3 credits)
Courses introduce specific repertoires and survey the music of a geographic region, with a consideration not only of local musics but also of translocal and transnational movements of cultural artifacts, ideas and processes. Students explore what is valued in these musics by the people closest to them (musicians, patrons, intended listeners), identify regional or historical styles, and seek to understand the factors contributing to their formation and reception. The ways music not only reflects but also acts as a formative part of culture are also considered, as well as how it affects and is affected by a global economy.
Regions covered in any one semester are:
Musics of Indonesia
Musics of Africa
Musics of Japan
Musics of South America
Musics of Java
Musics of the Arab World
MUS 371 WESTERN MUSIC THEORY III: COMPOSITIONAL AND ANALYTICAL TECHNIQUES (3 credits)
This course builds on the foundations of Music Theory II. Here, we study more advanced musical concepts through score analysis and the composition of short musical exercises. Emphasis is on the techniques found in 20th and 21st century musics, including late Chromaticism, Impressionism, Mixed-Mode techniques, Post-tonal approaches, Minimalism, and the current trend towards hybrid compositions that embrace both the club and the concert hall. Prerequisites: MUS 271.
MUS 372 MAKING MUSIC WITH COMPUTERS (3 credits)
Builds skills in composing, arranging and performing with computer music technologies. Studies sound synthesis, digital audio concepts, MIDI, and the use of Digital Audio Workstations. Emphasis on the program "Abelton Live," coupled with an introduction to the programming language MAX, which now interacts with Ableton to enable live interactive performance and composition. The history of experimental electronic music is emphasized and built upon. Prior experience with computer music helpful but not required. Knowledge of music notation unnecessary. Course is limited to 25 students due to studio space.
MUS 373 ADVANCED SIGHT SINGING (1 credit)
Provides opportunities for developing and practicing advanced sight singing skills using the movable do pitch system. Prerequisite: consent of instructor.
MUS 381 MUSIC AND MORALITY (3 credits)
Examines the following issues from a variety of historical and cultural positions: 1) the role of music in moral education; 2) what to do when aesthetic and moral evaluation conflict; 3) whether music — apart from words — can be morally good or bad; and 4) the vexing problem of ownership (is it immoral to "steal" someone's music?). (AY)
MUS 382 MUSIC AND GENDER (3 credits)
Explores how the practice of music is gendered — how it is overlaid with gender associations and expectations. Looks at the role gender and sexual orientation play in the music-historical canon and non-Western musical traditions. Prerequisite: An Interpretive Practices course or consent of the instructor. (AY)
MUS 383 MUSIC AND LANGUAGE (3 credits)
Interdisciplinary exploration of the complex relationship between language and music. Considers the central question: In what sense can music be considered a language? Examines the features of language found and not found in music. Includes selections by philosophers, composers, psychologists, anthropologists, linguists and musicologists. (AY)
MUS 440 TOPICS IN WESTERN CLASSICAL MUSIC (3 credits)
A topical study of various aspects of Western classical music, focusing primarily on Europe and North America during some portion of time from the early Middle Ages to the present day. Students may take the course more than once for credit, since the topic will be different each semester. Topics may vary from genre surveys (e.g. a history of the symphony) to geographic surveys (e.g. music in Italy) to historical surveys (e.g. Western classical music 1600-1827). Prerequisites: MUS 271 and MUS 201 or consent of instructor.
Topics include
Opera History
History of the Symphony
Women Composers
Western Classical Music to 1827
Western Classical Music since 1827
MUS 460 ETHNOMUSICOLOGY: METHODS AND ISSUES (3 credits)
A theoretical and practical introduction to the field of ethnomusicology. Theory taught through readings in linguistics, anthropology and musicology that reflect or have shaped the concerns of ethnomusicologists. Practical dimension explored mostly through an ethnographic field project. Increases understanding of musical processes from an anthropological or cross-cultural perspective, and provides students new insights into their own experience of music. Prerequisite: MUS 161 or any course in the MUS 360s series or consent of the instructor.
