Alone in Charles Library: Makerspace Manager Takes Part in University-Wide Effort to Make PPE

About nine months ago, the new Charles Library opened on Temple Main Campus. This forward-thinking academic library in the heart of campus was a cause for much celebration, and it quickly became an integral hub for gathering and collaborating, study and research, creating and exploring. 

And then the COVID-19 pandemic hit. In mid-March, Temple made the decision to move all courses online and closed most university buildings. That included our brand new Charles Library.

photo of the empty Charles Library atrium

The empty Charles Library atrium

Charles Library is empty now of people, save for one: Makerspace Manager David Ross. In the Loretta C. Duckworth Scholars Studio on the third floor of Charles Library, David is putting the 3D printers, laser cutters, and other equipment in our production-oriented facility to work.

David is part of a university-wide task force comprised of Temple faculty, staff, and students that assembled to answer the question: what can we do to help address the critical shortage of personal protective equipment (PPE) for medical professionals?

Named the Temple University COVID-19 Assistance Team (TUCAT), this cross-disciplinary effort began in March and is still ongoing. The team spans across the university, from the College of Engineering and College of Science and Technology to Tyler School of Art and Architecture to Temple Libraries, Temple Health, and the Office of the Vice President for Research. The team members are practicing social distancing and working separately to avoid any further spread. 

So what’s it like to be in Charles Library alone? David says it’s a bit lonely, though there are a few perks, including:


  • My own bathrooms (PLURAL)

  • Listening to Music or NPR super loud in a library!
  • Being asked to turn on computers, or get items for staff…So I get to walk through the office spaces and see coworkers’ desk personalities. Some of these are really fun— one person has an amazing LEGO set, a few have forests growing across their desks 
  • I have the pick of the litter for reading material and games and such—makes for nice breaks
  • I dance! I bet the security guards watching the video love seeing me act a fool

David demonstrating a completed face shield

David demonstrating a completed face shield

David’s primary focus in the Makerspace is creating face shields. In other spaces across campus, team members (who may or may not also be dancing while they work) are making other components, as well as assembling, cleaning, and packing the PPE for delivery. The team also donated a number of iPads and helped develop a system to remotely run the iPads in order to help doctors maintain social distancing.

While we aren’t the only organization employing our Makerspace to make PPE, the Temple task force made the early decision to take a faster and safer approach. The team determined that 3D printing the face shields themselves wasn’t feasible on a mass scale, because the process can be expensive, slow, and prone to error. 

Instead, David worked closely with Professor Tonia Hsieh from the Department of Biology and came up with the idea to use 3D printers to create molds, from which many face shields could then be quickly cast. What’s more, the material used for casting—a flexible resin—can be cleaned and reused, making it ideal for use in hospitals.

Photo of molds

Face shield molds

 

David pours material in shield molds

David pours material in shield molds

The Temple team has shared their unique process, including designs and molds, with universities and partners across Philadelphia and even Delaware, which according to David, turned the project “from a Temple effort to a Philadelphia effort.” The team has also created a how-to guide so that “this can grow from a Philly effort to an American effort to even a global effort,” David notes.

In reflecting on the experience, David says that “one of the best parts of this for me was being allowed to use new types of casting materials and learning new methods for making this process efficient.” He also notes Charles Library’s role as being a natural place for facilitating interdisciplinary collaboration and that “without cross-disciplinary work, the project would never have happened.”  

Elisabeth-Claude Jacquet de La Guerre and the Dance Culture of Versailles

photo of portrait of Elisabeth Jacquet de la Guerre

Elisabeth Jacquet de la Guerre

Music of Elisabeth Claude Jacquet de la Guerre

Wednesday, March 18th, 12:00pm – 12:50pm
Temple University Charles Library Event Space
Featuring Dr. Joyce Lindorff and her studio

Light refreshments served. Boyer recital credit given.

