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![]() Arps’ use of the term valuation seemed to have a relatively narrow scope. Arps wrote the valuation chapter, and reference to his name in this chapter is generally the same as a reference to the chapter he authored in that handbook. The use of the word "valuation" in the title of this chapter is a carryover from the first handbook. Securities and Exchange Commission (SEC). For example, a reserves definition that might be used for property acquisition might not meet the reporting requirements of the U.S. One must be cautious, however, and be mindful of the applicable reserves definition. If the evaluation, inclusive of the reserves estimates and production schedules, is prepared in a manner anticipating an FMV estimate as the goal, the objective evaluator will be inclined to use appropriate judgment. Like the estimation of reserves, the preparation of an economic evaluation has subjective elements. 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Françaix surely knows how to write for instruments, and he shows the French facility for instrumental color, but this is an irredeemably vacant work. The work begins promisingly enough, with an austere and autumnal melancholy, but then dives into a morass of bathos from which it never emerges. A pre-concert video identified Françaix as a neglected composer, but this 1972 work - included, probably, because it shares the instrumentation of Schubert’s own Octet - is hardly an argument for finding out more about him. Sadly, the programming of Jean Françaix’s “Octet” on the penultimate event of the festival seemed like an unfortunate miss. Rogerson has influences, to be sure, but they’re good ones: one hears modal harmonies that echo Stravinsky and Copland, and in the last movement, very effective polytonal writing evokes memories of Ives’ “Unanswered Question.” But there is a great deal of originality and substance in Rogerson’s language, all of wrought with craft and conviction. The collective visual energy of gestures that called for full and heavy bowing, for example, was gripping, and an array of textures moved from full-group unisons to soloistic flares that spun off from the tutti ensemble like sudden concertos. Each movement is designed with clarity and with a sensitivity to how the body of a performer communicates dramatic power. “Til it was dark” explores and showcases the resources of each instrument, from the grand piano chords of the opening (played with great command by pianist Wynona Wang) to the serpentine contrapuntal string lines in the second movement. Rogerson understands the inherent drama in virtuosic instrumental writing and visceral, often risky, chamber ensemble relationships. Rogerson’s “Til it was dark” is scored for piano, violin, viola, cello and bass - the same instrumentation of Schubert’s “Trout” Quintet, hence the “new wine in an old bottle.” This a serious, big, new work. This was a world premiere, and an exciting one. The newest work on the program, and the most important, was a compelling new work by composer Chris Rogerson. Thursday evening’s concert, dubbed “New Wine, Old Bottles,” combined the musical with the social for its theme: two of the pieces on the concert used instrumentation familiar to us from works by Schubert, and, well, there was a wine auction that took place after the intermission. Music Director Inon Barnatan’s ambitious and thoughtful monthlong concert series has covered several centuries worth of music and mixed the familiar with the new. By the time of this printing, La Jolla Music Society’s SummerFest will have drawn to a close. 1/4/2024 0 Comments Dzmm radyo patrol twitter
1/3/2024 0 Comments Bureau of magical things![]() The album begins with the main theme in “The Bureau of Magical Things.” The theme is light-hearted and childlike, and appears frequently throughout the score. I must admit that I personally found some of his more light-hearted music a little insubstantial, but I am impressed with his melodies and orchestral choices. His music is generally twinkly and magical-sounding (lots of trills and percussion), frequently darker and dramatic, and has a variety of themes that clearly live in the same sonic world. Fisher’s Modern Murder Mysteries and The Gloaming.įor the Bureau of Magical Things, Aplin has created a fun orchestral score. Recently he’s been busy scoring TV shows like Ms. Since then he’s amassed another 54 credits on IMDB, many of which are television series. His opportunity came when he got the chance to work with Mike Post on Law and Order: SVU starting in 2000. Aplin had a unique career path to film- and tv-scoring, earning a PhD in immunology before making his way to the career he’d really always wanted. The second season aired in 2021, and the score was released in December.