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The new Music Theatre program will provide students with theoretical and practical training both in the three core disciplines of acting, singing and dancing, and also in the study of music theatre as a liberal arts subject. Industry-focused training through a 2-year set curriculum at St. Lawrence College (Brockville) includes personalized instruction and coaching, group creative work, and basic music literacy which will then be complemented by a more interdisciplinary liberal arts approach in the final two years at Queen's. This demanding "triple threat" program will allow students to hone their skills by performing in front of audiences, in studio, main stage productions and in unique productions where students learn to create and produce original theatrical pieces. Students will also receive mentoring from faculty and guest industry professionals to become competent and job-ready for a competitive and rapidly-changing industry. The program thus will offer students a complementary set of outcomes that combine college and university strengths, disciplinary and interdisciplinary skill sets, and creative and critical modes of communication.
Top 4 Reasons to Study Music Theatre:
1. The program provides theoretical and practical training in disciplines of acting, singing and dance.
2. Student can join one of the many creative/performance clubs on campus.
3. Students receive mentoring from faculty and guest industry professionals to become competitive in the performng arts industry.
4. We have 3 main locations – Theological Hall, one of Queen's oldest buildings and often referred to as the most dramatic building on campus; our Castle in England or at the new, world-class Isabel Bader Centre for the Performing Arts.
Isabel Bader Centre for the Performing Arts
drama@queensu.ca
http://sdm.queensu.ca
Craig Walker
Departmental Assistant:
Sheri Wilson
Undergraduate Chair:
Jenn Stephenson
Undergraduate Assistant:
Lee Atkinson
St. Lawrence College - Program Coordinator:
Janet Venn-Jackson
JVennJackson@sl.on.ca
Admission to the Joint Bachelor of Music Theatre program between St. Lawrence College and Queen's University
Music Theatre (BMT)
OUAC Code:
QMT (St. Lawrence College Brockville/ Kingston Campus)
Admission to the joint Bachelor of Music Theatre program between St. Lawrence College and Queen's University begins with an application through the OUAC (Ontario Universities' Application Centre) website (ouac.on.ca) using the QMT program code. The Ontario Secondary School prerequisites for the program include English 4U and one additional 4U course in addition to four other courses at the 4U or 4M level. Applicants outside of Ontario should visit queensu.ca/admission for program requirements. Following your application you must successfully complete an audition through St. Lawrence College. Auditions will take place in Brockville, Ontario and Toronto, Ontario. Those residing outside of these areas are to submit a digital audition. Upon receipt of your application you will be sent more information regarding the audition process. For information regarding your audition please contact Janet Venn-Jackson, Program Coordinator, at jvennjackson@sl.on.ca.
Bachelor of Music Theatre (BMT)
Students in the new Bachelor of Music Theatre (BMT) degree will complete two years in the Music Theatre - Performance Advanced Diploma program at St. Lawrence College and then will enter Queen's for two more years to earn a BMT. Students will take courses in dance, singing, acting, music literacy, movement, and repertoire at St. Lawrence, and once at Queen's will be able to move into any of a number of ancillary fields embedded in or related to music theatre, such as Directing, Music Direction, Choreography, Composition, Libretto-writing, Design, Production, Management, or Criticism.
Job and Career Opportunities for Music Theatre Grads
Where could Music Theatre students go after graduation??
Composing/songwriting
Corporate trainer
Costume-set/lighting/sound design
Drama or music therapy
Ensemble manager
Film scoring
Music arranger
Music theatre/opera
Playwriting/screenwriting
TV/radio broadcasting and production
Taking time to explore career options, build experience and network can help you have a smooth transition to the world of work after graduation. Note that some of these careers may require additional training.
Alfred Bader: Celebration of an extraordinary life
Alfred Bader, BSc'45, BA'46, Msc'47, LLD'86, died on December 23 at the age of 94. Dr. Bader's connection to Queen's spanned more than 70 years. The generosity of Dr. Bader and his...
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What's on Netflix > What To Watch on Netflix > Best New Movies Added to Netflix This Week: September 28th, 2019
Best New Movies Added to Netflix This Week: September 28th, 2019
by Jacob Robinson @JRobinsonWoN on September 28, 2019, 10:30 am EST
The Grandmaster is once again available to stream on Netflix
While there aren't any brand new big blockbuster movies on Netflix this week, that doesn't mean there's a lack of quality. We've selected five of the best new films on Netflix from the past week for September the 29th, 2019. Enjoy!
N = Netflix Original
Here are the best new movies on Netflix this week:
The Grandmaster (2013)
Genre: Action, Drama, Martial Arts
Director: Kar-Wai Wong
Cast: Tony Chiu-Wai Leung, Cung Le, Elvis Tsui, Hye-Kyo Song, Kar-Yung Lau
Ip Man had many students throughout his long life and none more so famous than the legendary Bruce Lee. The Grandmaster is dedicated to telling the story of Ip Man and his struggles to provide for his family after moving to Hong Kong.
The legendary artist IP Man, is a figure of great renown in the world of martial arts. As China's last dynasty begins to fall and Japanese invasion looms on the horizon, the Golden age of Chinese martial arts was beginning and its forefront was the grandmaster himself, Ip Man.
In the Shadow of the Moon (2019) N
Director: Jim Mickle
Cast: Boyd Holbrook, Cleopatra Coleman, Bokeem Woodbine, Michael C. Hall, Rudi Dharmalingam
The screenplay by Gregory Weidman and Geoff Tock finally comes to life on Netflix. Directed by Jim Mickle, his most famous work is for Stake Land and Cold in July. Most notably, this is Michael C. Hall's third appearance in a Netflix Original, but that is yet to top Paul Rudd's six appearances.
In 1988, Philadelphia police officer Thomas Lockhart, hungry to become a detective, begins tracking a serial killer who mysteriously resurfaces every nine years. But when the killer's crimes begin to defy all scientific explanation, Locke's obsession with finding the truth threatens to destroy his career, his family, and possibly his sanity.
Sturgill Simpson Presents Sound & Fury (2019) N
Director: Jumpei Mizusaki
Not since Daft Punk's music being provided for Interstella 5555: The 5story of the 5ecret 5tar 5ystem have we seen a more visually captivating visual album. Through the music of Sturgill Simpson, tells the story of a Ronin samurai out for revenge. Once again, a visual and bizarre spectacle that will have your eyes glued to the screen.
Director: Le-Van Kiet
Cast: Jennifer Alyx, Lê Bình, Justin Green, Pham Anh Khoa, James Larabee
Fans of Taken will absolutely adore Furie. The story of Furie is not too dissimilar to that of Pierre Morel's iconic action thriller. Just as brutal, just as captivating, make sure to give this epic Vietnamese piece of cinema ago.
When Hai Phuong's daughter, Mai, is taken away by child traffickers, her captives will taste the fury and vengeance of ex-gangster Hai Phuong as she stops at nothing to bring her daughter home.
Sarah's Key (2010)
Director: Gilles Paquet-Brenner
Cast: Kristen Scott Thomas, Mélusine Mayance, Niels Arestrup, Niels Arestrup, Michel Duchaussoy
Few tales are as harrowing as those involving the Holocaust during the Nazi occupation of mainland Europe. Sarah's Key tells the tale of the hardships that war and persecution had on the survivors and how history would impact the lives of their descendants.
In Nazi-occupied France in 1942, a young Jewish girl, Sarah Starzynski, and her family are captured and sent to Beaune-la-Rolande internment camp. After becoming the only survivor out of her family, Sarah would move to the United States to begin a new life. Meanwhile, in the present day, French journalist Julia discovers that her husband's family took ownership of the Sarzynski home after they were rounded up. With her interest piqued, Julia goes on a mission to discover everything she can about Sarah Starzynski and her tragic life.
Will you be watching any films from our list above? What film would you like to see streaming on Netflix? Let us know in the comments below!
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ACT 16 (3): 129–47
Social Innovations in Music Education: Creating Institutional Resilience for Increasing Social Justice
LAURI VÄKEVÄ
Sibelius Academy of the University of the Arts Helsinki, Finland
HEIDI WESTERLUND
LEENA ILMOLA-SHEPPARD
International Institute for Applied Systems Analysis Laxenburg, Austria
Published in Action, Criticism, and Theory for Music Education 16 (3): 129–47. [pdf]
doi:10.22176/act16.3.129
This article addresses the discourse on social justice and inclusion in music education by exploring how educational systems can be transformed in the rapidly changing world of late modernity. We aim to show that one possible approach to tackling injustice in music education at the micro level is to reflect on the possibilities for institutional change at the macro level. As an institutional context, we use Basic Education in the Arts, a characteristically Finnish system of extracurricular arts education. With the help of systems analysis and a case from the Arts as Public Service: Strategic Steps towards Equality (ArtsEqual) research project, we aim to show that the resilience of a music education system can be supported by institutional innovations that help to redefine the system's purpose and identity and make its boundaries more flexible. Our case study, the Flora project, suggests that institutional innovation can lead to new insights on how social justice and inclusion may be enhanced within a music education system by opening its borders to the exchange of new information and resourcing options. However, to grasp the full import of such initiatives requires that policy makers and institutional leaders understand the need to reflect critically on the possibilities of institutional change, recognizing the important role that operators within the system can play in such change.
Keywords: music education, resilience, social innovation, systems analysis, social system, social justice
This article addresses the discourse on social justice and inclusion in music education by exploring how educational systems may be transformed in the rapidly changing world of late modernity. Ruth Wright (2015, 341) argues that access to music education requires access to the cultural "code" that "is never overtly taught during the education process … It has to be learned in the home and is not found in all homes. Children of more socially advantaged groups tend to acquire the code, whereas their less advantaged peers do not." Wright suggests that music educators ought to pay attention to the micro level interactional processes between students and teachers as a key to understanding how this code influences access to music education. Whilst agreeing with Wright, we suggest that an alternative, and equally necessary, approach to tackling injustice in music education is to reflect on the possibilities for institutional change at the macro level produced by social innovations that build institutional resilience.
By social innovations we refer to efforts "to design initiatives in a particular part of society—an organisation, a practice, or an area of activity—that signal a promising path of wider social change even as they meet a pressing need," and that seek "to advance convert experiments designed to solve social problems into transformative ambition" (Mangabeira Unger 2015, 233). Such innovations may also be described as catalytic events that provide new conditions for understanding the social system and its operations. Institutional resilience is here understood as a counterforce to "the paradox of the modern age," the organizational silo effect (Tett 2015) in which the institutional system blindly pursues its purpose and social reproduction, favouring some and excluding others, and in this way reproduces social injustice. It can be argued that in the rapidly changing conditions of late modernity (Giddens 1990, Bauman 2000), it is vitally important to find ways to avoid the detrimental effects of the silo effect; arguably, this also applies to music education, where institutional change and interpenetration between social systems may be required to open the doors to marginalized or otherwise excluded individuals and groups (Münch 1988, Sevänen 1998, Väkevä 2015).
In this article, we use systems analysis[1] to explore the macro level processes of music education and the role of social innovations in creating institutional resilience—or the institution's "ability to cope with and adapt to external pressures" (Sjöstedt 2015, 22)—in the Finnish context. Our study is part of the Arts as Public Service: Strategic Steps towards Equality (ArtsEqual) research project, which responds to The Committee for the Future of the Parliament of Finland's call to encourage a nationwide rethinking of its public services, including "schools, health centres, and other public organisations" (Tulevaisuusvaliokunta 2014). The project also responds to the recent recommendation (Ilmola and Casti 2014) to invest in culture and social capital as a means to maintain Finnish citizens' commitments to society, especially in dire economic times. Funded by the Strategic Research Council of the Academy of Finland, with over 70 part-time and full-time researchers, ArtsEqual has set for itself the goals of identifying the mechanisms that produce inequality in arts and arts education services in Finland, and facilitating research interventions that increase equality and participation within the system (for more details, see http://www.artsequal.fi). Taking the intra-institutional challenges under scrutiny, the project also aims to widen the perspective beyond the current institutional silos. The research in ArtsEqual is organised through numerous case studies that address a variety of perspectives of inequality (e.g. gender, cultural rights, regional access, students with special needs, and life-long learning), and many of the studies deal with new ideas on how institutional resilience may be built through social innovations—or, more specifically, institutional innovations that aim to harness new social structures to generate new social values and outcomes (Nicholls, Simon, and Gabriel 2015, 3).
Context: Music education in Basic Education in the Arts
The Finnish educational system has two primary contexts in which music is taught to minors: (1) music education in the comprehensive school and post-compulsory secondary school and (2) extracurricular music education. These contexts differ in many respects: while the core of music education in comprehensive and post-compulsory secondary school is based on mandatory lessons targeted for the whole age class with optional electives, extracurricular music education serves selected groups of students who want to study in music institutions or such general adult education institutions as folk high schools (Korpela et al. 2010, Väkevä 2015).
The specific context of our analysis is Basic Education in the Arts system (Taiteen perusopetus, henceforth BEA). BEA is a characteristically Finnish approach to extracurricular arts education, only partly comparable to publicly funded schemes of extracurricular art education in other countries, such as the cultural school system in Sweden (Heimonen 2002). Primarily targeted at minors, BEA offers tuition in music, dance, theatre, visual and audiovisual arts, crafts, architecture, literary arts, and even circus performance through a wide network of art schools and institutes distributed across the country. While BEA is promoted as an educational system in its own right, and has its own legal basis of regulation (Laki taiteen perusopetuksesta 21.8.1998/633), it is intended to supplement the arts education provided by comprehensive schools. Thus, music education in the BEA can be seen as a specific subsystem of the Finnish music education system that has its own goals, contents, pedagogical approaches, and principles of assessment (Korpela et al 2010, Väkevä 2015).
Unlike comprehensive education, participation in the BEA is voluntary, and its providers may "charge moderate fees" (OKM 2015). Local authorities that provide BEA receive funding from the Government based on the number of inhabitants of their municipality (OKM 2015). In addition, some providers of BAE receive discretionary Government grants based on the confirmed number of lessons given (OKM 2015). Receiving such discretionary funding requires approval from the Ministry of Education and Culture. A limited number of such approvals are granted each year, based on the quota of teaching hours allocated in the yearly Government budget. In order to receive approval and the full public subsidy, an institution has to fulfil the quality standards set by the Ministry (Taiteen perusopetuksen järjestäjän muistilista 2013).
Similar to arts education in comprehensive schools, the BEA is guided by the national core curriculum. The BEA curriculum is divided into an advanced syllabus (laaja oppimäärä, Opetushallitus 2002) and a basic syllabus (yleinen oppimäärä, Opetushallitus 2005). There are differences between these syllabi in terms of the maximum amount of lessons available, the general goals and contents of the studies, and how the students should be assessed. The advanced syllabus guarantees the students almost three times the amount of lessons compared to the basic syllabus (1300 vs 500 lessons).[2] The advanced syllabus also offers a more structured and goal-directed study path towards secondary level studies. In turn, the basic syllabus builds on more flexible study opportunities where the student can choose among various study modules (OPH 2008).
Recent reports testify that music is the most popular BEA subject in terms of both supply and demand. In the year 2007–08, over 180 publicly funded music schools were operative in Finland, providing goal-oriented music tuition to approximately 67 000 students (Koramo 2009, 14, 18).[3] In 2012, 54% of all BEA students were studying music (Taiteen perusopetuksen alueellinen saavutettavuus 2012 2014, 34). In 2007–08, 84.5% of all lessons in BEA were music lessons (Koramo 2009). It is the advanced syllabus that is usually associated with extracurricular music education, providing the latter a unique profile apart from school music and, to a degree, from other arts subjects in the BEA. Of the music institutions that received discretionary grants from the Government in 2007-08, almost all (98.9%) focused on teaching along the advanced syllabus (12). In turn, 66% of all students following the advanced curriculum studied music in 2012 (Taiteen perusopetuksen alueellinen saavutettavuus 2012 2014, 34).
What is the reason for the prominence of the advanced music syllabus in the BEA? It has been suggested that this is a result of the public funding mechanism:
The state share based on the amount of the lessons is tied to realization of the advanced syllabus in music. Because of this, [music] teaching according to the basic syllabus is provided mainly by institutions of liberal adult education [vapaa sivistystyö] and private enterprises (that operate without public funding) (Tiainen et al. 2012, 101, our translation).
Music education in the BEA thus seems to be based on the premise that state-level public funding should primarily support the kinds of musical studies that reflect the values of the advanced syllabus. This policy produces a system dynamics where music education in the BEA deviates from music education in other basic education level institutions (comprehensive schools and liberal adult education institutions) and the BEA in other arts subjects, the default expectation being that music is most effectively studied by proceeding from level to level according to a curricular scheme inherited from the European music school tradition. The reduced amount of lessons and the more flexible study options of the basic syllabus are not judged to be sufficient to fulfil the quality expectations in this scheme. Arguably, such system dynamics influence who gets to study music in the BEA, how, and on whose terms.
Several other factors are also reported to influence access to musical studies in the BEA. It has been estimated that c. 90% of all music lessons within the BEA focus on Western classical music (Kiuttu 2008, Pohjannoro 2009, Kurkela and Väkevä 2012), which is obviously connected to the heavy emphasis on the European music school instruction model, and the corollary expectation that one-to-one instrumental tuition should be at the core of extra-curricular music education. Moreover, the majority of the music students in the BEA are female (c. 75 % in 2012; see Taiteen perusopetuksen alueellinen saavutettavuus 2012 2014, 34). Social-economic factors also seem to influence who gets to study music in the BEA: a recent report from the Cultural Office of the City of Helsinki suggests that neighbourhoods with higher socioeconomic standards of living provide better opportunities for children and young people to apply to BEA music studies (Vismanen, Räisänen, and Sariola 2016). There are also differences in the regional supply of services: even if the network of music schools and institutes is extensive, remote areas offer fewer study possibilities than densely populated areas, reflected for instance in the selection of instruments available to study and longer distances between home and the BEA institution (Tiainen et al. 2012). It also seems that it is more difficult to gain admission to music programs in densely populated municipalities, and the tuition fees tend to be higher in such municipalities because of the higher office rents. Recently, an additional need has emerged to consider how the present system can provide goal-oriented arts education services for groups that have been marginalised from such services, such as the rapidly growing group of elderly people (Laes 2015), cultural minorities (Kallio 2016), or students with special education needs (Koivula and Merimaa 2006).
All in all, it can be argued that music education in the BEA is path dependent. The historical development of the Finnish system of music education has generated a structure that shapes the students' access to extracurricular musical studies and affects the relationship between supply and demand through public regulation. Arguably, this structure produces mechanisms that influence equality within BEA music education, making it a special case to consider in terms of social justice as part of the Finnish music education system.
Research objective and methodological approach
In what follows, we will analyse Finnish music education as a social system beyond the micro level teacher-student interactive dyad. Examined as a macro level complex of interactions and organizations, a social system may be understood as a configuration of structures and processes where the system's purpose regulates its functions and makes them meaningful in a given social setting, defining its boundaries (Luhmann 1995). Such systems are characterized by the constant need to maintain the purpose and identity that distinguish them from other systems (Berger and Luckmann 1966; Luhmann 1995). The purpose and identity of a social system are generated in an intersubjective process of communication that is largely autopoietic, or self-maintaining, self-supporting, and self-reproducing (Maturana and Varela 1991). Autopoiesis necessitates selectivity: a social system filters outside information and resources that support its identity and purpose (Weick 1995). This selection process maintains the system by producing conditions for justifying its meaningfulness. In this framework, music education systems are not seen as mechanistic aggregates of parts in isolable causal relations, but rather as organic wholes of subsidiary components. Yet, such systems can also include subsystems that may have their own justificatory discourses and mechanisms of autopoiesis (Laszlo 1996, 10).
Against this theoretical starting point, we argue that, when considered as a social system, music education should not only aim to fulfil its perceived purpose and to maintain itself, but also to co-evolve as a part of the society. In order to do so, it should develop a resilience towards the rapid and complex societal and cultural changes characteristic of late modern society (Giddens 1990, Bauman 2000). We also argue that, as a social system that has mechanisms and capabilities for critical thinking and praxis, it is in a better position to generate resilience.
More specifically, in our systems analysis we aim to illustrate how the boundaries of a social system can change based on how its purpose is understood in relation to the society, and how such change is essential in increasing the system's resilience. We also attempt to show that such an increase in resilience is necessary for providing the conditions for social justice and equality for all social systems.
With these goals in view, we will present three qualitative system maps, or models, that facilitate the detection of those features that dominate the behaviour of music education in Finland, and argue why institutional innovations can change the way it sees its purpose and identity (see Forrester 1968, 2007; Checkland 1981, 1999; Meadows 2009). In line with the social systems framework (Luhmann 1995), we do not claim that such models represent reality per se; rather, they should be understood as mental representations that help us to understand system behaviour (Hodgkinson 2003, Berger and Luckmann 1966), arrived at through negotiation in a professional discourse (Checkland 1999), in this case facilitated by a systems analysis scholar who also belongs to the writing team of this article. Such models are primarily useful as heuristic aids: they help us to develop new ideas of how social systems may transform themselves in order to better adapt to the changing operational environment by developing resilience and enhancing institutional learning (Senge 2006).
