VINTAGE MODERNISM: EARLY EXPERIMENTALIST MUSIC FOR VIOLIN IN THE UNITED STATES

The historical narrative of concert music in the early twentieth century has focused a great deal on the influence of European composers as well as the American composers who went to Europe to study. Often overlooked, however, is the influence of an entire generation of composers working in the United States during that time period. These artists experimented with polyrhythm, polytonality, dissonant counterpoint, and a whole host of other musical techniques in order to express their perceptions of a changing world. Over the years, the new techniques became associated with various movements including futurism, experimentalism and ultramodernism. Regardless of label, these composers were some of the first to introduce the new musical styles to the listening public.The recitals that make up this dissertation explore the sound world of experimentalist composers working in the United States during the early twentieth century. Serving as the foundation of these recitals are all four of the violin sonatas by Charles Ives, the “grandfather” of modernist music whose financial support helped to foster a whole generation of American composers. Also prominently featured is the music of Henry Cowell. His Suite for Violin and Piano, Mosaic Quartet (String Quartet No. 3), and Quartet Euphometric demonstrate the composer's use of cluster tones, dissonant counterpoint, polymeter, and indeterminate form. Additional works by George Antheil, Leo Ornstein, Wallingford Riegger, Dane Rudhyar, Carl Ruggles, and Ruth Crawford (Seeger) highlight other approaches taken by members of the ultra-modernist movement. Rounding out the repertoire for these recitals are works by Johanna Beyer and Conlon Nancarrow, both of whom either worked with or were influenced by Cowell in some way. All of the pieces selected date roughly from 1900 to the mid 1930's. Thus, the purpose of these recitals is not to provide a comprehensive overview of each composer's development, but rather to examine the influence and interconnections of a specific cross-section of the musical landscape.

Retro, faux-vintage, and anachronism: When cinema looks back at Its Analogue Past

This article explores the definition of ‘vintage cinema’ and specifically re-evaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: the faux-vintage, the retro and the anachronistic and by illustrating their overlapping and discrepancies, it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism and unravel the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013).

Vintage/Drinkability Table

A table indicating the vintage, full bloom, notes on climate conditions and history for three types of wine. Also a rating for each vintage and drinkability (quality) rating on first page.

The Vintage in France: Bordeaux and the Claret Districts

An article about the wine culture in France and the many districts known for their quality wine. The article focuses on Bordeaux wine making and includes illustrations of the city of Bordeaux and The Chateau Lafitte, Medoc, Near Bordeaux.

Deleite no obsoleto : o hype vintage da estereoscopia

Resumo: A história do cinema tem sido feita de enormes avanços tecnológicos devido em grande parte à tecnologia ajudar a vender filmes e permitir conceber novas estéticas narrativas. Apesar de assistimos a um período de um entusiasmo absurdo sobre novos filmes em estereoscopia não são novidade nenhuma, parece-se verificar que com a mesma velocidade com que ressurgiram certamente irão atenuar ou desaparecer. É neste contexto que entendemos a reintrodução da estereoscopia nas salas de cinema, como mais um processo alternativo, obsoleta nos seus princípios, mas que demonstra um enorme potencial criativo para a construção de uma linguagem própria, requerendo uma análise muito mais cuidada do que simplesmente dizer que a televisão e cinema do futuro serão em S3D1. Assim, pretendemos neste trabalho contextualizar a estereoscopia historicamente, tentar justificar nesta tecnologia o paradigma diferente que os filmes em estereoscopia sugere para a tradição narrativa nos filmes ou como permite criar conteúdos alternativos para vanguarda do cinema.

Deleite no obsoleto o hype vintage da estereoscopia

A história do cinema tem sido feita de enormes avanços tecnológicos devido em grande parte à tecnologia ajudar a vender filmes e permitir conceber novas estéticas narrativas. Apesar de assistimos a um período de um entusiasmo absurdo sobre novos filmes em estereoscopia não são novidade nenhuma, parece-se verificar que com a mesma velocidade com que ressurgiram certamente irão atenuar ou desaparecer. É neste contexto que entendemos a reintrodução da estereoscopia nas salas de cinema, como mais um processo alternativo, obsoleta nos seus princípios, mas que demonstra um enorme potencial criativo para a construção de uma linguagem própria, requerendo uma análise muito mais cuidada do que simplesmente dizer que a televisão e cinema do futuro serão em S3D3. Assim, pretendemos neste trabalho contextualizar a estereoscopia historicamente, tentar justificar nesta tecnologia o paradigma diferente que os filmes em estereoscopia sugere para a tradição narrativa nos filmes ou como permite criar conteúdos alternativos para vanguarda do cinema.

Improving real-time estimates of output and inflation gaps with multiple-vintage models

Real-time estimates of output gaps and inflation gaps differ from the values that are obtained using data available long after the event. Part of the problem is that the data on which the real-time estimates are based is subsequently revised. We show that vector-autoregressive models of data vintages provide forecasts of post-revision values of future observations and of already-released observations capable of improving estimates of output and inflation gaps in real time. Our findings indicate that annual revisions to output and inflation data are in part predictable based on their past vintages.

Forecasting with Bayesian multivariate vintage-based VARs

We consider the forecasting of macroeconomic variables that are subject to revisions, using Bayesian vintage-based vector autoregressions. The prior incorporates the belief that, after the first few data releases, subsequent ones are likely to consist of revisions that are largely unpredictable. The Bayesian approach allows the joint modelling of the data revisions of more than one variable, while keeping the concomitant increase in parameter estimation uncertainty manageable. Our model provides markedly more accurate forecasts of post-revision values of inflation than do other models in the literature.

Vintage capital, distortions and development

This paper asks to what extent distortions to the adoption of new technology cause income inequality across nations. We work in the framework of embodied technological progress with an individual, C.E.S. production function. We estimate the parameters of this production function from international data and calibrate the model, using U.S. National Income statistics. Our analysis suggests that distortions account for a bigger portion of income inequality than hitherto has been assessed.

Dallas Jones, Professor of Industrial Relations, March 1966 (vintage print of original negative hs6803)

preferred 4 x 5 inch negative, clipped - source for vintage prints in same envelope

Walter G. Kell, Professor of Accounting, August 1971 (vintage print of clipped negative)

preferred 4 x 5 inch negative, clipped - source for vintage prints in same envelope