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Publication THERE AND BACK - THE PORTER,ROY STORY - PORTER,R, KELLER,D(1993) BROWN, TDPublication KRUPA,GENE - HIS LIFE AND TIMES - CROWTHER,B(1993) BROWN, TDPublication THE WORLD OF KRUPA,GENE - THAT LEGENDARY DRUMMIN MAN - KLAUBER,BH(1993) BROWN, TDPublication DRUMMIN MEN, THE HEARTBEAT OF JAZZ - THE SWING-YEARS - KORALL,B(1993) BROWN, TDPublication Tiered Polyphony and Its Determinative Role in the Piano Music of Johannes Brahms(2008-01-01) Auerbach, BTiered polyphony describes segments of music that manifest rhythmic/metric layering (Lester 1986) in the presence of polyphony. This texture, though a hallmark of the baroque era, is capable of generating a variety of musical effects over many style periods. This article establishes three categories of the texture based on degrees of metrical dissonance: weakly, moderately, and strictly tiered polyphony. The last form is special not only for its rarity but also for the extreme independence of its lines, which create supermetrical dissonance through pitch cells and/or pitch-interval cycles. Strictly tiered polyphony figures prominently in Brahms's piano music, where it lends passages an aura of extreme drive and inexorability. Importantly, awareness of this texture can provide insights into Brahms's works unavailable through conventional approaches. The analytical portion of this article examines the Two Rhapsodies, op. 79. The unusual harmonic structure of the G-minor rhapsody is read in light of 1-cycles present within the opening tiered polyphony. In the B-minor rhapsody, the content of three concurrent cycles at the opening—a 4-cycle, 1-cycle, and 5/7-cycle—is respectively reflected in the hexatonic organization of mm. 1–67, in the A section's stormy chromatic transitions, and in the cadential gestures that permeate the B section and coda.Publication Israel's Theatre of Confrontation(1986) Rubin, EmanuelFollowing Israel's victory in the "Six-Day War" a sense of jubilation permeated Israeli society. Far from participating in that mood, Israeli playwrights took an aggressively critical stance, objecting that life in Israel was becoming misguidedly hedonistic as a result of that success and was straying from the ideals on which the country was founded. Following a brief look at the national context, several important plays confronting Israeli theater-goers are traced over the following years with special attention to the 1983-84 season, in an attempt to explain the point of view of selected playwrights as well as that of the public and incensed officials.Publication John Travers: 18 Canzonets for Two and Three Voices (1746)(2005-01-01) Rubin, EmanuelIntroductory essay only, to a critical edition of the two and three-part canzonets of John Travers, mostly settings of the satirist Matthew Prior. Includes corrected texts and notes on the edition.Publication Some Aspects of Pedagogical Corpora(2021-01-01) White, Christopher WM.This essay focuses on the characteristics of corpora drawn from pedagogical materials and contrasts them with the properties of corpora of larger repertoires. Two case studies show pedagogical corpora to contain relatively more chromaticism, and to devote more of their probability mass to low-frequency events. This is likely due to the formatting of and motivation behind classroom materials (for example, focusing proportionately more resources on difficult concepts). I argue that my observations challenge the utility of using pedagogical corpora within research into implicit learning. I also suggest that these datasets are uniquely situated to yield insights into explicit learning, and into how musical traditions are represented in the classroom.Publication Four Compositions by Menachem Wiesenberg(2005-01-01) Rubin, EmanuelListener's guide to four compositions by the Israeli composer, Menachem Wiesenberg, accompanied by a brief biography of the composer and texts of the songs in the original Hebrew with English translations. Wiesenberg was in residence at the University of Massachusetts in February, 2005. This concert of his works was the culmination of his master classes, rehearsals, and public lectures.Publication Quantifying Physical Activity in Young Children Using a Three-Dimensional Camera(2020-01-01) McCullough, Aston K.; Rodriguez, Melanie; Garber, Carol EwingThe purpose of this study was to determine the feasibility and validity of using three-dimensional (3D) video data and computer vision to estimate physical activity intensities in young children. Families with children (2–5-years-old) were invited to participate in semi-structured 20-minute play sessions that included a range of indoor play activities. During the play session, children’s physical activity (PA) was recorded using a 3D camera. PA video data were analyzed via direct observation, and 3D PA video data were processed and converted into triaxial PA accelerations using computer vision. PA video data from children (n = 10) were analyzed using direct observation as the ground truth, and the Receiver Operating Characteristic Area Under the