![]() 4 in C Major (1940) (34:19)Ĭlassical Music Discoveries is sponsored by consider supporting our show, thank you!Donate album is broadcast with the permission of Sean Dacy from Rosebrook Media. 1 into the rich, late-Romantic aesthetic of No. In the fourteen years between these two quartets, Flury's musical language consolidated, from the early foray into mild modernism heard in No. ![]() Flury was himself a gifted violinist, and these works – written for personal pleasure and for musician friends – were composed with an intimate familiarity with the medium. The exploration of the music of the Swiss composer Richard Flury (1896–1967) on Toccata Classics now turns to his chamber output, with this first recording of his String Quartets Nos. You can find photos from this show by Jill Lafleur at /listener for privacy information. Out to Lunch is recorded live over lunch at NOLA Pizza in the NOLA Brewing Taproom. ![]() Matthew Mancheski and Vaughan Hart and their comapnies are helping define New Orleans' and Louisiana's 21st Century economy. Parker Host that plays a vital role in international shipping, and Vivace, a relatively new company that is playing an integral part in mankind's future in space. Like Hampr, the Uber of laundry. There are the more prosaic but nonetheless fascinating success stories like Fat Boys' Pizza who make the world's biggest pizza, created right here in Metairie. And then there are truly stupendous stories of local companies that most of us have probably never heard of but who are doing extraordinary and impressive things.Ĭompanies like 100-year-old T. The General Manager of Vivace is Vaughan Hart.Īll local business stories are not created equal. There are the high-flying tech stories, about someone who dreams up a new app that changes everything. The big ones are the structures used to build space stations. The small ones are used on space vehicles, satellites, rockets, and some missiles. Vivace is an aerospace company that designs and manufactures cryogenic propellant tanks. They make two kinds of tanks – small ones and big ones. It's also home to a bunch of other space-related businesses, among them, Boeing, Lockheed Martin, and a company called Vivace. ![]() You can find a similar food-court style arrangement of businesses at the other side of New Orleans, out in the east, at Michoud. That's the home of the NASA Michoud Assembly Facility where NASA is building rockets that will take astronauts to the moon and mars. What do all these folks do? Well, when a ship ties up at Avondale - or any one of 93 ports in the US - Host takes care of everything - from the legal paperwork and logistics of getting cargo off the ship, to repairs and maintenance, restocking groceries, crew changes, and the hundred-and-one other things an international business and floating community needs. It is now, in fact, a global gateway. The facility is set up kind of like a food court, with individual vendors operating independent dock and shipping-related businesses. Parker Host.ġ00 years later, in 2023, the company relocated the bulk of their operations to Jefferson Parish to what used to be known as The Avondale Shipyards and re-named it, Avondale Global Gateway. This chapter recasts the terms "Pitch," "Tone," and "Note" as far-reaching historical-materialist categories, with a view to expounding and defending the following ideas: (1) there is an immanent developmental logic to the way that Pitch, Tone, and Note have changed over time (2) this trajectory of development is open to empirical investigation and to explanation anchored in the concrete features of human practices and institutions and their environing natural and social contexts and (3) this developmental dynamic has had, and continues to have, appreciable consequences for many aspects and types of "musicking." After setting up a Marxian framework, we then put these categories to ex planatory work in a series of three case studies concerning the development of music's "forces of production." The origins of music printing, the evolution of piano manufacture, and the birth of sound synthesis are used to reveal causal linkages between changes in musical practice and trends in capitalist development.Back in 1923, a guy in Norfolk Virginia called T.
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