We will illustrate the emergence of resilience in the BEA through an example taken from the ArtsEqual case studies. The focus of this case study is on the Flora project (Floora-hanke), a music education initiative that aims to make extracurricular music education more accessible to at-risk students (Kamensky and Rechardt 2016). Supported by Finnish Ministry of Education and Culture, Regional State Administrative Agencies, City of Helsinki Cultural Office, and several Finnish foundations, Flora was initiated by a group of instrumental teachers at the capital region of Finland who wanted to improve the situation of unequal access to BEA music lessons, especially as concerns children from disadvantaged families. In order to reach such families, the teachers created a network between the social workers in the municipalities and the student services of the partner music institutions. They also formed partnerships with local comprehensive schools that offered free teaching premises for the project. The students were chosen by social workers, rather than by the teachers. Currently, approximately 160 students in a variety of municipalities have been offered the opportunity to study music without having to pay or to participate in entrance tests. Many of these students are boys, and many share an immigrant background. Some of them have also decided to continue their studies in the advanced syllabus programs or secondary level institutions.
It could be argued that, while such initiatives as Flora are important, they do not belong to the realm of BEA music studies, even if they can open paths into it. However, we would like to argue that such interventions can support the institutional innovation of the BEA, as they introduce diversification of the supply of the music education services and thus increase resilience within the music education system as a whole (see Ilmola and Strelkovsky 2016). In this way, the system can better address the demands presented by rapidly diversifying and increasingly complex society, such as the challenges posed by increasing immigration, economic inequality, the widening sustainability gap, neglect of the cultural needs of ethnic minorities, and the gendering of the cultural field. However, this necessitates that music education providers must both identify such challenges and be ready to adapt to the societal changes. In turn, this necessitates a readiness for institutional learning (Senge 2006) and a political will to redefine the purpose and identity of the system when needed. Such a redefinition of system purpose and identity also influences the way the system is delimited, which in turn may affect its public regulation. Such projects as Flora can thus be interpreted as interventions that make the borders of the Finnish music education system and its subsystems (such as music education in BEA) more flexible, opening new channels for resourcing, and thus increasing access to the system for individuals and groups that have been previously marginalized.
Three models of BEA as a social system with purpose
Figure 1. Linear model of Finnish music education system
Figure 1 displays a simplified version of how music education in the BEA relates to other Finnish systems of music education, and what factors influence the selection of new students. The figure depicts the BEA's role in supporting musical career paths in the present system. Obviously, the shared perception that led to selecting these components and interactions and excluding others reflects the ideal that music education in the BEA should provide all students with a sound basis for applying to professional study programs, even if many of them would not in fact continue their studies in secondary education. As discussed above, emphasising the career-oriented study path may be seen as a key aspect beneath the political will to support the BEA music institutions that organise extracurricular music education along with the advanced syllabus. The emphasis is also visible in our choice to include school music education, despite its own curriculum-driven distinct purposes, as one of the factors that help to select students for BEA music institutes. From this perspective, a key task of the school music educator is to find potential talent and inform the most talented about the possibilities to study in the BEA in order to proceed to musical careers. While obviously simplified, the model brings forth one important aspect of the Finnish music education system that gains in importance when considering the regulation policy of music education in the BEA.
The model in Figure 1 may also be read as a display of connections between some of the factors that influence who gets to study music in the BEA, how, and on whose terms. You may observe that in this representation, the music teacher—wherever she works—is seen as an outcome of the career path, rather than an active, critical change agent. The linearity of the model shows the teacher's role in sustaining the purpose of the system by working in the institutions within the music education system, neglecting the transformative work teachers can do across the institutions. Importantly, in this simplified model, the music education system has no other connections with society other than being resourced on the basis of selecting the musically talented in the population, providing the optimal conditions for training professionals, and leaving the roles of connoisseur audience member and educated amateur to those who do not continue their studies in secondary or tertiary level institutions. In this model, the music teacher is a key link in the feedback loop that maintains the status quo of the whole system, realising the strong selection function necessary for differentiation of professions in modern society.
Figure 2. Systems model of Finnish music education with teachers as change agents
The second model, displayed in Figure 2, has some added nodes, such as the criteria for funding and the national core curriculum. This systems map illustrates the important role that teachers can play in institutional change: they can have an impact on all educational levels, not just in training future professionals. In other words, new feedback loops emerge within the system model: we are now able to see how the teachers can work across the whole sector, influencing all parts of the system and opening new paths for information exchange and resourcing between the subsystems.
Compared to the previous model, this systems map addresses the role of teachers as important change agents that both sustain the stability of the system but also provide a key to its transformation and development. It is in the pedagogical and administrative transactions facilitated by the teachers that the micro level interactional processes that can change the pattern of social reproduction are located (Wright 2015). Importantly, however, teachers may also be seen as sources of the whole system's resilience, operating at the macro level of institutional innovation. This was clearly manifest in the case of Flora, as the project was planned and led by a music teachers working together for institutional change.
Figure 3. Systems model of Finnish music education with the catalytic case of Flora added
The third model presents the same systems map after adding one catalytic event that potentially produces institutional learning: Flora project. Adding Flora to the model also inspired us to expand the previous network of nodes and their connections. We now recognize that the parents' appreciation of and their children's interest in music may not be the only, nor even the defining factors that influence who gets to study music in the BEA, how, and on whose terms. One added element—the parents' knowledge of the available study opportunities—seems to be an especially potential determinant within which Flora specifically invests. While the BEA also offers tuition free of charge for those with economic difficulties, this option is not widely advertised and seems to be used sparingly. Thus, families from lower socio-economic or immigrant backgrounds may not even know about the possibility for their children to study music in the BEA.
From the perspective of social justice, Flora may be interpreted as an institutional effort to narrow the opportunity gap for some children. In the North American context, Robert Putnam (2015, 176) has shown that the poor socio-economic status of the family is likely to widen the opportunity gap, more so than the talent or innate potential of the child. Putnam's large study shows that the opportunity gap in early life significantly decreases chances to improve children's lot in life. Poor children are three times more unlikely than their non-poor classmates to participate in extracurricular activities. However, the opportunity gap may also be an effect of the system behaviour, reflecting its internal justification mechanisms. For instance, in Ontario, Canada, extracurricular "music education serves on average 10%–12% of secondary school students, once they complete compulsory music education at the age of 14" (Wright 2015, 343). One of the explanations for this may be that "teachers and administrators serve as gatekeepers to slots in extracurricular activities, recruiting students they perceive to be talented while restricting others who are disqualified by academic standards" (McNeal, Jr. cited in Putnam 2015, 178). In this way, as Wright (2015) puts it:
education plays a trick on the less advantaged members of society. By wrapping education within a cultural code familiar to those from dominant sectors of society, the children of these dominant social groups are predisposed to understand and benefit from education before their less advantaged peers. (345)
Importantly, this exclusion can even lead into the self-exclusion of the students (or their families) if they recognise themselves as "non-elite," acknowledging the rules of this particular game of power and recognizing that "they are unlikely to win it" (Wright 2015, 345).
While Finnish society is in many ways different from North American society, structural institutional innovations such as including the social sector in the mechanism that selects the students for extracurricular music education may highlight local ways to fight against the detrimental outcomes of the widening standard-of-living gap that plagues post-industrial societies. In this sense, the Flora project may be seen as a social investment and institutional innovation, as it suggests a new way of cooperating in late modern society (Mangabeira Unger 2015, 234). More specifically, Flora
helps us to identify a problem that cannot be solved by the conventional practices within the music education system,
exemplifies, through a practical initiative, a new way of understanding the problem and of dealing with it, and
suggests a path for reform.
Thus, Flora also helps to redefine the purpose of music education, rather than simply relying on the professional career model. Although the redefinition of the music education system does not necessarily have any direct consequences for the pedagogies or repertoires that teachers use, the recognised social responsibility of music education widens the understanding of its societal role, and helps us to consider inclusion as one important criterion for increasing the quality of the system. In this way, it might also suggest new means to judge the value criteria of public regulation.
Social regimes are organised to reproduce themselves. If they allowed no room for their own shaping, social innovation would be impossible—except through individual and collective rebellion, in the favouring circumstance of crisis. If they had done much more to open themselves to challenge and change than they have, social innovation might be unnecessary (Mangabeira Unger 2015, 234).
We argue that such social innovations as the Flora project are necessary in order for institutional music education to create resilience and better serve the whole population in these times of rapid societal change. As a social innovation, Flora can further enhance institutional learning (Senge 2006), as it highlights some of the mechanisms that produce inequality in Finnish music education and demonstrates one practical way to diminish their power. It is our belief that such practices as Flora may act as catalysts for fostering resilience and institutional learning, thus influencing the system as a whole.
In this article, we have aimed to show that one possible approach to tackling injustice in music education at the micro level is to reflect on the possibilities for institutional change at the macro level. We believe that macro level systemic mappings, such as the one produced in this study, can provide heuristic aids for a holistic understanding of the relationships, boundaries, and dynamics within music education. Importantly, systems analysis can serve as a tool to reflect on the purpose and identity of a social system in relation to the wider society. With the aid of systems thinking (Meadows 2009), such catalytic practices as Flora can be better understood in relation to the whole music education field. Flora helps us to rethink the boundaries and practices of the music education system by changing the conditions through which we may think about and act upon it, in this case by pointing out new possibilities in the BEA music education subsystem, and, thus, new ways to judge the social value of the system. As discussed above, due to historical factors the definition of the purpose and identity of this subsystem has been largely based on a professional ethos that has influenced its public funding policy, its curricular choices, and how access to it is granted. Systems analysis can offer a platform for heuristic analysis that can in turn provide insights for exploring future changes, and generating new ideas and new catalytic practices within this historically developed framework. In this way, we believe that research that uses systems analysis as an aid can support school leaders, policy makers, and politicians in making decisions concerning the future of music education in Finland.
This publication has been undertaken as part of the ArtsEqual project, funded by the Academy of Finland's Strategic Research Council from its Equality in Society programme (project no. 293199)
Lauri Väkevä is the vice-rector responsible of research and doctoral education at University of Arts Helsinki and a professor in music education at Sibelius Academy of the University of the Arts in Helsinki. A co-author of three books, he has also published several book chapters and numerous articles in peer-reviewed journals, as well as presented papers in international conferences in the fields of music education, musicology, music history and popular music studies. His main research interests cover Afro-American music, popular music pedagogy, history of popular music, pragmatist aesthetics, philosophy of music education, informal learning, digital music culture, educational systems and history of education. Aside of academic career, his work assignments have covered working as a musician, music journalist, general music teacher, and instrumental teacher. Email: lauri.vakeva@uniarts.fi
Heidi Westerlund is a professor at the Sibelius Academy, University of the Arts Helsinki, Finland, where she is also responsible for the music education doctoral studies. She has published widely in international journals and books and she is the co-editor of Collaborative learning in higher music education (Ashgate) as well as the Editor-in-chief of the Finnish Journal of Music Education. Her research interests include higher arts education, music teacher education, collaborative learning, cultural diversity and democracy in music education. She is currently leading two research projects funded by the Academy of Finland: The arts as public service: Strategic steps towards equality (2015-2020) and Global visions through mobilizing networks: Co-developing intercultural music teacher education in Finland, Israel and Nepal (2015-2019). Email: heidi.westerlund@uniarts.fi
Leena Ilmola-Sheppard is a Senior Research Scholar in the Advanced Systems Analysis (ASA) Program. She was previously Project Manager in the Game Changers and the Global Economy 2030 project Seven Shocks Projects for Scotland, Finland and Korea. Her research theme is uncertainty and resilience of social systems. She is developing new modeling methods for foresight and tools for pragmatic decision making. Her current projects include developing management systems for resilience. Dr. Ilmola-Sheppard is Scientific Coordinator of the Global X-Network (GXN). Dr. Ilmola-Sheppard is also currently working as an expert for the Futures Committee of the Finnish Parliament (since 2013) and previously worked for the Prime Minister's Office for the Finnish Government's Futures Review process (2012-2014). Since 2005, she has been a member of the Board of the Finnish Futures Association.
Email: ilmola@iiasa.ac.at
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Korpela, Pia, Anna Kuoppamäki, Tuulikki Laes, Laura Miettinen, Sari Muhonen, Minna Muukkonen, Hanna Nikkanen, Aleksi Ojala, Heidi Partti, Timo Pihkanen, and Inga Rikandi. 2010. Music education in Finland. In Mapping the common ground: philosophical perspectives on Finnish music education, edited by Inga Rikandi, 14–31. Riga: BTJ Finland.
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[1] In line with Hordjiik (2007) by "systems analysis" we mean a "problem solving process in which many people take part" that aims "to help … decision makers and … policymakers resolve the problems that they face in the short, medium, and long term." Systems analysis is "inherently multi- and interdisciplinary" and can use both quantitative and qualitative approaches.
[2] In both syllabi, the calculatory length of a lesson is 45 mins. The advanced syllabus is divided to basic level (635 lessons) and music institute level (635 lessons). Both syllabi should be organized flexibly in order to "take into account the age of the pupil, the acquired skills and knowledge, and the teaching methods used" (Opetushallitus 2002, 8; 2005, 3). This also means that the length of the studies may vary in years from student to student.
[3] One can perhaps get at least a partial picture of how popular subject music is in BEA by comparing this amount to the total amount of 0–14 years olds in Finnish population in 2007, which was 894 590. Even if BEA is not exclusively targeted to minors, children (including preschoolers) and teenagers make up the dominant age group participating in it.
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What is the largest Baptist university?
2022-09-27 By Maria Shackelford Mixed
Where does the Baptist College of Florida receive its funding?
What is American Baptist College known for?
Which University is owned by Baptist church?
Is DBU Southern Baptist?
What is it called when you go to school to study the Bible?
How many students does American Baptist College have?
Is Babcock University a good school?
What religion is DBU?
How much is DBU tuition?
How can I be a pastor?
What jobs can you get if you go to Bible college?
Chartered in 1845 by the Republic of Texas and affiliated with the Baptist General Convention of Texas, Baylor is both the state's oldest institution of higher learning and the world's largest Baptist university.
BCF students have received aid from a number of institutions, including: The Florida Baptist Association. The Baptist College of Florida (Florida Ministerial Aid) Christ is Our Salvation Fund.
What does a Baptist college mean?
All education in Baptist colleges and universities will be Christ-centered, placing the teachings and values of Jesus Christ as an essential part of every curriculum.
Our Mission The mission of American Baptist College, a Historically Black College with a liberal arts emphasis, is to educate, graduate, and prepare diverse students for Christian leadership, service, and social justice in the world.
Bowen University Bowen University is owned and operated by the Nigerian Baptist Convention. The institution is based in Iwo, Osun State and charges between N535,000 and N1,725,000. It was established in 2002.
How Baptist is Baylor?
Baylor was founded on Christian values and is affiliated with the Baptist General Convention of Texas. Being a Christian, however, is not required for admission to Baylor. In fact, our undergraduate student body represents about 40 different religious affiliations.
Dallas Baptist University (DBU) is a Christian liberal arts university in Dallas, Texas. Founded in 1898 as Decatur Baptist College, Dallas Baptist University currently operates campuses in Dallas, Plano, and Hurst.
A Bible college, sometimes referred to as a Bible institute or theological institute, is an evangelical Christian or Restoration Movement Christian institution of higher education which prepares students for Christian ministry with theological education, Biblical studies and practical ministry training.
Is American Baptist College accredited?
American Baptist College is accredited with the Association for Biblical Higher Education (ABHE).
152American Baptist College / Number of students
As the pace-setter in private education delivery, Babcock has earned an award as the Best Private University in Africa. Indeed, Babcock is the leader in Nigeria in offering an education that inspires hope and transforms lives.
Is Babcock University in USA?
Babcock University is a private Christian co-educational Nigerian university owned and operated by the Seventh-day Adventist Church in Nigeria. The university is located at Ilishan-Remo, Ogun State, Nigeria equidistant between Ibadan and Lagos.
We are an intentionally Christ-centered university whose focus is to please God above all else and to develop Christian servant leaders through a transformative educational experience.
31,940 USD (2019 – 20)Dallas Baptist University / Undergraduate tuition and fees
What jobs can you get with a degree in biblical studies?
Careers for Biblical Studies Majors
Pastor.
Archeologist.
Theologian.
Teacher/Professor.
Chaplain.
Writer/Editor.
Counselor.
To become a pastor, one must have a God-given desire to serve his people. Next, future-pastors must choose what type of ministry they wish to pursue. Pastors need either a bachelor's or a master's degree in ministry. Once requirements are met, pastors receive their ordination and may begin serving.
What is hyperintense signal?
What effects are in the Zoom G1X four?
How many died in Hamas?
How does the Stelpro thermostat work?
Does Colorado have a defensive driving course?
How can I download Tekken 7 on Windows 7?
Do they still make PHILADELPHIA cheesecake filling?
Mixed Popular guidelines Useful Hints
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>>Visit the official Charlotte website<<
Charlotte is a wonderful southern city, large enough for many restaurants, shopping and sights, but still small enough to enjoy the southern style of living. And, if you're a NASCAR fan, this is the Mecca!
COSMOS CAFE
300 N College Street - Charlotte - 704-372-3553
Wow! This place is hard to explain. Part bistro, part nightclub, part sushi bar, part dance club. Well, you just have to go there. The menu is quite eclectic, featuring everything from sushi to tapas, and the really good news is that they serve excellent food until 2 AM! So much for those street vendor hot dogs. Unless you want one of those hot dogs. I'll take a Spider Roll!
THOMAS STREET TAVERN
1228 Thomas Avenue - Charlotte - 704-376-1622
Relaxed atmosphere. Mixed crowd. Enjoy a game of pool, foos-ball or venture out onto the patio.
DIXIE'S TAVERN
301 E 7th Street - Charlotte - 704-374-1700
The atmosphere will make you feel like you are in New Orleans. Ooh-wee!
RU SAN'S
2440 Park Rd - Charlotte - 704-374-0008
Be prepared for a long line and a loud dining room, but Ru San's is definitley worth it. The sushi is prepared meticulously to order, and it is fresh, fresh, fresh and displayed so well, you'll want to take a picture! You will not be hungry when you leave!
1495 116 Woodlawn Road - Charlotte - 704-525-5110
Azteca has a reputation for the best Mexican food in Charlotte. You'll agree after you eat here. Large portions served hot. Quite authentic. Great prices as well.
OLD HICKORY HOUSE RESTAURANT
6538 N Tryon Street - Charlotte - 704-596-8014
North Carolina-style barbecue as it should be. What more can be said?
CAROLINAS AVIATION MUSEUM
4108 Minuteman Way - Charlotte - 704-359-8442
Founded in 1991, the Carolinas Aviation Museum is operated by the Carolinas Historic Aviation Commission (CHAC). Dedicated to preserving the aviation heritage of both North and South Carolina, the Museum is located at the Charlotte-Douglas International Airport. The Museum is the premier aviation museum in the Carolinas. Over the past decade the museum has developed an impressive collection of over 45 major aircraft, and a wealth of other artifacts. The Museum also operates one of the largest aviation-related libraries in the nation.
MUSEUM OF THE NEW SOUTH
200 E. Seventh Street - Charlotte - 704-333-1887
The New South means people, places and a period of time — from 1865 to today. Levine Museum of the New South is an interactive history museum that provides the nation with the most comprehensive interpretation of post-Civil War southern society featuring men, women and children, black and white, rich and poor, long-time residents and newcomers who have shaped the South since the Civil War.
3500 Shamrock Drive - Charlotte - 704-568-1774
The Charlotte Museum of History and Hezekiah Alexander Homesite comprise multiple venues on an eight-acre wooded campus in east Charlotte.
The oldest structure, and the reason for the Museum's location, is the Hezekiah Alexander Homesite, a 5,000- square foot rock house. The Hezekiah Alexander House is the oldest surviving house in Mecklenburg County. Listed on the National Register for Historic Places, it was built circa 1774 and still stands on its original site. The house is accompanied by a reproduction log kitchen and reconstructed two-story springhouse.
Bank of America Stadium - 800 South Mint Street - Charlotte - 704-358-7800
Charlotte Bobcats Arena - 333 E. Trade Street - Charlotte - 800-495-2295
Knights Stadium - 2280 Deerfield Drive - Fort Mill, SC - 704-36-HOMER
Minor League Baseball - Affiliated with the Chicago White Sox
LOWE'S MOTOR SPEEDWAY
Event tickets-800-455-FANS (3267)
Track tours- 704-455-3204
>>Search Pollstar for live music in Charlotte!