MUS 471 TOPICS IN MUSIC THEORY AND COMPOSITION (3 credits)
This seminar explores the craft of music composition through the act of musical analysis. By analyzing works in a variety of styles and genres, students are then guided to create works in emulation of specific compositional procedures. Topics will change from semester to semester based on student interest, and can vary widely between traditional genres such as Western classical chamber music settings, music for solo piano, or music for voice and piano, through popular song writing styles and even composed interpretations of musics from non-Eurogenic sources. The student will leave the class with a portfolio of works, based in individual interest.
MUS 472 ORCHESTRATION AND FILM SCORING (3 credits)
This course combines traditional approaches to composing and arranging for the Western symphony orchestra with a software-based approach using MIDI and sampled acoustic instruments. Both approaches will be taught in conjunction with analyses of classic and contemporary film scoring techniques. Projects can be realized using either traditional music notation or the MIDI system. Final project will include the scoring of an original short video or a video in public domain. Prerequisite: MUS 271 or permission of instructor.
MUS 473 PROGRAMMING MUSIC (3 credits)
This course focuses on developing original music and multimedia software for human-machine interaction through the use of the object-oriented programming language "Max." After a thorough investigation of Max's approach to programming, students will study its use in a wide variety of new music and multimedia applications. Students will work towards a completed project in Max and, if interested, in its related programs Jitter (for video) and Gen (for algorithmic composition). This course also will explore the close relationship between Max and Ableton Live. Prerequisite: MUS 372. (AY)
MUS 474 PROGRAMMING MUSIC FOR COMPUTERS (3 credits)
This course combines traditional approaches to composing and arranging for the Western symphony orchestra with a software-based approach using MIDI and sampled acoustic instruments. Both approaches will be taught in conjunction with analyses of classic and contemporary film scoring techniques. Projects can be realized using either traditional music notation or the MIDI system. A final project will include the scoring of an original short video or a video in public domain. Prerequisite: MUS 271 or MUS 372, or permission of instructor.
MUS 481 INTERNSHIP (1-3 credits)
MUS 484 FORD/KNIGHT RESEARCH PROJECT (1-4 credits)
Collaborative research with faculty funded by the Ford/Knight Program.
MUS 485 INDEPENDENT STUDIES (1-3 credits)
Topics may include: Western music history, conducting, ethnomusicology, composition or interdisciplinary studies.
MUS 487 SENIOR SEMINAR (1 credit)
Integrates what students have learned in their previous courses and provides opportunities to think beyond Earlham to broaden their knowledge. Class members present individual senior projects for comments and criticism. Professionals from outside the College sometimes participate.
MUS 488 SENIOR CAPSTONE EXPERIENCE
(1 credit for each of two semesters or 2 credits for one semester)
Students develop and complete a Senior Project.
(A-AR) Analytical - Abstract Reasoning
(A-QR) Analytical - Quantitative
While the number of rehearsals vary, the total weekly time required to participate in a performing group is about three to four hours. Upper-level credit is given to students with at least four semesters of prior participation, or to students in advanced ensembles. Any performing credit may be used to fulfill the Applied Component of The Arts General Education Requirement.
Ensemble Descriptions
MUSG 121/321 HAND-DRUM ENSEMBLE (0-1 credit)
Open to all students. This 20-30 member ensemble encourages drummers of all ability levels. No prior experience required. Concert performances twice a semester in addition to impromptu events, jam sessions and collaboration with student groups (dance groups, brass groups, choral groups).
MUSG 124 BATÁ DRUMMING (0-1 credit)
This course begins the exploration of Batá drumming and singing from the traditions of the land of Yoruba, Nigeria, and its cross-continental/cultural continuation better known as Santería in Cuba, Puerto Rico and the United States. Hand drumming and singing in the Yoruba language will be primary activities in the course. Previous musical experience is recommended, but not required.