Parisian composer and harpsichordist Élisabeth-Claude Jacquet de La Guerre (1665-1729) made her mark very early in life. She first performed for Louis XIV at the tender age of five, impressing the “Sun King” with her prodigious abilities. Thereafter the phenom would serve the court of Versailles until the age of nineteen. Jacquet returned to Paris permanently after wedding the organist Marin de La Guerre in 1684. Despite losing her husband and only child in 1704, she continued to compose, perform, and teach until her passing.

Jacquet de La Guerre possessed formidable musicianship in every respect. In addition to accompanying and improvising on the harpsichord and organ, she could sight-sing the most difficult passages and transpose music on command. But Jacquet’s legacy rests primarily on her surviving compositions, including Céphale et Procris (Cephalus and Procris, 1694), the first opera written by a French woman, and two published collections of suites for harpsichord (1687 and 1707). The latter, of course, comprised the various social dances performed at the court of Versailles—to wit, the courante, gigue, and sarabande. Jacquet infused these binary forms with the style brisé (broken style), emulating the lutenists of her day. A hallmark of French style, this technique expanded the expressive potential of chords through arpeggiation.

Dancing at Versailles was serious business, a tool used by Louis XIV to instill qualities such as majesty, grace, and self-discipline in members of the court. Nobles received instruction from dancing masters and practiced the choreography for hours. They were also examined by the king himself, who would banish subjects for poor execution. Based on the following account of 1671, a superlative performance of the sarabande was nuanced, embodying the affect, agréments (ornaments), and rubato of the music:

“Now and then he [the dancer] would let a whole rhythmic unit go by, moving no more than a statue, and then, setting off like an arrow, he would be at the other end of the room before anyone had time to realize that he had departed. 

But all this was nothing compared to what was observed when this gallant began to express the emotions of his soul through the motions of his body, and reveal them in his face, his eyes, his steps and all his actions. 

Sometimes he would cast languid and passionate glances throughout a low and languid rhythmic unit; and then, as though weary of being obliging, he would avert his eyes, as if he wished to hide his passion; and, with a more precipitous motion, would snatch away the gift he had tendered. 

Now and then he would express anger and spite with an impetuous and turbulent rhythmic unit; and then, evoking a sweeter passion by more moderate motions, he would sigh, swoon, let his eyes wander languidly; and certain sinuous movements of the arms and body, nonchalant, disjointed and passionate, made him appear so admirable and so charming that throughout this enchanting dance he won as many hearts as he attracted spectators.” (McClary 2018, 116-118) 

Given the proximity of physical movement to music in baroque-era France, this description also sheds light on the ephemeral art of Jacquet de La Guerre: a succession of musical moments in which color and nuance delight the senses. On Wednesday, March 18, Joyce Lindorff and her studio will present an entire program of music by this extraordinary woman. We encourage all to attend.

Consult the following sources for more information:

Borroff, Edith. 1966. An Introduction to Elisabeth-Claude Jacquet de la Guerre. Brooklyn: Institute of Mediæval Music.

Cessac, Catherine. “Jacquet de La Guerre, Elisabeth.” Grove Music Online. 2001; Accessed 23 Feb. 2020. 

Farr, Elizabeth. 2005. Liner notes to Elisabeth-Claude Jacquet De La Guerre: Harpsichord Suites Nos. 1-6, Elizabeth Farr. Naxos 8.557654-55, CD.

McClary, Susan. 2018. “In the Realm of All the Senses: Two Sarabandes by Élisabeth-Claude Jacquet de La Guerre.” IAnalytical Essays on Music by Women Composers: Secular and Sacred Music to 1900, edited by Laurel Parson and Brenda Ravenscroft, 109-28. New York: Oxford University Press.

Porter, Cecilia Hopkins. 2012. “Elisabeth-Claude Jacquet De La Guerre: Versailles and Paris in the Twilight of the Ancien Régime.” In Five Lives in Music: Women Performers, Composers, and Impresarios from the Baroque to the Present, 39-77. Champaign: University of Illinois Press.