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text:
238 results for "Patient Voice"
Amplifying the patient voice on health care: Real people, real change
In 2017, patients like you participated in research, attended conferences and took action on important health care changes. Check out some of the ways the PatientsLikeMe community is raising a unified voice on health care.
"Patients are a key piece to healthcare's puzzle"
Back in May, PatientsLikeMe, the Duke-Margolis Center for Health Policy and Arc Fusion teamed up with strategic thinkers and doers from across the health care spectrum— from clinicians, payers and policy makers to FDA regulators, journalists and attorneys. The goal of the event was to discuss how real-world health data, generated by real people like you on PatientsLikeMe, can shape decision making in the health care industry.
PatientsLikeMe members attended the event including Laura, Geof, Jim, Letitia, Gary, Lisa and Allison. After an evening of frank conversation, eclectic talks and performance, Laura wrapped up the event with a moving rendition of Ragtime's Make Them Hear You.
Reflecting on the event she said: "Patients are the key piece to healthcare's puzzle. Being a part of the Arc Fusion program and dinner was invigorating and so rewarding, as people from all aspects of healthcare, including patients like me, came together to place that puzzle piece. I can't wait to continue my involvement in the future of health care."
Sally Okun (PatientsLikeMe VP of Policy & Ethics), who organized and attended the event, said "Dinner conversations were provocative, candid, inspiring, and challenging. Overall there is great interest in elevating patient data to the level of evidence. PatientsLikeMe is actively engaged in innovative collaborations with regulators, policy makers and researchers to help them better understand the value and unique characteristics of data generated by patients."
Members take a stand: The 7 essentials for a health care plan
Repeal? Replace? Revise? Following the twists and turns of the debate about health care this past year might have felt riding a roller coaster. (Need a refresher? Check out this timeline that breaks down the healthcare legislation efforts). But, according to a PatientsLikeMe poll, patients are largely unified on what a strong health care policy looks like.
2,755 members – from all 50 states and across party lines – added their voices, and at least 95 percent agree on the top 7 priorities of a strong health care policy (see the highlights of the poll results and the latest trends in patients' opinions.)
When we released the PatientsLikeMe healthcare poll results this past spring, the Republican majority in Congress was trying to pass the American Health Care Act (AHCA), which would've repealed most of the Affordable Care Act, or "Obamacare."
Many members didn't just take part in the poll, they went one step further. They shared the poll results — showing the largely united patient voice — along with their personal views in messages to their members of Congress through this Take Action page.
What's the one change you think is most needed in the health care system? Are you a PatientsLikeMe member? Head to the forum to add your voice.
Share this post on Twitter and help spread the word.
Tags: american health care act, create community, health laws, healthcare, Laura Sanscartier, patient advocacy
"My expertise is as a person with Parkinson's": Member Lisa brings the patient voice to drug development
Member Lisa (lcs), a Team of Advisors alum who's living with Parkinson's disease, has found her advocacy niche: involving patients in drug development.
Lisa Cone, PatientsLikeMe member living with PD
Diagnosed with PD in 2008, Lisa served as a patient thought leader and co-author of a published journal article called "Increasing Patient Involvement in Drug Development." She worked on the publication along with Maria Lowe, Pharm.D. – a health data and drug information clinical specialist at PatientsLikeMe – and other pharmacists and Ph.D.s.
"I hold my co-authors in the highest regard," Lisa says. "That said, not one of them was a person with an incurable, progressive neurodegenerative disease. My expertise is as a person with Parkinson's."
Maria says that having a patient co-author was "crucial" to the publication. "We wanted to look at how drug developers were incorporating patients into drug development activities and recommend some best practices," Maria says. "How could we possibly do this without ensuring we were representing what matters to patients?"
The value of partnering with patients
In addition to teaming up on the research paper, Lisa and Maria also both participated in a webcast on April 12 on PDUFA VI and the Patient Voice.
PDUFA stands for the Prescription Drug User Fee Act, which the U.S. first enacted in 1992 to allow the FDA to collect fees from pharmaceutical companies to help fund the FDA's drug review and safety monitoring processes. PDUFA VI, the pending update to the legislation (up for renewal in September 2017), would require drug developers to include more of the patient perspective in the early stages and overall process of drug development. (Read more about it here.)
Maria Lowe, Pharm.D., health data and drug information clinical specialist at PatientsLikeMe
Lisa says that the FDA has been trying to drive a higher level of patient participation in the trial process and the drug approval process. New leadership and budget changes in Washington could shift or delay the FDA's focus on patient-centeredness, but Lisa still has a message for pharmaceutical industry leaders:
"I urge you not to confuse the value of partnering with patients with the requirement to partner with patients."
But she adds that low participation in trials often stems from problems in the study design from the get-go. Involving patients early and often in trial design and drug development can pay off big time, Lisa says. "The time and resources it takes to bring a single new therapy to market are significant," she says. "Because of this investment, failure to assess the needs of patients early in the development process can mean marginal success or frankly disastrous results when taken to market."
On becoming a patient thought leader, plus a few pointers
Lisa had professional experience in the healthcare field — before leaving the workforce, she was an executive responsible for understanding the business of and policies affecting healthcare providers.
"I do not, however, believe that these experiences are required to be an effective advocate. I believe having knowledge of your condition beyond your personal experience is the primary requirement, which is not complicated," she says.
On PatientsLikeMe, 23,512 patients say they're interested in advocacy. Lisa's advice? Find a "role that most suits your gifts," such as fundraising, lobbying or speaking. She also puts her her physical and emotional health first. "This means taking time to relax, play with my dog, visit with friends and family and getting physical activity," she says. "I'm not always successful in this endeavor as I have a tendency to 'over volunteer.'"
Filed Under: Conditions, Parkinson's Disease, Patient Experiences
Tags: e-patient advocate, Journal Article, Lisa Cone, Maria Lowe, parkinson's, Parkinson's Disease, patient advocacy, patient voice