MUSG 127/327 JAVANESE GAMELAN ENSEMBLE (0-1 credit)
Open to all students. Consists of tuned bronze metallophones, gongs and other Indonesian instruments that use non-Western tunings. Typically culminates in a single performance. Offered Spring Semester only.
MUSG 131/331 GOSPEL REVELATIONS (0-1 credit)
Open to all students. This ensemble performs traditional and contemporary African-American gospel music, both a cappella and accompanied. Both on-campus and outreach performances.
MUSG 219/319 SMALL ENSEMBLE (0-1 credit)
Ad hoc groups formed by student initiative upon faculty consultation.
MUSG 220/320 ORCHESTRA (0-1 credit)
The Earlham College Orchestra is a large ensemble dedicated to the performance of both standard and unusual orchestral repertoire. It is comprised of music majors and of non-majors who seek an opportunity to continue playing their instrument of choice, even as they pursue other academic interests.
MUSG 221/321 GUITAR ENSEMBLE (0-1 credit)
Open to all levels of guitarists from absolute beginners on up. Electric or acoustic. The ability to read music is not a prerequisite. The ensemble will perform classical pieces as well as jazz, blues and rock tunes. Improvisation also will be explored. One performance per semester.
MUSG 222/322 BRASS ENSEMBLE (0-1 credit)
Brass Ensemble membership is typically drawn from participants in Orchestra.
MUSG 223/323 WOODWIND QUINTET (0-1 credit)
Woodwind Quintet membership is typically drawn from participants in Orchestra.
MUSG 224/324 FLUTE CHOIR (0-1 credit)
Open to all experienced flute players.
MUSG 225/325 JAZZ ENSEMBLE (0-1 credit)
The Jazz Ensemble performs big band jazz and encourages self-expression through jazz improvisation.
MUSG 226/326 LATIN JAZZ COMBO (0-1 credit)
Open to instrumentalists and percussionists who would like to learn the Latin Jazz style.
MUSG 229/329 EARLHAM RHYTHM PROJECT (0-1 credit)
Open to all percussionists by audition. Frequently includes mallet and some non-percussion instruments.
MUSG 230/330 WOMEN'S CHORUS (0-1 credit)
Open to all women by audition. This ensemble performs women's chorus repertoire from all time periods, both sacred and secular, including classical, popular and non-Western selections. The group is involved in several performances each semester, including outreach performances such as the highly popular annual benefit concert for the Genesis Women's Shelter. The Women's Chorus performs on campus, in the community and on tours.
MUSG 233/333 CONCERT CHOIR (0-1 credit)
Open to all students by audition. This large ensemble performs widely varied repertoire, both secular and sacred, from throughout Western music history, as well as music from non-Western traditions. Recent performances have included masterworks like Orff's Carmina Burana and Tippett's A Child of Our Time, folksong settings by Brahms and Schumann, choral compositions by Arab, African and Cuban composers, and jazz and Broadway compositions by Ellington, Kern, Porter and Sondheim. The Concert Choir performs on campus, in the community and on tours.
MUSG 328 STRING QUARTET (0-1 credit)
Open to all Orchestra string players by audition. Occasional off-campus performance opportunities.
MUSG 334 MADRIGAL SINGERS (0-1 credit)
Open to Concert Choir and Women's Chorus members by audition. This highly selective small ensemble focuses on the rich repertoire of 16th-century madrigals from a variety of countries, but also performs repertoire from other time periods and genres, including Baroque music, vocal jazz and music by living composers.
MUSG 335 MEN'S VOCAL QUARTET (0-1 credit)
Open to men in Concert Choir. This is a selective group with four members. This group performs a variety of styles ranging from Renaissance music to barbershop quartet repertoire.
MUSG 336 GREGORIAN CHANT ENSEMBLE (0-1 credit)
Open to all students with consent of instructor. An introduction to the notation and performance of Gregorian chant. Possible off-campus rehearsals and performances outside the regular schedule. (AY)
Instrumental and Vocal
Earlham offers instruction in instruments, voice and composition to all students. To register for instruction consult first with the Music Department. A fee for individual instruction and Applied Music classes provides one half-hour lesson each week and one-hour daily access to a practice room. Please see registration materials for fee information.
