Category Archives: Lively Arts / Media

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Thornton Wilder’s “Our Town”

Lively Arts 300

 

Aaron Copland “Our Town”

Azusa Pacific University Symphony Orchestra | Susanna Cervantes, Graduate Conductor

Recorded Nov. 10, 2018 at the Haugh Performing Arts Center, Glendora CA

Copland wrote the score to the film version of Thornton Wilder’s play in 1940. Comparable to Copland’s other orchestral suite, Appalachian Spring, Our Town is smaller in scale, but holds the same traditional Copland characteristics: the sunrise wake up call in the beginning, the call and response, exploiting the reflective quality of the woodwinds, brass chorales, and the desperately aching sounds of the strings.

He explained, “For the film version, they were counting on the music to translate the transcendental aspects of the story. I tried for clean and clear sounds and in general used straight-forward harmonies and rhythms that would project the serenity and sense of security of the story.” It is dedicated to Leonard Bernstein.

Su Jin Susanna Cervantes is professional freelancer actively working in the greater Los Angeles area. As a cellist, Susanna has played in multiple ensembles such as Hollywood Youth Orchestra, USC Thornton Symphony, and APU Symphony Orchestra.

She has also performed in multiple chamber groups performing works by Barber, Brahms, Borodin, Franck, Mendelssohn, Rachmaninoff, and many more. She has performed in masterclasses with Daniel Hoffman, Lynn Harrell, and Alisa Weilerstein. In addition, she frequents in collaboration with singer-songwriters such as Sleeping At Last, whose hits are featured on ABC’s Grey’s Anatomy; grammy-nominated artist, Michelle Bloom; British Christian singer-songwriter, Matt Redman; and singer/actress, Jackie Tohn.

Susanna is an academic instructor at Orange County School of Arts, teaching String Literature and Music History. She is also a strings coach for the Symphony Orchestra at San Marino High School. Since 2011, Susanna has been a pianist and a music associate at First Baptist Church of Glendale, facilitating services and contracting musicians for the church. Susanna has been teaching cello privately throughout Southern California since 2010.

Susanna has received her BM in Cello Performance from Azusa Pacific University, and is currently studying with Professor Christopher Russell at Azusa Pacific University and will receive her MM in Instrumental Conducting in May of 2019.

Audio and Music Engineering

Lively Arts 300

The term “lively arts” is attributed to American writer and poet James Thurber. It was popularized in the mid-20th century as a way to describe various forms of performing arts, such as theater, dance, music, and other creative expressions.

Standards Michigan Lively Art Catalog

Curtain for the Lviv Theatre of Opera and Ballet

 

“What art is, in reality, is this missing link,  not the links which exist.

It’s not what you see that is art; art is the gap”

— Marcel Duchamp

 

Today we refresh our understanding of the literature that guides the safety and sustainability goals of lively art events in educational settlements.  Consortia have evolved quickly in recent years, leading and lagging changes in the content creation and delivery domain.  With this evolution a professional discipline has emerged that requires training and certification in the electrotechnologies that contribute to “event safety”; among them:

 

ASHRAE International

Standard 62.1: This standard establishes minimum ventilation rates and indoor air quality requirements for commercial buildings, including theaters and auditoriums.

Standard 55: This standard specifies thermal comfort conditions for occupants in indoor environments, which can have an impact on air quality.

Audio Engineering Society

Audio Visual and Experience Association

Entertainment Services and Technology Association

Event Safety Alliance

International Code Council

International Building Code: Section 303.2 Assembly Group A-1

Illumination Engineering Society

RP-16-17 Lighting for Theatrical Productions: This standard provides guidance on the design and implementation of lighting systems for theatrical productions. It includes information on the use of color, light direction, and light intensity to create different moods and effects.

RP-30-15 Recommended Practice for the Design of Theatres and Auditoriums: This standard provides guidance on the design of theaters and auditoriums, including lighting systems. It covers topics such as seating layout, stage design, and acoustics, as well as lighting design considerations.