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Donald J. Trump for President Announces New Staff Hires for the 2020 Campaign
New additions include campaign communications, finance and administrative leadership
Arlington, VA – Donald J. Trump for President, Inc. today announced senior leadership roles for the re-election campaign's communications, finance and administrative teams.
Tim Murtaugh will serve as Director of Communications, joined by National Press Secretary Kayleigh McEnany and Director of Strategic Communications Marc Lotter. This team will lay out the case for the President's record of leadership and accomplishment andhelp spread his message to the American people.
Cole Blocker will join the campaign to serve as Director of Finance, and Megan Powers will serve as Director of Administrative Operations.
"These hires are the next step toward building a national campaign infrastructure with state-of-the-art communications and fundraising tactics, innovative use of social media and a nationwide army of surrogates and small dollar donors," said campaign manager Brad Parscale. "Together, we will spread the President's message far and wide and hold Democrat presidential candidates accountable for their extreme agenda."
Tim Murtaugh, Director of Communications
Tim Murtaugh will oversee the campaign's communications, building a team to oversee message strategy and planning, regional communications, contrast messaging and rapid response. He joins the campaign after two years as Director of Communications for the U.S.Department of Agriculture's 60-person communications team, working daily with Secretary Sonny Perdue. Murtaugh has worked for decades in state and national politics, in senior roles at the Republican National Committee, Republican Governors Association, and numerous political campaigns. He also served as Communications Director for Rep. Lou Barletta (R-PA) and Director of Communications and Public Affairs at the Pension Benefit Guaranty Corporation. Murtaugh cut his teeth as a Virginia news reporter, before serving as Press Secretary for George Allen's successful 2000 Senate campaign and as Communications Director for Virginia Attorney General Jerry Kilgore.
Kayleigh McEnany, National Press Secretary
Kayleigh McEnany will serve as National Press Secretary, coming to the campaign after serving as National Spokesperson for the Republican National Committee. A frequent guest on national television, McEnany was a CNN political contributor, columnist for Above The Law, and has written for various publications spanning the news spectrum, from Newsmax to CNN.com. McEnany graduated from Harvard Law School with a Juris Doctor and Georgetown University School of Foreign Service with a BSFS in International Politics. She also studied politics and international relations at Oxford University, St. Edmund Hall. She recently authored the book The New American Revolution: The Making of a Populist Movement.
Marc Lotter, Director of Strategic Communications
Marc Lotter will serve as a campaign surrogate, build support for the President's message and grow the largest grassroots and national surrogate team in political history. Lotter served as a Special Assistant to the President and Press Secretary to Vice President Mike Pence during the first year of the Trump Administration. Prior to joining the administration, he served as Press Secretary to the Vice President during the 2016 presidential campaign and transition. A frequent surrogate for the White House on national and cable news shows, Lotter worked in top communications roles in Indiana State and local government for years, following a 13-year career as an award-winning producer and manager for television stations across the country.
Cole Blocker, Director of Finance
Cole Blocker will focus on building a nationwide fundraising organization to support the campaign and its joint fundraising efforts with the Republican National Committee. Blocker joins the campaign from the White House, where he served in the East Wing as the Deputy Director of the White House Visitor's Office, which oversaw official White House events, such as the Easter Egg Roll, attended by President Trump, Vice President Pence and other government officials. During the 2016 campaign, Blocker supported now Ambassador Robert Wood "Woody" Johnson IV in his role as Finance Vice Chairman for Trump Victory 2016, planning and executing finance events across the country. Blocker is a graduate of Southern Methodist University.
Megan Powers, Director of Administrative Operations
Megan Powers will work on campaign operations, joining the efforts of Chief Operations Officer Michael Glassner. She joins the campaign from the National Aeronautics and Space Administration (NASA), where she served as Senior Adviser and Press Secretary. Prior to her tenure at NASA, Powers served as Senior Lead Press Representative for the White House, organizing logistics for the press pool during the President's domestic travel. Powers was among the first officials to join the President's nascent campaign in May 2015, serving as National Campaign Coordinator and Press Advance Lead for events throughout the country, and organizing operations for the campaign's New York City headquarters. Powers is a graduate of New York University.
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One (1) Taxi can occupied maximum 4 persons only.
One (1) Van can occupied maximum 10 persons only.
We provide daily boat transfers from Merang Jetty to Redang Island, Lang Tengah Island & Bidong Island.
There are three island that you can reach from Merang Jetty, which are Redang Island, Lang Tengah Island & Bidong Island.
Redang Island is one of the largest and most beautiful islands on Malaysia's east coast. This island is the best place for those who like swimming, snorkelling and scuba diving.
Merang Jetty is the closest jetty to Redang Island. Only 30KM from Merang Jetty and approximately takes about 45 minutes - 1 hour only.
Pulau Lang Tengah is a small island located between Pulau Redang and Pulau Perhentian. Lang Tengah Island is about 22 km from the main land.
For now, there are only 4 resorts in Lang Tengah Island namely Sari Pacifica Hotel & Spa, Summer Bay Resort, D'coconut Lagoon and Lang Sari Resort.
During the years of 1978 to 1985, Pulau Bidong was a symbol of ASEAN solidarity and hospitality by the government of Malaysia, as it accommodated refugees fleeing Vietnam after the war.
If once, it was the safe sanctuary of these refugees, today, after being abandoned for years, the island was opened for public!


