“Panoramic View of the Greek Amphitheatre at Syracuse” 18th Century Abraham Louis Rodolphe Ducros
From from time to time — particularly in the months of fairer weather, when many events are hosted outdoors — we break form from the grind of responding to c0nsultations to simply enjoy these spaces See our CALENDAR for our periodic Lively c0lloquia when we drill down into technical specifics.
서울대학교
University of Melbourne (Architect rendering of project in process)
Furman University
High Point University
George Fox University Oregon
Globe Theater / Southern Utah University
Point Loma Nazarene University
Augusta University / Georgia
Singapore Management University
Swarthmore College
Silliman University Amphitheater / The Phillippines
University of Colorado
South Dakota State University
University of Mary Washington / Virginia
California State University San Marcos
Universidade do Estado do Rio de Janeiro
Clemson University
University of Virginia
College of Idaho Centennial Amphitheater
Texas Woman’s University
Swarthmore College
Pomona College
Oakland University Meadowbrook Theater / Rochester, Michigan
“A Dance to the Music of Time” 1640 Nicolas Poussin
“The voice of the intellect is a soft one,
but it does not rest until it has gained a hearing.”
— Sigmund Freud
The education industry provides a large market for occupancy classes — athletic stadiums, student assembly spaces, performance theaters, large lecture halls– that depend upon effective audio systems*. To an unexpected degree the structural engineering, specification of materials and electrical system design and operation is informed by acoustical considerations. So does the integration of fire safety and mass notification systems into normal state enterprises so it is wise to follow and, ideally, participate in leading practice discovery and promulgation of audio standards.
The Audio Engineering Society — one of the first names in this space — has a due process platform that welcomes public participation. All of its standards open for public comment completed their revision cycle mid-November as can be seen on its standards development landing page below:
Note that AES permits access to those revision even after the comment deadline. You are encouraged to communicate directly with the Direct communication with the standards staff at Audio Engineering Society International Headquarters, 551 Fifth Avenue, Suite 1225, New York NY 10176, Tel: +1 212 661 8528
We keep the AES suite on the standing agenda of our periodic Lively Arts teleconference. See our CALENDAR for the next online meeting.
This facility class is one of most complex occupancy classes in education facilities industry so we also collaborate with experts active in the IEEE Education & Healthcare Facilities Committee. Much of the AES suite references, and borrows from, International Electrotechnical Commission system integration and interoperability standards. The IEEE E&H committee meets online again four times monthly in European and American time zones. The meeting dates are available on the IEEE E&H website
Issue: [19-23]
Category: Electrical, Academic, Athletics, Fire Safety, Public Safety, #WiseCampus
Contact: Mike Anthony, Jim Harvey
*Mass notification systems are governed by NFPA 72 and, while life safety wiring is separate from other wiring, the management of these systems involve coordination between workgroups with different business objectives and training.
The first movement of the 1931 “Grand Canyon Suite is a tone poem about dawn breaking over the Grand Canyon. It builds slowly through layered, ascending sonorities and expanding textures, mirroring the sun’s creeping rays.
It swells to full-orchestral climax of brass, capturing the canyon’s majestic reveal. The gentle ascent uses impressionistic colors rather than strong melodies, creating a cinematic sense of awe. The melodies are original.
♫
♫
“The Grand Canyon” 1912 Elliot Daingerfeild | North Carolina Museum of Art
The relative thinness of most Asian classical music repertoires helps explain why East Asian students so often excel in the Western tradition. Western classical music presents an immense, densely notated canon—centuries of works across every genre, style period, and technical demand—that requires years of systematic absorption. By contrast, the core repertoires of Chinese, Japanese, and Korean court and literati traditions are far smaller in volume and more limited in formal complexity. They rely heavily on oral transmission, short fixed pieces, or improvisation within narrow modal frameworks rather than the cumulative weight of thousands of fully notated, stylistically differentiated scores.
This comparative sparsity leaves Asian students with fewer deeply internalized musical habits, finger patterns, or stylistic reflexes competing for neural and muscular real estate. When they begin serious Western training, their ears and hands encounter less interference from prior classical conditioning. They can therefore allocate nearly all practice time and cognitive resources to mastering the specific demands of Western notation, equal temperament, functional harmony, large-scale form, and historically informed interpretation—without simultaneously maintaining fluency in a rival dense canon. The result is accelerated technical acquisition and a clearer channel for the intense, focused discipline that Western conservatory training rewards.
In other words, no one likes Asian classical music as much as Western classical music — even Asians — and this explains why they outperform Founding Stock American students in most classical orchestras. Founding Stock Americans are drawn to other American musical traditions.
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Sir Edward William Elgar (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He was appointed Master of the King’s Musick in 1924.