DG-24-19 Design Guide for Color and Illumination: This guide provides information on the use of color in lighting design, including color temperature, color rendering, and color mixing. It is relevant to theater lighting design as well as other applications.

National Center for Spectator Sports Safety and Security

National Fire Protection Association

Life Safety Code

Electrical Safety

National Electrical Code

Articles 518-540: Arenas, Lecture Halls & Theaters

Society of Motion Picture Technology Engineers

Professional Lighting and Sound Association

Dance and Athletic Floor Product Standards: ASTM F2118, EN 14904, DIN 18032-2

Incumbent standards-setting organizations such as ASHRAE, ASTM, ICC, IEEE, NFPA have also discovered, integrated and promulgated event safety and sustainability concepts into their catalog of best practice titles; many already incorporated by reference into public safety law.   We explore relevant research on crowd management and spectator safety.

Planning and Managing Security for Major Special Events

 

“Art is anything you can get away with” — Marshall McLuhan

 

More

International Code Council (N.B. Changes to its Code Development Process) 

International Building Code: Entertainment Occupancies

Section 410: Stages, Platforms and Technical Production Areas

National Electrical Code: Articles 518 – 540 

Code-Making Panel 15 (NEC-P15): Public Input Report 10/1/2020

Code-Making Panel 15 (NEC-P15): Public Comment Report  11/18/2021

ASHRAE 62.1 Ventilation for Acceptable Indoor Air Quality

Princeton University: Set Design & Construction

Building the Virtual Stage: A System for Enabling Mixed Reality Theatre

University of California: Special Effects Safety and Loss Prevention

University of San Francisco Special Effects Safety

Dance Floors v. Sports Floors

Today in History

Motion Picture Production

Education communities in every nation provide a locus for community cultural art production, enjoyment and instruction.   It is both a consumer and producer; with the expansion of massive open online curricula drawing from the best practices conveyed from the visual arts.

One of the first names in this domain is the Society of Motion Picture and Television Engineers that support the technical framework and global professional community that makes motion picture, television and professional media available for all humanity to enjoy for artistic, educational and social purposes.  The landing pages for its standards development enterprise are linked below:

SMPTE Standards  

ST 2110 Suite of Standards

We maintain SMPTE titles  on the standing agenda of our Lively Arts, Power, Fine Art and Infotech colloquia.   We also collaborate with the IEEE Education & Healthcare Facilities Committee which meets 4 times monthly in European and American time zones.  See our CALENDAR for the next online meetings; open to everyone.

Media production audio visual

Issue: [Various]

Category: Academics, Seven Lively Arts Facilities, Electrical, Telecommunication

Contact: Mike Anthony, Sanne Clare Anthony, Jim Harvey, Richard Robben


More

SMPTE Standards Annual Report 2019

Language Metadata Table

Cinematography

“The Boy Friend”

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Audio Standards

“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:

AES Standards Development

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

Media production audio visual

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.


LEARN MORE:

Archive / Audio Engineering Society

 

Dimidia veritas, tota mendacium est

Executive Order 14290: Ending Taxpayer Subsidization of Biased Media

“If anyone sins because they do not speak up when they hear a public charge to testify regarding something they have seen or learned about, they will be held responsible.” — Leviticus 5:1

To what degree does the endless and, frankly shameless, on-air fundraising by an organization with widely tolerated bias constitute de facto political fundraising for the Democratic Party? In Southeastern Michigan — in less than a 50 mile region — you can hear the same NPR “content” from six different universities: Ann Arbor, Ypsilanti, Toledo, Detroit, East Lansing, and Flint.

There has been some relatively recent legislative proposals to restore NPR to its original charter of cultural content (music, book reviews, agricultural information, etc.) but these proposals never moved beyond the relevant committee.