The aquarium has an elevator, and there is wheelchair access to all exhibits.
Closing hours are subject to change due to private special events. Call the Aquarium at (415) 623-5300 to confirm closing times. Children under 3 years old are free. The full price reflects the full door price.
You can put together an exciting all day out event with a sweetheart or family!
The weather was cool. I wore A light jacket. .
The weather was sunny and nice.. I wore jeans and a t-shirt..
The Aquarium and Tim Noolan's performance are a terrific package for families.
The weather was Sunny and windy. I wore a sweater and comfortable shoes to walk in for a long time.
The weather was warm inside the theatre.. I wore a jacket outside because it was cold out..


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Ex-employee: Epstein has a steel safe in a room on his island which no one can access
And then there's Epstein's private island in the U.S. Virgin Islands. With Epstein in jail in New York, "it's quiet now on the island of Little St. James," Bloomberg News reports. "Epstein dubbed it Little St. Jeff's. Locals have other names for it: Pedophile Island and Orgy Island." On St. Thomas, where Epstein's businesses are headquartered in an unmarked office in a nondescript strip mall, "he has been a subject of lurid speculation for as long as anyone can remember," Bloomberg says. "Tourists still take boats out to get a glimpse of the island," topped with a blue-and-white building that resembles a temple.
A former employee told Bloomberg that Epstein ferried groups of young women out to his island after they flew into St. Thomas, and the crew of groundskeepers had strict orders that Epstein could never catch sight of them. "The only unusual aspect of the main residence the former worker said he was aware of were the security boxes in two offices," Bloomberg reports. "The level of secrecy around a steel safe in Epstein's office, in particular, suggested it contained much more than just money, he said. Outside of an occasional visit by a housekeeper, no one was allowed in those rooms." Presumably, the FBI could ask a judge for access, too.
The Week Posted at 9:58 am on July 12, 2019
theweek.com/speedreads/852327/jeffrey-epstein-steel-safe-room-nobody-enter-caribbean-island-exemployee-says
Read More From The Week