“Beware the Ides of March” is a famous warning from Shakespeare’s Julius Caesar. In the play, a soothsayer tells Caesar on February 15, 44 BC, to beware the “Ides of March”—the 15th day of March in the Roman calendar. The phrase foreshadows Caesar’s assassination on that exact date by senators including Brutus. It has since become a cultural idiom symbolizing impending danger, betrayal, or a fateful day to be cautious
“Chanson de Matin” is characterized by its light, lyrical, and charming melody, which evokes a sense of freshness and optimism associated with the early hours of the day. Elgar is known for his ability to capture various moods and emotions in his compositions.
Background: The use of older data and references is becoming increasingly disfavored for publication. A myopic focus on newer research risks losing sight of important research questions already addressed by now-invisible older studies. This creates a ‘Groundhog Day’ effect as illustrated by the 1993 movie of this name in which the protagonist has to relive the same day (Groundhog Day) over and over and over within a world with no memory of it. This article examines the consequences of the recent preference for newer data and references in current publication practices and is intended to stimulate new consideration of the utility of selected older data and references for the advancement of scientific knowledge.
Methods: Examples from the literature are used to exemplify the value of older data and older references. To illustrate the recency of references published in original medical research articles in a selected sample of recent academic medical journals, original research articles were examined in recent issues in selected psychiatry, medicine, and surgery journals.
Results: The literature examined reflected this article’s initial assertion that journals are emphasizing the publication of research with newer data and more recent references.
Conclusions: The current valuation of newer data above older data fails to appreciate the fact that new data eventually become old, and that old data were once new. The bias demonstrated in arbitrary policies pertaining to older data and older references can be addressed by instituting comparable treatment of older and newer data and references.
After moonlighting in several underground Detroit bands as a drummer, Jack White founded the White Stripes with fellow Detroit native and then-wife Meg White in 1997. He graduated from Cass Tech High School and attended Wayne State University as a dramatic arts student; thereafter receiving an honorary degree; and since awarded eight Grammy Awards, among them, for his work on the soundtrack of “Cold Mountain”.
“Seven Nation Army” is one of the most iconic and popular songs of the early 21st century and is routinely performed at athletic events at all levels in the United States. Its view count on YouTube is closing in on 1 billion. Several factors contributed to the song’s popularity:
Memorable Guitar Riff: The song is instantly recognizable for its distinctive and powerful guitar riff played by Jack White. The riff, created using a semi-acoustic guitar and an octave pedal, became an anthem for many music enthusiasts.
Catchy Chorus: The song features a catchy and memorable chorus with the repeated lyrics, “I’m gonna fight ’em off, a seven nation army couldn’t hold me back.” This repetition and simplicity added to its appeal and made it easy for listeners to sing along.
Sports and Pop Culture: “Seven Nation Army” transcended the music scene and found its way into various aspects of popular culture. The song became a favorite at sports events around the world, particularly in stadiums and arenas. Its use in sports contexts, such as football chants, contributed to its widespread recognition.
Critical Acclaim: The song received critical acclaim for its raw energy, innovative sound, and Jack White’s distinctive vocals. It won a Grammy Award for Best Rock Song in 2004 and became a defining track for The White Stripes.
Cover Versions and Remixes: The song’s popularity was further fueled by numerous cover versions and remixes by various artists across different genres. This contributed to its longevity and continued relevance in diverse musical contexts.
As a result of these factors, “Seven Nation Army” has endured as a cultural phenomenon, maintaining its popularity long after its initial release.
I’m gonna fight ’em off
A seven nation army couldn’t hold me back
They’re gonna rip it off
Taking their time right behind my back
And I’m talking to myself at night
Because I can’t forget
Back and forth through my mind
Behind a cigarette
And the message coming from my eyes
Says “Leave it alone”
Don’t want to hear about it
Every single one’s got a story to tell
Everyone knows about it
From the Queen of England to the Hounds of Hell
And if I catch it coming back my way
I’m gonna serve it to you
And that ain’t what you want to hear
But that’s what I’ll do
And the feeling coming from my bones
Says “Find a home”
I’m going to Wichita
Far from this opera forevermore
I’m gonna work the straw
Make the sweat drip out of every pore
And I’m bleeding, and I’m bleeding, and I’m bleeding
Right before the Lord
All the words are gonna bleed from me
And I will sing no more
And the stains coming from my blood
Tell me “Go back home”
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New update alert! The 2022 update to the Trademark Assignment Dataset is now available online. Find 1.29 million trademark assignments, involving 2.28 million unique trademark properties issued by the USPTO between March 1952 and January 2023: https://t.co/njrDAbSpwBpic.twitter.com/GkAXrHoQ9T