How much institutional support does a university actually provide its public-radio operation through buildings, electrical power, standby generation, towers, IT, maintenance and staff?

NPR CEO Katherine Maher was a no-show at the House Oversight Subcommittee Hearing

Related:

National Public Radio Inc | 2022 Tax Filing

National Public Radio | IRS 990 Return of Organization Exempt from Income Tax

American Public Media Group | 2022 Tax Filing

“Hotseat heats up for NPR CEO Katherine Maher — and her life is the ultimate woke-elite bingo card”

National Public Radio follows guidelines and best practices when conducting fundraising campaigns, but they’re not so much strict “rules” as they are principles and standards upheld by NPR and its member stations. Here are some common practices and considerations:

  1. Transparency: NPR and its member stations are typically transparent about their funding needs and where the money goes. They often provide detailed breakdowns of their budgets and expenses.
  2. Ethical Solicitation: Fundraising efforts should be conducted ethically and in accordance with NPR’s values. This means avoiding misleading tactics and being honest about the need for funding.
  3. Listener Support: NPR often emphasizes the importance of listener support in funding their programming. They encourage individuals to contribute at various levels, often with incentives like member benefits.
  4. Corporate Sponsorship: NPR also receives funding from corporate sponsors, “but they are careful to maintain editorial independence.” Sponsored content is clearly labeled, and NPR maintains strict guidelines to ensure that sponsors do not influence editorial decisions.
  5. Member Stations: NPR member stations across the country conduct their own fundraising campaigns, often in conjunction with national NPR campaigns. These stations rely heavily on listener support and may have their own guidelines and practices.
  6. Regulatory Compliance: NPR and its member stations must comply with relevant laws and regulations governing fundraising, including those related to nonprofit organizations and broadcasting.
  7. Stewardship: NPR and its member stations typically prioritize stewardship of donor funds, ensuring that donations are used effectively and efficiently to support their mission and programming.

While there may not be hard and fast rules for NPR fundraising, adherence to these principles helps maintain trust with listeners and supporters.

Swarthmore College Pennsylvania

 

To become a National Public Radio (NPR) member station or broadcaster, certain criteria must be met. NPR is a mission-driven organization that partners with independently owned and operated public radio stations across the United States to deliver its programming. Here are the typical criteria for becoming an NPR member station:

  1. Nonprofit Status: NPR member stations must be nonprofit organizations, often affiliated with universities, community organizations, or governmental bodies.
  2. Broadcast License: Stations must hold a valid broadcast license issued by the Federal Communications Commission (FCC) in the United States. This license authorizes the station to broadcast on a specific frequency within a designated geographic area.
  3. Commitment to NPR’s Mission: Member stations are expected to share NPR’s mission of providing high-quality, non-commercial programming that serves the public interest. This includes delivering news, cultural content, and educational programming to their local communities.
  4. Financial Stability: Stations must demonstrate financial stability and viability to ensure they can fulfill their commitments to NPR and their local communities over the long term.
  5. Technical Requirements: Stations must meet certain technical requirements to ensure they can receive and broadcast NPR programming effectively. This includes having appropriate transmission equipment and meeting FCC regulations for broadcast quality and coverage.
  6. Membership Dues: Member stations are required to pay annual membership dues to NPR, which help support NPR’s operations and programming.
  7. Compliance with NPR Policies: Stations must adhere to NPR’s policies and guidelines regarding programming standards, ethics, and editorial independence.
  8. Community Engagement: NPR values stations that are actively engaged with their local communities, including through outreach, events, and partnerships with local organizations.
  9. Programming Commitment: Member stations are expected to broadcast a significant portion of NPR programming, including flagship shows like “Morning Edition” and “All Things Considered,” as well as other NPR-produced content.
  10. Commitment to Diversity, Equity, and Inclusion: NPR values diversity in its member stations and encourages stations to reflect the diversity of their communities in their programming and staffing.