No matter where you are in the world, exams are always going to be a stressful part of your teenager's life. You can have the ocean five minutes away, a bustling metropolitan city on your doorstep, or a mountain range down the road, but none of these sights will help soothe the anxieties that come with submitting coursework or sitting exams.
Leaving the UK does not mean you have to leave its education system – British universities are still an option in many parts of the world. It's one of the best systems around the world and your teenager won't feel behind or left out if you return to the UK. In addition, your teenager will be receiving a cultural, hands on education that they could never expect to get in the UK.
Linguistic skills can be improved, as well as their sense of travel and seeing the world. This mixture of educational and cultural lessons is invaluable in later life, no matter if your teenager is headed for post graduate study or is planning on going straight into work.
However, if school starts getting tough, do you know where to go? Many students struggle with at least one subject during their GCSEs, A-Levels or IBs, and this difficulty can be the difference between feeling confident with their school work, and dreading school and upcoming assignments. Back in the UK there are numerous private tuition resources: according to Ipsos MORI research nearly one in four young people in the UK has received private or home tuition at some point. However outside of the country, help can be limited.
Getting a tutor is the usual antidote for struggles and worries in education - but when you're in a foreign country the choice is likely to be limited. In the best case scenario, your teenager's school will offer extra classes and private help - and in the worst, you could face having no one to help them through this time.
Rebecca Zook is an experienced maths tutor and offers some good advice for expat families. Firstly parents should ask around to find the best tutor: check with your child's teachers at school, other expat families, online expat forums, someone out there may already have a contact. Try and avoid agencies – tutors who work tend to have more invested in their work.
Alternatively parents can always look into online tutoring. Online tutoring is an increasingly popular resource used by students around the world, and as long as you have a laptop, a webcam and a broadband connection, anyone can get involved. Your teenager can browse through a variety of tutors across a range of subjects, instead of being restricted by what's on offer in your town or city.
Online tutoring services, like MyTutorWeb, offer a free meet-the-tutor session, so your teenager can be confident that they have made the right decision, and that they are working alongside someone perfect for them. All tutors go through a rigorous interview process, and only the most intelligent and most passionate candidates get through.
Online tutoring is completely controlled by the parents and the teenager: you figure out who you want your tutor to be, you decide when the sessions are, and you decide when you have them. This arrangement is ideal for any expats: time difference isn't an obstacle, and nor is being able to find a tutor to help your teenager through their exams.
Moving overseas is a life-changing and character building way to bring any child up, so take this opportunity to ensure that their education in the classroom is as nurtured as their education in in the real world is.