Curve (AUC) was calculated in order to determine the classification accuracy of a Classification and Regression Tree (CART) algorithm for estimating PA intensity from video data. A CART algorithm accurately estimated the proportion of time that children spent sedentary (AUC = 0.89) in light PA (AUC = 0.87) and moderate-vigorous PA (AUC = 0.92) during the play session, and there were no significant differences (p > 0.05) between the directly observed and CART-determined proportions of time spent in each activity intensity. A computer vision algorithm and 3D camera can be used to estimate the proportion of time that children spend in all activity intensities indoors.Publication "Amazing Together": Mason Bates, Classical Music, and Neoliberal Values(2017-01-01) Ritchey, MariannaWe are all connected...one universe...one planet...one ecosystem...thriving as one network...working with one purpose...we are...amazing together These sentiments, accompanied by images of dolphins, forests, cell-phone towers, and outer space, were projected onto screens encircling the Las Vegas Youth Orchestra as it performed at the 2014 partner summit of Cisco Systems, Inc., a multinational conglomerate specializing in networking technology. The music on offer was The Rise of Exotic Computing, a composition for orchestra and laptop by the 38 year old composer Mason Bates. The piece musically depicts synthetic computing, in which lines of code are replicated without human intervention. Thus, it presents Cisco’s product—networking technology—as art. Bates, a Juilliard-trained symphonist and techno DJ, has attained some of the highest markers of prestige that arts institutions can bestow: he has won a Guggenheim and a Rome Prize, for example, and in the 2014/15 concert season he was the second-most performed living composer in the U.S. (after John Adams). However, he is also patronized by tech corporations like Google and Cisco, and has written programmatic works extoling their virtues. His supporters in both realms uphold him as a “maverick” and an “innovator” whose use of digital technology is changing the face of classical music in America. I examine some of Bates’s work—Exotic Computing, Mothership, and his creative partnership with the YouTube Symphony Orchestra—as well as the journalistic, institutional, and corporate rhetoric promoting him. Bates and his supporters routinely deploy revolutionary language about freedom and individuality while actually serving the interests of capital, which is an important feature of neoliberal rationality. Ultimately, I argue that Bates has achieved his success primarily by aligning not only his music but, by extension, “classical music” itself, with the values of America’s neoliberal elite.Publication Bach's recapitulation forms + Aria composition(1996) Whaples, MKPublication The Yale-Classical Archives Corpus(2016-01-01) White, Christopher William; Quinn, IanThe Yale-Classical Archives Corpus (YCAC) contains harmonic and rhythmic information for a dataset of Western European Classical art music. This corpus is based on data from classicalarchives.com, a repository of thousands of user-generated MIDI representations of pieces from several periods of Western European music history. The YCAC makes available metadata for each MIDI file, as well as a list of pitch simultaneities ("salami slices") in the MIDI file. Metadata include the piece's composer, the composer's country of origin, date of composition, genre (e.g., symphony, piano sonata, nocturne, etc.), instrumentation, meter, and key. The processing step groups the file's pitches into vertical slices each time a pitch is added or subtracted from the texture, recording the slice's offset (measured in the number of quarter notes separating the event from the file's beginning), highest pitch, lowest pitch, prime form, scale-degrees in relation to the global key (as determined by experts), and local key information (as determined by a windowed key-profile analysis). The corpus contains 13,769 MIDI files by 571 composers yielding over 14,051,144 vertical slices. This paper outlines several properties of this corpus, along with a representative study using this dataset.Publication BACH EARLIEST ARIAS(1989) Whaples, MKPublication ELDERHOSTEL + SENIOR CITIZENS EDUCATION-PROGRAM(1981) BROWN, TDPublication Balancing act (Computers, landscape architecture students, and practitioners)(2000-01-01) Miller, JNPublication Publication Rhythmic and Structural Aspects of the Masoretic Cantillation of the Pentateuch(1993) Rubin, EmanuelThis paper defines a new approach to understanding and transcribing Jewish cantillation based on the writings of the medieval Masoretes. It presents an analysis of the rhythmic and structural features at the core of the system of biblical cantillation in the Jewish liturgy, and asserts that those features,rather than specific melodies, are the principal factors to be taken into consideration in understanding the liturgical, semantic, and exegetical functions of cantillation.Publication TRAPS, THE DRUM WONDER - THE LIFE OF RICH,BUDDY - TORME,M(1993) BROWN, TD