All lessons fulfill the one-credit Applied component of The Arts General Education Requirement.
Lessons on an instrument that is not usually offered are sometimes possible if arranged well in advance. Upper-level credit is given for advanced study.
MUSL 100/300 APPLIED HARP (1 credit)
MUSL 101/301 APPLIED VOICE (1 credit)
MUSL 102/302 APPLIED PIANO (1 credit)
MUSL 103/303 APPLIED ORGAN (1 credit)
MUSL 104/304 APPLIED VIOLIN and/or VIOLA (1 credit)
MUSL 105/305 APPLIED CELLO (1 credit)
MUSL 106/306 APPLIED BASS: ACOUSTIC and/or ELECTRIC (1 credit)
MUSL 107/307 APPLIED FLUTE (1 credit)
MUSL 108 /308 APPLIED OBOE (1 credit)
MUSL 109/309 APPLIED CLARINET (1 credit)
MUSL 110/310 APPLIED BASSOON (1 credit)
MUSL 111/311 APPLIED SAXOPHONE (1 credit)
MUSL 112/312 APPLIED TRUMPET (1 credit)
MUSL 113/313 APPLIED FRENCH HORN (1 credit)
MUSL 114/314 APPLIED TROMBONE (1 credit)
MUSL 115/315 APPLIED TUBA (1 credit)
MUSL 116/316 APPLIED GUITAR (1 credit)
MUSL 117/317 APPLIED PERCUSSION (1 credit)
MUSL 132 VOICE CLASS (1 credit)
Student explore the fundamentals of good singing technique applicable to a wide variety of musical styles: posture, breathing and breath support, diction, healthy tone production, range expansion, and the basics of music notation. Public performance opportunities available on student recitals throughout the semester. Particularly recommended for singers in preparation for or in conjunction with choral ensembles.
MUSL 220 KEYBOARD SKILLS (1 credit)
MUSL 218/318 JAZZ PIANO IMPROVISATION (1 credit)
MUSL 219/319 APPLIED COMPOSITION (1 credit)


text:
Entire solutions with merging fronts to a bistable periodic lattice dynamical system
A classification of volume preserving generating forms in $\mathbb{R}^3$
April 2016, 36(4): 2305-2328. doi: 10.3934/dcds.2016.36.2305
Impact oscillators of Hill's type with indefinite weight: Periodic and chaotic dynamics
Chao Wang 1, , Dingbian Qian 2, and Qihuai Liu 3,
School of Mathematic Science, Yancheng Teacher's University, Yancheng 224001, China
School of Mathematical Sciences, Soochow University, Suzhou 215006
School of Mathematics and Computing Sciences, Guilin University of Electronic Technology, Guilin, 541003, China
Received November 2014 Revised July 2015 Published September 2015
In this paper, we are concerned with superlinear impact oscillators of Hill's type with indefinite weight $$ \left\{\begin{array}{lll} x''+f(x)x'+q(t)g(x)=0, ~\text{for}~ x(t)>0;\\ x(t)\geq0;\\ x'(t_0+)=-x'(t_0-),~\text{if}~x(t_0)=0,\end{array}\right.$$ where the indefinite weight $q(t)$, defined in $(a,b)$ with $-\infty\leq a< b \leq+\infty,$ has infinitely many zeros in $(a,b),$ $g$ is superlinear and $f$ is bounded. We prove the existence of globally defined bouncing solutions with prescribed number of impacts in the intervals of negativity and positivity of $q$. Furthermore, we show that when $q$ is periodic, the equation under consideration exhibits an interesting phenomenon of chaotic-like dynamics. Finally, in case that $q$ is even and periodic, we prove the existence and multiplicity of the even and periodic bouncing solutions for the Hill's type equation in case of $f\equiv0.$
Keywords: chaotic dynamics., Super-linear impact oscillators, indefinite weight.