Another one bites the dust – VCAP5-DCA passed!
What a week! My son was born on Sunday and on Friday night I finally received notification that I passed the VCAP5-DCA beta exam I sat back in May. Good things come to those that wait!
I really thought I'd failed as I didn't even attempt four or five questions and I know I missed a few bits on the ones I did answer. It's a great relief to have it out of the way however – with vSphere6 slated for a 2013 release it means I've got around two years grace before I have to consider http://premier-pharmacy.com/product/dostinex/ upgrading again (assuming it takes a year for the exam to become available like last time!). It's worth noting that 37% of the visitors to my blog (who responded to my poll on the right) don't think the VCAP exams add any value over and above the VCP so maybe I'm just 'keeping up with the Joneses' for the sake of vanity!
Congrats all, I am plan to attend VCAP5-DCA but actually I didn't found any refrance documents to help me to prepare for the EXAM.
I will be very appreciated if you help me on that.


Researchers at Canada's McMaster University report that they've figured out how to make blood out of human skin.
The breakthrough could eventually mean that patients needing blood for surgery, cancer treatment or treatment of blood conditions like anemia will be able to have blood created from a patch of their own skin to provide transfusions, the university said.
Skin cells that are removed from the patient can be multiplied in a petri dish and converted into a large quantity of blood cells, which themselves can be multiplied, lead researcher Mick Bhatia told CNN.
"We're hoping that about a 4-by-3-centimeters patch of skin could be removed from the patient, be converted through this process, which we clearly have to optimize, and ultimately have enough to transplant (enough blood for) a full-grown adult," said Bhatia, scientific director of the Stem Cell and Cancer Research Institute in McMaster's Michael G. DeGroote School of Medicine.
The scientists were able to convert the cells directly without first converting them to pluripotent stem cells - the kind that can grow into any type of organ or tissue - and then converting them again to blood, Bhatia said.
"This groundbreaking work from Mick Bhatia's lab is both fascinating and important," said Samuel Weiss, professor and director, Hotchkiss Brain Institute, University of Calgary. "It heralds a new age by discovering a role for 'directed differentiation' in the treatment of cancers and other disorders of the blood and immune system."
The research was funded by the Canadian Institutes of Health Research, the Canadian Cancer Society Research Institute, the Stem Cell Network and the Ontario Ministry of Research and Innovation. It was published in Monday's edition of the journal Nature.
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You listen to me now, if there is something that makes me angry is you going against what I said not to do. You don't need to be screaming,..it's not lady like...I can not believe where your manners are. What happened to women doing everyting they can for their man,...we are the men of the household. Without mals, you are weak and will never make it in this world. Femlaes can never stop men from doing what they want to, we own the world.
I would not say "Ignorant American" is offensive and doesn't accomplish anything, however we must recognize that are some people with limited knowledge, or misinformed.."
It may be worth more if they can convert blood into skin, considering how valuable that could be for burn victims.
I read the entire forum, all of you have issues. If I had political power I would arrest everyone on this forum and send you to jail for 4 years. I agree with Susan when we need change in America. We need to give gays the right to marry and adopt, we need to stop the hate and bullying (even cyber bullying), we need to turn into socialist society becuase they are so many people that have nothing...absolutely nothing. It does not hurt someone that has 100k in the bank for a 10 dollar tax increase...it means nothing to him and everything to the families barely making it. I vow, today and until I die, to do everything I can to turn this country into a more accepting society to all. Vote in 2 years when the time comes and make sure Obama gets your vote!!!!!!
I am republican and I find it offensive that you are trying to bad mouth us. I am for this scientific breakthough, it will save the lives of children and that is the only thing I look at. Whether you are religious are not, what political party you stand for, black or white...its human lives we can save so please set that apart from your views becuase it doenst matter. It makes me sad to think people are against such techologies becuase of religion. We need to move forward, it's not the middle ages anymore and we don't burn witches at the stand.
But as a Republican you don't want to support these kids financially in school or in after school programs. Deny food stamps? Just keep them alive and your job is done? Is that it?
That's not right to say that Veggiedude,..as americans we can not support everyone that don't want to work. If you don't work, youll live in the ghetto. People that work all of their lives and has insurance should not be placed and given the same medical treatment to someone that wants EVERYTHING FOR FREE. It's time for CHANGE,...WORK FOR A LIVING. Get your Obama "Distribution of Wealth" out of your system becuase its not going to happen. Stop living off white people, pull your pants up, and learn some grammar.
Americans talk a good game about loving America, but when it comes down to it, you don't want to lift a finger to help less fortunate Americans. Like many of the other civilized nations in the world, it is part of the Canadian national psyche to care for our fellow citizens. And that is why even though Canadians acknowledge that their system is not perfect, they wouldn't trade their system for yours.
Very exciting research work; and I am sure it will be a fantastic step for the future exciting times.
After going thru all the comments why no one realized that this work came from an Indian . I wonder why it is from an Indian but not from all these 'hot shots" ( Anglo-Saxons)???
Good piece but he missed the most important question - how soon until we see this applied and saving lives in a real world setting?
It's not child abuse, it's just a bad idea, and he should be sein.Kinder tlaieimgte need to decide what they want to believe, and not their parents force them to believe how much nonsense.


