Background
Sherr, Laurence E. Son of Saul and Alice Sherr.
(In a ghostly, A-minor setting, this lively dance provides...)
In a ghostly, A-minor setting, this lively dance provides a late elementary level pianist with opportunities for varieties of expression and phrasing, contrasting touch between the hands, a few accidentals, and up-and-down explorations of the keyboard.
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( A reissue of E. E. Cummings's long-unavailable, yet poi...)
A reissue of E. E. Cummings's long-unavailable, yet pointed and moving story of a journey through Soviet Russia. Unavailable for more than fifty years, EIMI finally returns. While sometimes termed a "novel," it is better described as a novelistic travelogue, the diary of a trip to Russia in the 1930s during the rise of the Stalinist government. Despite some contempt for what he witnesses, Cummings's narrator has an effective, occasionally hilarious way of evoking feelings of accord and understanding. As Ezra Pound wrote, Cummings's Soviet Union is laid "out there pellucidly on the page in all its Slavic unfinishedness, in all of its Dostoievskian slobberyness....Does any man wish to know about Russia? 'EIMI'!" A stylistic tour de force, EIMI is a mélange of styles and tones, the prose containing many abbreviations, grammatical and syntactical shifts, typographical devices, compounds, and word coinages. This is Cummings's invigorating and unique voice at its finest, and EIMI is without question one of his most substantial accomplishments.
http://www.amazon.com/gp/product/0871406527/?tag=2022091-20
("EIMI is one of the most remarkable travel diaries writte...)
"EIMI is one of the most remarkable travel diaries written in our time ... a self-portrait (of) e.e. cummings, thrown in clean-cut profile against a Russian, un-American, unworld environment ... then entire range of cummings' manner is displayed, its humor and its highly decorative design." -- Horace Gregory
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(Recounting the visit of American poet Edward Estlin Cummi...)
Recounting the visit of American poet Edward Estlin Cummings to Moscow, Kiev, and Odessa from May 14 to June 14, 1931. Packing a portable typewriter with him, Cummings kept copious notes of his Soviet journey and wrote the book after his return to the United States. Although actually a stylized work of non-fiction, Cummings's book was originally touted as a novel by Covici-Friede, a small publisher located in New York City. In the book Cummings employs an abstract form of verse best comparable to Ulysses by James Joyce and uses non-standard sentence structure, punctuation, spacing, and text breaks to evoke a sort of confusion and tension in the reader akin to his own feelings as a non-Russian speaker in the Soviet metropolis. In Moscow, Cummings meets up with an acquaintance from his days at Harvard University, Henry Wadsworth Longfellow Dana, a committed Communist then living at the Metropole Hotel. Dana showed Cummings around the city and acted as a mentor, attempting - unsuccessfully - to win the apolitical Cummings' sympathies to the Soviet cause before the pair split over political differences. While in Moscow Cummings also met Joan London, daughter of novelist Jack London, and her husband, the newspaper correspondent Charles Malamuth. The theme of the work deals with Cummings' growing disappointment with the squalor and inefficiency he saw in the USSR, as well as the lack of intellectual and artistic freedom he observed. After recounting his experiences in the Soviet Union, Cummings refers to the country as "Hell".
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( Proust's famous madeleine captures the power of food to...)
Proust's famous madeleine captures the power of food to evoke some of our deepest memories. Why does food hold such power? What does the growing commodification and globalization of food mean for our capacity to store the past in our meals ñ in the smell of olive oil or the taste of a fresh-cut fig? This book offers a theoretical account of the interrelationship of culture, food and memory. Sutton challenges and expands anthropology's current focus on issues of embodiment, memory and material culture, especially in relation to transnational migration and the flow of culture across borders and boundaries. The Greek island of Kalymnos in the eastern Aegean, where Islanders claim to remember meals long past -- both humble and spectacular ñ provides the main setting for these issues, as well as comparative materials drawn from England and the United States. Despite the growing interest in anthropological accounts of food and in the cultural construction of memory, the intersection of food with memory has not been accorded sustained examination. Cultural practices of feasting and fasting, global flows of food as both gifts and commodities, the rise of processed food and the relationship of orally transmitted recipes to the vast market in speciality cookbooks tie traditional anthropological mainstays such as ritual, exchange and death to more current concerns with structure and history, cognition and the 'anthropology of the senses'. Arguing for the crucial role of a simultaneous consideration of food and memory, this book significantly advances our understanding of cultural processes and reformulates current theoretical preoccupations.