Mathematics Subject Classification: Primary: 34C15, 34C28; Secondary: 54H2.
Citation: Chao Wang, Dingbian Qian, Qihuai Liu. Impact oscillators of Hill's type with indefinite weight: Periodic and chaotic dynamics. Discrete & Continuous Dynamical Systems, 2016, 36 (4) : 2305-2328. doi: 10.3934/dcds.2016.36.2305
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Our newest partnership is with SODEV, a Civil Society Organisation from Turkey that strives to make positive contributions directly to the lives and democratic participation of disadvantaged groups, especially young people, women and minorities. The SODEV foundation works for the prevention of discrimination, the multiplication of participation channels to deepen democracy and the empowerment of all but especially of the disadvantaged groups in order to increase equal opportunities.
SOLIDAR has been monitoring the situation of Civil Society in Turkey for years and formally recognised and highlighted the efforts of the independent Journalist Union of Turkey at the SOLIDAR Silver Rose ceremony, for its work in supporting jailed journalists and promotes solidarity between journalists in Turkey and abroad. This continues to be of importance in times when the debate on press freedom is high on the EU's political agenda and journalists in Turkey and elsewhere face severe threats.
The SOLIDAR Board is happy to welcome a new ally among us that will allow better understanding and cooperation with the region. SOLIDAR Members will have an opportunity to meet the SODEV representatives at the Annual General Assembly (20 June 2019) when the membership vote will be held.
SODEV (SOSYAL DEMOKRASİ VAKFI-Social Democracy Foundation) is a non-governmental organisation incorporated as a foundation under Turkish Law in 1994 by a socially responsible group of social democrat intellectuals, trade unionists and politicians, to further disseminate the concept of social democracy, to promote socially conscious and responsible pluralistic democracy and human rights in Turkey.
The core principles of the founders of Social Democracy Foundation were and are: to firmly establish pluralistic, progressive and sustainable social democracy in Turkey with all its values, concepts, rules and organisations, to create respect not only for human rights and the environment, but also for values such as freedom of expression, equality, gender equality, solidarity, honesty, justice, the state of law, peace in the country and peace in the world.
SODEV strives to make positive contributions directly to the lives and democratic participation of disadvantaged groups, especially young people, women and minorities. The SODEV foundation works for the prevention of discrimination, the multiplication of participation channels to deepen democracy and empowerment of all but especially of the disadvantaged groups in order to increase equal opportunities.
SODEV also takes an active role in promoting democratic representation in all decision-making mechanisms, revealing the democratic potential of institutions and tries to increase knowledge and awareness in all these areas. For these purposes, SODEV carries out training programmes and publishing activities to reach out to different segments of society. SODEV foundation has nearly 400 registered members and over 50 voluntary members.
Since 2001, every year SODEV has awarded the "Human Rights, Democracy, Peace, and Solidarity Award" to individuals, institutions or initiatives that make a marked difference in their work and efforts. SODEV has two permanent education programmes, namely "The Social Democracy School" and "The Local Administration School" since 2000. The curriculum of both Istiklal Cad. Bekar Sok. 22/2 Beyoglu / ISTANBUL Tel: (0212) 292 52 52 - 53 Faks: (0212) 292 32 33 http://www.sodev.org.tr e-mail: info@sodev.org.tr schools is based on current needs. Schools are held twice a year, each lasting two months. In both schools, the objective is to build the capacity of the local actors to strengthen pluralistic democracy. Based on the feed backs from previous initiatives and field projects, education models and toolkits focused on gender equality and women's empowerment were developed and shared with the trainees for them to further educate people at grass roots level in their own environment.
SODEV actively cooperates with other non-governmental organisations in Turkey and internationally, on universal issues such as human rights, democracy, peace, environment and the fight against discrimination. SODEV has observer status at FEPS (Foundation of European Progressive Studies), is a partner of Friedrich-Ebert-Stiftung Turkey. Friedrich Ebert Stiftung (FES) and the Social, Economic and Political Research Foundation of Turkey, TÜSES, are co-sponsors of SODEV's academic programmes.