įor the score, Schiff turned to Brett Aplin, with whom he’d worked previously on the Mako Mermaids tv series. The first season of The Bureau of Magical Things aired in Australia in 2018 and then in the US on the Nickelodeon network. Schiff, a titan of Australian television whose productions have launched the careers of no less than Liam Hemsworth and Margot Robbie. Elements of the show are clearly inspired by Harry Potter. Kyra joins these magic students to save the world from a burgeoning threat. She joins a colorful cast of young elves and fairies who are in training to join the Department of Magical Intervention (DMI), whose job it is to keep the magical world a secret. She discovers a whole world of magical spells, objects, and creatures hidden amid the world she’s always known. The series is supported by Gold Coast City Council Film Attraction Program and was developed with support from Film Victoria.The Bureau of Magical Things is an Australian television series for tweens and teens about a girl named Kyra, who is transformed by a magical book. ![]() It is presold to Network Ten Australia and ZDF Germany and distributed worldwide by ZDF Enterprises. The Bureau of Magical Things is supported with investment from Screen Australia and Screen Queensland. ![]() There simply isn’t another part of Australia that comes close,” he said. “Sunny Queensland brings us the perfect magical backdrop for our fantasy story that millions around the world will enjoy. “Just as importantly, Queensland has an extraordinary pool of talented technical and creative cast and crew. “It is fantastic to be creating another local high quality children’s series which will showcase the beautiful locations of south east Queensland,” Mr Shiff said. The Bureau of Magical Things follows the adventures of Kyra, a regular teenage girl who discovers a secret world of magic all around her and who must unite fairies, elves and humans to save them all. “His productions have helped to launch the careers of Liam Hemsworth and Margot Robbie ( The Elephant Princess), while H20 stars Phoebe Tonkin and Claire Holt moved on to US series The Vampire Diaries and its sequel The Originals their co-star Luke Mitchell to Blindspot and Agents of S.H.I.E.L.D,” Ms Palaszczuk said. “His previous productions, Mako: Island of Secrets and H20: Just Add Water franchises, have sold to more than 170 countries, with the first series of Mako Mermaids reaching an estimated 150 million worldwide viewers. “Jonathan Shiff continues to be a great ambassador for Queensland throughout a successful career based on the Gold Coast. “I am thrilled that this production is providing significant opportunities for our young and emerging talent, while also showcasing Queensland’s incredible and diverse locations internationally. She is joined by siblings Elizabeth Cullen and Julian Cullen, who grew up in Cairns before moving to the Gold Coast, along with Gold Coast actors Mia Milnes, Rainbow Wedell and Jamie Carter. “The cast is led by Brisbane actress Kimie Tsukakoshi ( The Family Law). “The 20-part series, with Queensland Government investment through Screen Queensland, will create more than 200 cast and crew jobs and is expected to inject more than $8.5 million into our economy.” Shiff, will film from July to December on the Gold Coast and in Brisbane. “ The Bureau of Magical Things, the latest home-grown series by Queensland-based producer Jonathan M. 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That’s something I found missing from the President’s speech, and I needed to read the transcript to figure it out. “Second…” and “Finally…” making three points to answer his rhetorical question.Ī note of caution: when you have a list of three items and examples within each item, make sure that the signposts refer back to your rhetorical question to remind your audience what it was.“So what does middle-class economics require in our time?”.Later on, the President asks a rhetorical question to move the speech forward: “So tonight, I want to focus…on the values at stake in the choices before us. It begins with our economy.”.You can find them in the transcript here.Įarly on in the speech, the President introduces the theme and lets us know where he will begin: ![]() Here are some transitions which President Obama used in the SOTU. Especially in a long speech, we should think about how to structure information to keep the audience with us. Rarely do we hear politicians (or anyone) speak for more and 20-30 minutes, and to tell the truth we rarely want to listen to someone speak for that long. The SOTU is a uniquely long speech that covers a uniquely large amount of information. This is especially important in long speeches, and what better way to study the use of signposts than to look at President Obama’s State of the Union (SOTU) speech last month? In both cases, these signs prevent people from getting lost. How do you put that structure in a speech? Much like trail markers are essential to hikers, signposts in a speech are important indicators to the audience. We know when one chapter ends and another begins, and the chapter titles introduce the themes. 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