Overall, becoming an NPR member station involves a combination of legal, financial, technical, and cultural considerations, all aimed at supporting NPR’s mission of providing high-quality public radio programming to audiences across the United States.

A significant portion of NPR member stations are associated with universities or colleges. These stations are often operated by the educational institution’s media departments or affiliated broadcasting organizations. They serve as valuable training grounds for students studying journalism, communications, broadcasting, and related fields.

While the exact number of NPR member stations associated with universities or colleges may vary over time, it’s safe to say that a substantial portion of the network falls into this category. Many universities and colleges across the United States operate their own radio stations, and a portion of these stations choose to affiliate with NPR to access its programming and resources.

Errors of omission, lost opportunities, are generally more critical than errors of commission. Organizations fail or decline more frequently because of what they did not do than because of what they did. - Russell L. Ackoff

Related:

Radio Transmission Power & Frequency Allocation

Pew Research Center: Public Broadcasting Fact Sheet

Urban Dictionary: Affluent White Female Liberal

NPR names Katherine Maher President and CEO

Tucker Carlson: Radicalized NPR on verge of destroying itself

Congresswoman Tenney Moves to Defund NPR

Outrageous bias in the media: NPR “National Public Radio “

 National Center for Charitable Statistics

H.R. 3410 Prohibit Federal funding of National Public Radio

“A half truth is a whole lie” — Yiddish proverb


National Public Radio (NPR) member stations are permitted to transmit from facilities supported by federally funded colleges or universities, as many are licensed as noncommercial educational (NCE) stations under the Federal Communications Commission (FCC). These stations, often operated by or affiliated with public colleges and universities, meet FCC requirements for NCE licenses, which allow them to broadcast educational and cultural programming without commercial advertisements.

Key Points:NCE Licensing: NPR member stations are typically licensed as NCE stations, which can be owned or operated by nonprofit entities, including public colleges and universities. These institutions often receive federal funding, and their facilities (e.g., campus buildings or transmission equipment) can be used for broadcasting.

Funding Structure: Stations affiliated with colleges or universities may receive funding from the institution, listener contributions, corporate underwriting, and federal grants via the Corporation for Public Broadcasting (CPB). Federal funding, while a small portion (e.g., ~10% of public radio revenue), is often channeled through CPB to support station operations.

Examples: Many NPR member stations, such as WBEZ (operated by Chicago Public Media but affiliated with educational institutions) or KUT (operated by the University of Texas), transmit from university-supported facilities. Approximately half of NPR’s member stations are affiliated with colleges, sometimes operating directly from campus facilities.
FCC Regulations: The FCC allows NCE stations to broadcast from such facilities as long as they adhere to noncommercial guidelines, prohibiting promotional advertisements for for-profit entities while permitting donor acknowledgments.

Impact of Federal Funding Cuts: Recent reductions in federal funding for public media, as reported in 2025, may strain these stations, particularly those reliant on university support, as budget-strapped institutions face additional financial pressures.

There are no explicit FCC restrictions preventing NPR stations from using federally funded college or university facilities, provided they comply with NCE regulations.

 

Falsus in uno, Falsus in omnibus

“The Things We No Longer See”

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Amphitheaters

University of Virginia — McIntire Amphitheatre
Concordia University Irvine — Nelson Amphitheatre
University of Houston — Wilhelmina’s Grove Amphitheater

“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

Outdoor amphitheaters rely upon a broad ecosystem of consensus standards that quietly support every performance.  Among them:

  • NFPA — National Electrical Code, including Articles 518, 520, 525 and related provisions
  • SMPTE — media production and broadcast systems
  • Audio Engineering Society (AES) — professional sound systems
  • Illuminating Engineering Society (IES) — site and performance lighting
  • ASTM International — seating, concrete, accessibility and materials
  • ASCE — structural loading for stages, roofs and canopies

 

Outdoor Events

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

More coming


LEARN MORE:

Open Air Audio

 

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