SKU: CF.BE11F
ISBN 9780825888595. UPC: 798408088590. 8.5 x 11 inches.
Beginning in the 1950s, the CIA became very interested in psychological research beingconducted on the effects of sensory deprivation on humans. The research, that suggestedrapid regression in those tested, provided a framework for sections of what would later beknown as the KUBARK manual, the first a series of US-government documents thatprovided techniques for interrogating detainees. These methods involved radicallyaltering a detainee’s sense of time and environment.Among these techniques, some developed independently of the manuals by interrogators,were the manipulation of light and sound. In order to weaken the resolve of a detaineeand prolong “capture shock,†complete sensory deprivation followed by blasts of light ornoise, or very loud music, proved effective. So much so that variations and combinationsof these techniques were widely used by the United States as well as both its allies andenemies in Vietnam, Latin America, Northern Ireland, and the Middle East.Though the idea of sound as a weapon is at least as old as the account of Joshua’s siegeof Jericho, it was only recently deemed “inhuman and degrading†for the purposes ofinterrogation by the European Court of Human Rights in the 1978 case “Ireland v. theUnited Kingdom.â€.Accidentals apply only to the notes they precede with the exception of tied or consecutively repeated notes.Tempi are consistent throughout the meter changes (Le., ~'=),)=)l, etc.).Grace notes are always to be played as fast as possible. Each grace note in a group should be of the same duration. Gracenotes curtail the previous measured note's duration with the exception noted below.Approximate duration: 16 minutes.
SKU: AP.36-52703617
UPC: 735816385521. English.
This humorous little vignette for string quartet was composed in 1979 and was originally intended to be published by Piedmont Music, the ASCAP division of EB Marks Classical. For reasons unknown, however, it remained in manuscript form until 2021, when a copy of the composer's autograph parts was discovered in the archives of a completely different Alan Shulman piece. This newly engraved Latham Music edition therefore represents the first publication of Shulman's delightful work, as well as the first full score. As the title suggests, this is a medium-slow rag, or cakewalk in a loose AABA form. The bluesy and graceful main melody is introduced by the first violin in a call and response exchange with the rest of the ensemble. The restatement of the primary theme is led by the second violin, with the entire ensemble playing pizzicato, having the effect of playful mockery. In the B section, the first violin earnestly reasserts the stately grace from the opening however, the cello is clearly becoming restless and decides to take over the lead just before the final reprise. The lighthearted ending again has the first violin doing its best to bring the tune to a refined conclusion, but the rest of the group still has mischief in mind. After a couple moments of seeming confusion, the ensemble regroups at last and plays the final riff with resolute emphasis. If you're looking to add a light moment to a recital program, or looking for a short, medium level contest piece that players and audiences alike will enjoy, this little miniature is an ideal choice!
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