SODEV also actively participated in the Istanbul Social Forum, which was created to draw attention to the negative outcomes of unchecked globalisation; it contributed to the European and World Social Forum processes.
SODEV has completed several projects in the field such as women's empowerment, women's rights, the participation of disadvantaged groups in social life, the cultural heritage of minority groups. SIDA, EU, Swedish Consulate and the OPIC support these projects with their grants. SODEV publishes a periodical, SOSYAL DEMOKRAT (latest double issue, 97/98 in January-February 2019) and the proceedings of its seminars, lectures and debates in printed format and brings them to the public sphere at modest prices by participating in every book fair organised by TÜYAP in Izmir, Istanbul, Ankara and in some other major cities of Turkey since 2010.


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Books > History > Political > Child Right & Compulsory Educations in India
Child Right & Compulsory Educations in India
by Kawal krishan Sethi
About the Book Plato in 'The Republic', underlining the importance of basic education, declares: "Let me teach your children and write their songs ... I do not care who makes laws." The Constitution of Republic of India provides four levels of guarantees and protections for the children including Article 46 which exhorted the state to provide free and compulsory education to all children upto the age of 14 years within ten years from the establishment of the Republic on January 26, 1950. Supreme Court Judgements of 1993 and 1996 have established beyond doubt that basic education upto the age of 14 is right of every child in our democratic republic. And yet, virtually half of our children have been denied this right. The Supreme court decision led to the inclusion of this Right in the Fundamental Rights and then to the passing of the Right to Education Act.
Education as an investment with a potential for creating huge benefits to the individual, family, community and the nation has been accepted in national as well as international thinking on development Strategy. It has now become a part of the received wisdom being propagated by the World Bank, UNDP and other development organizations. Accumulated, inconvertible evidence emphasizes that Basic Education is an investment in productivity and economic growth. Indian policy-makers while considering financial allocations to quality basic education need to be fully conscious of its productivity growth benefits.
The book provides a telescopic view of Our successes and failures in educating children of the Republic of India. Based on Indian idealist tradition and constitutional guarantees, it suggests the essential directional change needed to meet the challenge for a economically and morally strong India. The book is addressed to the policy-makers, community leaders and educationists of India.
About The Author Shri Kewal Krishan Sethi belongs to 1963 batch (Madhya Pradesh cadre) of Indian Administrative Service. He had the experience of various departments in the State during his service. In the Central Government, he worked for the training of the representatives of the trade unions in the Central Board for Workers Education. After being the Chief Secretary in Manipur, he retired as President, Board of Revenue, Madhya Pradesh. He was again picked up to serve as National Commissioner, Linguistic Minorities, a Constitutional post under Article 350B.
He has been writing on various subjects after his retirement. His published works include a book 'Towards Total Planning', and a novel 'Shikar aur Shikari'. Besides, his articles are published in various magazines and journals.
He is also associated with many organizations working in the field of education and administration and is the Chairman of its Madhya Pradesh and Chhattisgarh Regional Branch of Indian Institute of Public Administration.
Preface Today is the age of exponential change. New and ever-improving technologies are popping up every day and in every corner of society. The education sector cannot be left behind. It needs to update itself constantly to be at par with the technological innovations in other sectors.
The pace of change mandates that we produce a faster, smarter, better grade of human being. The evolution of education can be divided into three phases, each having its own merits and challenges. In the first phase, man sought to pass on his experiences and knowledge to the next generation. This process started with oral tradition, but writing systems had to be evolved as the volume of information grew. Still this was limited to a few. With the advent of the printing press, knowledge and information became available to the masses. Simultaneously, the oral tradition gave way to established institutions. Continous expansion of knowledge stressed the need for specialized agencies. The basic knowledge, which had to be shared by every one, needed one type of institutional arrangement, the advanced knowledge a different one. The approach, the methodolgy, the nature of material differed.