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Sherr, Laurence E. Son of Saul and Alice Sherr.
Student, Vienna International Music Center, 1975. Bachelor magna cum laude, Duke University, 1978. Master of Music, University Illinois, 1981.
Doctor in Musical Arts, University Illinois, 1988. Student, Banff Center, Canada, 1981—1982.
Instructor/teaching assistant University Illinois, Urbana-Champaign, 1979—1981, 1985—1986. Freelance artist and teacher Atlanta, 1988—1997. Visiting assistant professor New College, University South Florida, Sarasota, 1989.
Instructor Clayton State University, Atlanta, 1994—1995. Part-time associate professor Kennesaw State University, 1996—1997, full time associate professor, since 1997, composer-in-residence, since 1997. Educational consultant Georgia Assessment Project Georgia State University, Atlanta, 1989—1993.
Reviewer Georgia Council for the Arts, 1994, 95, North Carolina Arts Council, 1995.
(In a ghostly, A-minor setting, this lively dance provides...)
(Recounting the visit of American poet Edward Estlin Cummi...)
( Proust's famous madeleine captures the power of food to...)
("EIMI is one of the most remarkable travel diaries writte...)
(Book by Kidder, Rolland E, Kidder, Rolland E.)
(Book by Kidder, Rolland E, Kidder, Rolland E.)
( A reissue of E. E. Cummings's long-unavailable, yet poi...)
Composer: Brook by the Pagoda for piano, 1975, Trio in Baroque Style, 1975, Lamond House Suite for two clarinets, horn and bassoon, 1977, revised, 2004, Brass Quintet Northern 1, 1978, Waves (5,3,4) for Percussion Ensemble, 1979, Choreopoem I: Movements for clarinet, trombone, vibraphone, percussion, double bass, and dancers, 1980, Interplay: Duo for Vibraphone and Marimba, 1981, Three Movements for Stoney for flute, clarinet, and trombone, with or without dancers, 1981, Isolated (within) for narrator, piano, and dancer(s), 1981, Emergence for classical guitar, 1981, String Trio for violin, viola, and cello, 1982, Four Short Pieces for solo violin, 1982 (finalist Old Dominion University Diehn Composers Room Southeastern Regional Competition, 2000), Canon for a Couple, four-part canon, 1985. Of a time when. For orchestra, 1987, Five Aphorisms: Solo for Marimba and Assorted Percussion, 1983, 1988, One (plus) for cello and percussion, with or without dancer(s), 1988, Debussy's Arabesque Northern 1, transcribed for orchestra, 1990, Illuminations for orchestra, 1997, 1999, Elegy and Vision, version for solo viola, 2000, Fugitive Footsteps for baritone solo and mixed chorus, 2002, (commission) Dhammapada Verses for soprano, flute, percussion, and piano, 1990, 2001 (finalist Susquehana University New Music Ensemble Composers Competition competition, 2001), Soprano for soprano, flute, clarinet, piano and percussion, 1991, The Fiber Sculptures of a Celestial Vision for violin, viola, cello, and piano, 1991, Blue Ridge Frescos for classical guitar, 1991, 1995, Three Haiku for treble voices and piano, 1992, Elegy and Vision for solo cello, 1993, Journeys Within: Concerto for Flute and Chamber Ensemble, 1994 (Grand prize, 1995), Nocturne for piano, 1999, Duo Concertante for flute and percussion, 2003, Capriccioso for flute or clarinet and marimba or piano, 2005, International Society Contemporary Music Competition Florida International University, 2002 (Honorary Mention award), Association Promotion of New Music Composition Competition, 2009 (Top prize), (solo violin) Midnight Dance, 2009, Flame Language for Baritone and Chamber Orchestra, 2007, (composition) Remembrances, 2009, Ouachita Waters, Prelude for Piano, 2009, EIMI, 2006.
Member of American Society of Composers, Music Teachers National Association, Tampa Bay Composers' Forum, Society Composers, College Music Society, American Music Center, American Composers Forum, Pi Kappa Lambda.