Philip Grange - ‘CLOUD ATLAS’: PHILIP GRANGE. Cloud Atlas1; Bacchus Bagatelles2; Concerto for Solo Clarinet Radical and Symphonic Wind Band: Shēng Shēng Bù Shì3. 1,3National Youth Wind Ensemble of Great Britain c. Phillip Scott, 2Queenswood Wind Quintet, 3Sarah Williamson (cl.). Prima Facie PFCD019

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 101-102
Author(s):  
Martin Kier Glover
1883 ◽  
Vol 36 (228-231) ◽  
pp. 143-151 ◽  

The obvious correspondence of the forms and times of occurrence of the barometric disturbances, described in Mr. Scott’s paper, at once suggested that they were due to a common origin, and the great volcanic eruption at Krakatoa in the Straits of Sunda appeared to supply a probable efficient cause. Any shock of sufficient violence might be expected to produce an atmospheric wave, advancing from the place where it was caused in a circular form round the globe, at first expanding until it had got half round the earth, and then again contracting till it was again concentrated at the antipodes, from which again it would be thrown, back, and so pass backwards and forwards till it was obliterated. It might also have been expected that such a wave would travel with the velocity of sound, being probably of the same nature as that which causes sound, though the vibrations had not the peculiar character that affects our organs of hearing. It has, however, been suggested to me that the wave may rather have had the character of a solitary wave produced in a liquid, the velocity of which in the air would not materially differ from that of sound. A rough examination of the facts at first made known by the observations recorded in Great Britain indicated that there was primâ facie strong evidence in support of this view, and that the phenomena would be approximately explained by the passage round the earth of a series of waves travelling at the rate of about 700 miles an hour in opposite directions from the place where the volcanic eruption occurred. The records since procured from other places, and the more careful examination of the facts, has quite confirmed this conclusion.


1965 ◽  
Vol 1 (1) ◽  
pp. 1-12 ◽  
Author(s):  
N. E. Collinge

The emphasis on syntagmatic criteria in analysis, especially as interpreted by J. R. Firth (from his 1948 paper onwards) in the phonological aspect of language, has led many scholars, in Great Britain at least, to a disbelief in the adequacy of phonemes alone – or of phonemes aided by such suprasegmental features as intensity, duration and tone – for the tasks of accurate description and powerful theoretical explanation of the operation of a spoken language. Among the fruits of the new emphasis, the studies which are characterized as ‘prosodic’ and ‘polysystemic’, is that treatment of Sanskrit discontinuous retroflexion within words which handles this feature as a prosody operating over a considerable stretch (chain of phonematic units) and being phonetically realized wherever possible, which may be more often than is graphically hinted (Allen, 1951). In this view, apparent historical ‘assimilation’ is trenchantly dismissed: we are not to imagine a shift being induced in one phoneme by another which stands at a distance from it, nor is the first to be spoken of as changing from ‘something it never was’. This, of course, begs the whole historical question; and even if the nature of Indo-European reconstructions is so skeletophonemic that we cannot say with certainty that Skt. ṇ is not the unshifted allophonic reflex of IE /n/ in the relevant positions in the relevant words, nevertheless a phonetic continuation is scarcely likely (e.g. in *plH-nó-). In many cases a different earlier form can be pointed to, attested and unmistakable (e.g. Latin octo before Ital. otto). One cannot lightly oppose a prima facie possibility that ṇ was first one thing and then became another.


SAGE Open ◽  
2020 ◽  
Vol 10 (4) ◽  
pp. 215824402095492
Author(s):  
Reed Chamberlin

Frederick Fennell, founder of the internationally acclaimed Eastman Wind Ensemble (EWE), is considered by many to be the catalyst for the modern wind-band movement, often credited with revolutionizing thought and practice within the discipline. While this perception remains valid, evidence suggests that Fennell was much less serious (or “high-brow”) than many believe. Derived from original research in the Fennell Archive at the Eastman School of Music, this article seeks to highlight tensions between Fennell’s desire to record serious wind-band music and the demands of Mercury Records (EWE record label, 1952–1964) to record populist repertoire. Fennell’s archival material suggests that his philosophy was directly influenced by Mercury’s bottom line with the objective of selling records to the masses. Surprisingly, this synthesized a dynamic approach to programming for Fennell and the EWE—one that remains a tradition to this day. The influence of recorded media’s populist objective fused an approach for Fennell that is much more “middle-brow” than many may have believed.


Addiction ◽  
1997 ◽  
Vol 92 (12) ◽  
pp. 1765-1772
Author(s):  
A. Esmail ◽  
B. Warburton ◽  
J. M. Bland ◽  
H. R. Anderson ◽  
J. Ramsey

Author(s):  
Peter Sell ◽  
Gina Murrell ◽  
S. M. Walters
Keyword(s):  

2009 ◽  
Author(s):  
Henry John Elwes ◽  
Augustine Henry
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document