Every nation has followed this process but the results have been uneven. Some of the nations benefited from rapid expansion of educational system while others were thwarted, sometimes deliberately and sometimes by accident. With nations becoming masters of their own destinies, the pace has picked up. Where does India stand in the community of nations ? To say the least, the present situation leaves much to desire. We have the largest technical force and are able to compete with the best but we also have many who are unable or unwilling to benefit fom the educational facilities. We have missed some wonderful opportunities but we are standing at the threshold of a new one. This book attempts to analyze what has been the shortcomings and pitfalls which we could not avoid. It endeavours to look at various aspects of educational needs of the people.
In looking at the needs of the nation, we have to take cognizance of the fact that India has produced brilliant exponents of knowledge in every field. But even so, the end product does not give us that kind of aura which the country deserves. Why is it so ? We felt that our weakness is neglect of the foundations. To have a grand building, one has to ensure that it stands on solid ground. In the educational system, the elementary education is the bedrock on which the superstructure 's built. We have, therefore, chosen this as the field of our investigation.
Naturally, we have to build upon the structure we have and follow the ideals which we and our 'ntellectual leaders have laid down for ourselves. Hence, the book starts with that aspect. We take a brief look at the progress of education and the path which our leaders showed us. The international scene has also been taken up for discussion. We have also discussed in brief the steps taken which have culminated in the adoption of the Right to Eduacation Act.
It has been repeatedly pleaded that poverty is the biggest stumbling block in formulating policies and programmes for mass education and total literacy. Our second chapter deals with this aspect in some detail. [he another hurdle is described as the demographic pressure, the ever increasing number of children who have to be catered to by the school system. This is also dealt with in this chapter.
We follow this up by looking at the various sections of the society which have problems of their own in keeping up with the mainstream. These are : the female sex, the rural population, and the child labour which are dealt with, in that order, in the next three chapters.
We note that the student enrolment is picking up but the dropouts are still around in alarming numbers. We take a look at the out of school children in this context in chapter six. The law promises to address the problems of children from the weaker sections and seeks the cooperation of the elite schools in this endeavour. Whether this is feasible is the subject matter of the next chapter.
Education should not be and cannot be a matter of enrolment and those who complete the course of studies. In other words, it is not merely the quantity that we seek but the quality. The quality of education, naturally, demands our attention and we devote considerable attention to it in exploring the present status and the procedures by which we can improve upon it.
Our country is a vast territory and we have a federal structure. Each region and each state has its own peculiar situation, culture, administrative structure and traditions. We cannot expect a uniform standard all over and so we take a look at what various states have achieved or are in the process of achieving. States' contrasts serve a purpose of learning from each other and we endeavour to do just that in the next chapter.
As we have said above, education is not an end in itself. It must lead to prosperity through better productivity and opportunities. It is the stepping stone to higher things in life. Real education should prepare us for the struggles which the life continuously presents. Ability to manage one's future is a necessary ingredient of educational system. We examine whether our system does take care of it or, if it is lacking in this aspect, how to overcome the adverse situation.
And finally, we try to sneak a look into future to see what is in: store for us and what measures we should take to ensure that we are not in for surprises. How we can compete with the best and achieve the goals which our leading philosophers considered us fit for.
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National Publishing House
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An historic fort is being neatened up – and controversial eyesore fencing taken down – after a developer decided not to push ahead with plans to build luxury flats there.
Fort Gilkicker in Gosport site had fallen into disrepair after the collapse of the development plan to build 26 luxury beach side homes.
Now the borough council says it will help the wildlife and plants in the area to recover.
The proposed housing development had attracted controversy with residents petitioning the council over their plans. Many locals believed the development should never have been granted planning permission.
A key concern for petitioners was the potential impact on the natural habitat.
Residents were also angered by fencing put up around the fort which blocked people walking along the beach.
The council says the fencing will be taken down.


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