Podcasts about kernfeld

Wie bereit ist der deutsche Fußball für das Normalste der Welt: einen schwulen Profikicker? Wie bereit ist der FC St. Pauli? Diese immer wiederkehrende Frage wird dieser Tage wieder aktuell. Gerade hatte der Kinofilm „Mario“ Premiere, in dem greift Regisseur Marcel Gisler diese Thematik auf und schildert eindrucksvoll die Ängste und Probleme eines homosexuellen Profifußballers. Der FC St. Pauli, der ein Teil des Kinofilms ist, war am vergangenen Dienstag (2.10.) zur Deutschlandpremiere in Hamburg eingeladen. „Der Film hat die Kiezkicker auch mehrere Tage nach der Vorstellung noch intensiv beschäftigt“, schreibt der Kiezklub auf seiner Homepage und liefert ein beeindruckend erwachsenes Interview mit Mats Møller-Dæhli dazu. Der norwegische Nationalspieler hat eine sehr differenzierte Sicht auf Homophobie und markiert instinktsicher das Kernfeld der Diskussion: die Kabine und das Stadion: „Es liegt … an uns Spielern, ein geschütztes Umfeld in der Kabine zu schaffen. Die Kabine ist der Ort, wo du dich als Fußballer die meiste Zeit aufhältst. Dort muss man sich wohlfühlen, dort muss ein gesundes Klima herrschen. In vielen Kabinen auf dieser Welt gibt es dahingehend großen Nachholbedarf.“ Ist der FC St. Pauli wirklich auf ein Coming-out vorbereitet?

Kernfeld on saxophone. (Photo: Pennsylvania Library Association) Barry Kernfeld is the author of Pop Song Piracy: Disobedient Music Distribution since 1929 (University of Chicago Press, 2011); The Story of Fake Books: Bootlegging Songs to Musicians (Scarecrow, 2006); and What To Listen For In Jazz (Yale University Press, 1995). He may be most well known as the editor of both editions of the New Grove Dictionary of Jazz, a massive undertaking that sought to define the major players, instruments and theories of jazz around the world. In this interview, Kernfeld talks about his early years in San Francisco during the height of the rock explosion; his move to Cornell in the 70s and the unexpectedly progressive atmosphere he found there; how he came to edit the New Grove Dictionary of Jazz and the response to its first edition; and his subsequent investigations of song piracy and fake books. Learn more at www.personal.psu.edu/bdk4.

Kernfeld on saxophone. (Photo: Pennsylvania Library Association) Barry Kernfeld is the author of Pop Song Piracy: Disobedient Music Distribution since 1929 (University of Chicago Press, 2011); The Story of Fake Books: Bootlegging Songs to Musicians (Scarecrow, 2006); and What To Listen For In Jazz (Yale University Press, 1995). He may be most well known as the editor of both editions of the New Grove Dictionary of Jazz, a massive undertaking that sought to define the major players, instruments and theories of jazz around the world. In this interview, Kernfeld talks about his early years in San Francisco during the height of the rock explosion; his move to Cornell in the 70s and the unexpectedly progressive atmosphere he found there; how he came to edit the New Grove Dictionary of Jazz and the response to its first edition; and his subsequent investigations of song piracy and fake books. Learn more at www.personal.psu.edu/bdk4.

Kernfeld on saxophone. (Photo: Pennsylvania Library Association) Barry Kernfeld is the author of Pop Song...

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Die vorliegende Dissertation beschäftigt sich mit der Herstellung und der wissenschaftlichen Untersuchung von auf GaAs/AlGaAs lateral definierten Quantenpunktkontakten und gekoppelten Quantenpunkten. Die im Rahmen dieser Arbeit eigenständig hergestellten Proben werden bei tiefen Temperaturen (T < 100mK) mittels niederfrequenten Messungen im Bereich sehr niedriger Ströme (I < 1pA) sowie Mikrowellenmessungen (f > 300MHz) charakterisiert. Die experimentelle Entwicklung und Realisierung einer Anpassschaltung zum Auslesen der Reflexion eines kapazitiv an einen Doppelquantenpunkt (DQD) gekoppelten Quantenpunktkontakts (QPC) wird präsentiert. Die physikalischen sowie technischen Grenzen der eingesetzten Lösung werden aufgezeigt. Der wichtigste Teil dieser Arbeit umfasst Experimente an einem DQD mit einem integrierten Nanomagneten. Die vorgestellten Messungen zeigen, dass ein einfaches Model der sequentiellen Auffüllung des DQDs angesichts der Anwesenheit des lokalen Magnetfelds des Nanomagneten nicht anwendbar ist. Dank der sehr freundlichen Unterstützung vom Dr. Geza Giedke aus Max-Planck-Institut war es möglich, anhand vorhandener Literatur ein theoretisches Model dieses DQDs aufzustellen. Die systematischen Untersuchungen im Bereich der Pauli-Spinblockade zusammen mit der theoretischen Interpretation lassen das Verhalten des DQDs als dynamische Wechselwirkung zwischen elektronischem Spin im DQD und den Spins der Kerne des Probematerials identifizieren. Darüber hinaus erlaubt die theoretische Beschreibung eine Bestimmung der an der Kernpolarisation beteiligten Zustände. Eine gezielte Initialisierung des DQDs erlaubt dabei die Untersuchung der Kerndynamik für verschiedene Übergänge zwischen den Eigenzuständen der Spinblockade. Diese Übergänge und die demzufolge erzeugte Kernpolarisation können dabei mittels rf-Anregung beeinflusst werden. Die vorliegende Arbeit zeigt die Möglichkeiten in Bezug auf die Untersuchung und Nutzung der dynamischen Wechselwirkung zwischen Elektronen und den Kernspins des Probematerials.