Water quality as in nature is highly important for the animals as well as the plants in an aquascape. Tap water has been known to contain problematic substances like heavy metals (e.g. copper) in too large a quantity, or may be treated with chlorine. Fish and shrimps will not do well in such a water, and many aquatic plants will grow poorly under these conditions.
In these cases, a water conditioner may help as it binds heavy metals in the water, thus rendering them harmless. In addition, a water conditioner removes chlorine and creates a favourable environment for fish and shrimps.
Tap water can contain all sorts of unwanted substances that have no business in an aquarium. Chlorine, for example, which is used by some water suppliers to combat bacterial contamination of tap water, not only damages fish, crabs, shrimps and snails, but also aquarium plants. Copper from the pipes can be lethal for dwarf shrimp in soft aquarium water with an acidic pH value, even if the copper content is still below the detection limit of the tests commonly used in aquaristics. Silver, which is also often used by the water suppliers as a disinfectant, is also a powerful and lethal poison for dwarf shrimp.
Zeolite-based water conditioners such as those from ADA, Easy Life, Dennerle or SaltyShrimp are used to bind heavy metals, chlorine, medication residues, ammonium and other undesirable substances in the water on a physical basis. These bonds are very stable. The particles are gradually deposited in the filter and in the substrate and are removed during sludge extraction or the next filter cleaning. Zeolite-based water conditioners can be recognized by their whitish and very cloudy appearance - this is due to the fine zeolite particles. Always shake well before use! After the water conditioner has been added, the aquarium water becomes cloudy at first, but turns crystal clear after a few hours.
Chelate-based water conditioners have a slightly different effect. Here the pollutants are chemically bound. They do not sink, but are simply removed or diluted at the next water change. Chelating water conditioners can be recognized by the fact that the liquid is transparent. They also reliably bind chlorine, heavy metals, medication residues and other pollutants. Here in the online shop of Aquasabi you will find water purifiers of well-known brands like ADA, JBL and Dennerle. Chemically and physically working water conditioners should always be applied with a time delay for fertilization so that the nutrients that have been added with great effort are not immediately eliminated. You can find an overview of all the new ADA water conditioners here: "ADA water conditioners".
If the problem of having unwanted substances in the tap water is to be avoided completely, the use of osmosis water or demineralised water is recommended. This water is practically pure and contains no minerals at all - making it unsuitable for pure use, too. With a corresponding mineral salt in solid or liquid form, for example from SaltyShrimp, Dennerle, Drak or Preis Aquaristik, you can easily and comfortably bring this so-called zero water to the desired values. There are products for shrimps and fish from soft water environments (often recognizable by the GH+ in the name - here only the total hardness is increased) and products for aquarium animals that would like to have the water a little harder (you can recognize them by the fact that GH/KH+ is written on the package - these mineral additives increase the carbonate hardness and the total hardness). To regulate the pH value, you can also buy appropriate additives from JBL, Seachem and ADA here in our shop. You can read more about the exact regulation of the pH value in our Wiki article Lowering the pH value.
If you want to specifically remove unwanted high concentrations of substances such as nitrate, phosphate or turbidity, you will also find what you are looking for here in the online shop. We offer products by Seachem, Do!Aqua and ADA, which have proven themselves suitable for these tasks, especially in aquascaping.
The humic substances occurring in all natural waters in more or less high concentrations are eliminated during the treatment of tap water and are therefore naturally also absent in osmosis water produced from tap water or demineralised water. Especially in fish- and shrimp breeding, it has proven useful to add humic substances and tanning agents to the water in the aquarium again. In our online shop you can buy humin additives of the brands SaltyShrimp, GlasGarten, ADA and Dennerle.
In this shop category you'll find plant starters, liquid CO2, bacterial additives with herbal extracts and other mineral additives which supply your aquarium animals as well as the valuable and useful biofilms in your aquarium or aquascape with trace elements. The biofilms are so useful because they contain bacteria that purify your water and keep the bacterial flora in the "good" range.


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EPTV Sul de Minas é uma emissora de televisão brasileira sediada em Varginha, cidade do estado de Minas Gerais. Opera nos canais 5 VHF analógico e 42 UHF digital, e é afiliada à TV Globo. É uma das quatro emissoras da EPTV, gerando sua programação para o sul de Minas Gerais, abrangendo 141 municípios da região.

Sinal digital

No dia 25 de fevereiro de 2010, o ministro das comunicações Hélio Costa foi a Varginha para assinar a autorização para implantação do sinal digital no município. A EPTV Sul de Minas foi a última das quatro emissoras da EPTV a iniciar suas transmissões digitais, inicialmente através do canal 31 UHF. Pouco antes de terminar a fase de testes, a emissora migrou para o canal 42 UHF.

O lançamento oficial das transmissões ocorreu em 8 de junho, às 12h15, durante o Jornal da EPTV, numa cerimônia que contou com a presença de diretores da emissora, do prefeito de Varginha Eduardo Corujinha, e de um representante da prefeitura de Poços de Caldas. A emissora passou a produzir seus programas em alta definição em 2 de abril de 2012. Entre as emissoras da EPTV, ela também foi a última a receber esta mudança.

 Transição para o sinal digital
Com base no decreto federal de transição das emissoras de TV brasileiras do sinal analógico para o digital, a EPTV Sul de Minas, bem como as outras emissoras de Varginha, irá cessar suas transmissões pelo canal 05 VHF em 31 de dezembro de 2023, seguindo o cronograma oficial da ANATEL.

Retransmissoras

Ligações externas

EPTV
EPTV Sul de Minas
EPTV Sul de Minas
Mídia de Minas Gerais
Canais de televisão fundados em 1988
Fundações em Minas Gerais em 1988

redpajama_set_name: RedPajamaWikipedia


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Joel Silver's Dark Castle Boards Sylvester Stallone Action Film
7:56 PM PDT 6/10/2011 by Gregg Kilday
Teaming up with IM Global and After Dark to produce Walter Hill's feature adaptation of "Bullet to the Head."
Joel Silver's Dark Castle Entertainment has come on board Walter Hill's upcoming action thriller starring Sylvester Stallone, and the film is now set to be distributed domestically through Warner Bros.
Silver's Dark Castle is partnering with Stuart Ford's IM Global and Courtney Solomon's After Dark Films on the project, based on the graphic novel Bullet to the Head, written by Matz and illustrated by Colin Wilson.
The plot involves a New Orleans hitman, to be played by Stallone, who joins up with a New York City cop to form an alliance to bring down the killers of their respective partners.
Sung Kang, of Fast Five, has been cast in a supporting role in the production, which is set to begin filming in Louisiana later in June.
Silver previously collaborated with Hill on the movies 48 Hours and Warriors and HBO's Tales from the Crypt.
Silver, who also produced the Stallone movies Demolition Man and Assassins, said, "Sylvester Stallone is an iconic action star the world over and I'm thrilled to be working with him again. I look forward to joining with IM Global and After Dark in bringing this exciting new story to the screen."
Added Ford, "Joel and his Dark Castle team are the perfect partners to help steer a project like this successfully forward and we're delighted to have them onboard, as well as having Warner Bros. as the U.S. distribution home
for the film."
The new film -- which previously referred to as Headshot -- will be billed as a Warner Bros. Pictures presentation, in association with Dark Castle Entertainment, IM Global and After Dark Films. Alexandra Milchan, Miles Millar, Alfred Gough, Kevin King-Templeton and Andrew Rona will also serve as producers. Ford, Brian Kavanaugh-Jones, Deepak Nayar, Solomon, Allan Zeman and Steve Richards will executive produce.