 

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century.

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Stride: The Art of James P. Johnson

Beyond the Notes
A Celebration of Stride and Novelty Piano
Wednesday, February 12th, 12:00PM -12:50PM
Featuring Dr. Charles Abramovic and his studio
Light refreshments served. Boyer recital credit given.

____________________________________________________________________________________________________________________________________

Photo of James Johnson

James P. Johnson

As one of myriad styles falling under the rubric of jazz, stride is fundamentally an expression of the African American experience. James P. Johnson (1894-1955) pioneered the solo piano style while composing and performing in Harlem during the 1920s. What follows is a brief sketch of the conventions, innovations, and social contexts that produced it.

Stride derives primarily from ragtime in form and content. Tunes comprise three or four independent, sixteen-bar sections or strains. The initial strain features the theme in the tonicsubsequent strains variously treat the original material or present new ideas. Sections collectively called the “trio” modulate to closely related keys, typically the subdominant. Introductions and interludes of four or eight measures are common. Regarding content, left-hand stride patterns follow traditional dances in duple meter, notably the march and polka. Hence the bass often alternates between low notes and midrange chordsthe former imitates the tuba while the latter mimics the higher brass and woodwind instruments of marching bands, creating the oom-pah sound associated with folk music.

However, stride represents an evolutionary step in the lineage of jazz, placing greater demands on the performer. The harmonic rhythm and tempo are faster than those of ragtime. Stride also exploits the full range of the instrument. Finally, the style employs an array of pianistic devices, e.g., rapid scale passages, trills, and turns, suggesting that knowledge of classical idioms would be beneficial if not requisite to stride proficiency.

Johnson infused blue notes and call-and-response gestures into stride. Furthermore, the rhythmic feel of his style was more relaxed than ragtime, approximating swingHeard in the paradigmatic stride piece “Carolina Shout,” these elements allowed Johnson to connect meaningfully with his auditors at clubs and dance halls, many of whom migrated from the Deep South:

“The dances they did at the Jungles Casino were wild and comical—the more pose and the more breaks the better. These Charleston people and the other southerners had just come to New York. They were country people and they felt homesick. When they got tired of two-steps and schottisches (which they danced with a lot of spieling), they’d yell: “Let’s go back home!” . . . or “Now put us in the alley!” I did my “Mule Walk” or Gut Stomp” for these country dances. Breakdown music was the best for such sets, the more solid and groovy the better. They’d dance, hollering and screaming until they were cooked. The dances ran from fifteen to thirty minutes, but they kept up all night until their shoes wore out—most of them after a heavy’s day’s work on the docks.”

Johnson also cultivated the style while performing at rent parties in Harlem. Held in apartments, these informal gatherings enabled working-class tenants to raise additional money for rent by charging admission. Here we see the music of Johnson providing a modicum of relief in material as well as nonmaterial ways.

We invite you to join us on Wednesday, February 12, to hear stride performances by the studio of Charles Abramovic. In addition to works by Johnson, the program will feature those of his contemporaries, Thomas “Fats” Waller, Jelly Roll Morton, and Zez Confrey.

Consult the following sources for more information:

Barnhart, Bruce. “Carolina Shout: James P. Johnson and the Performance of Temporality.” Callaloo 33, no. 3 (Summer 2010): 841-856.

Berlin, Edward A. “Ragtime.” Grove Music Online. 16 Oct. 2013; Accessed 26 Jan. 2020. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252241.

Martin, Henry. “Balancing Composition and Improvisation in James P. Johnson’s ‘Carolina Shout.’” Journal of Music Theory 49, no. 2 (Fall 2005): 277-299.

Robinson, J. Bradford. “Stride.” Grove Music Online. 2001; Accessed 20 Jan. 2020. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026955.

Rouder, Willa. “Johnson, James P(rice).” Grove Music Online. 2001; Accessed 24 Jan. 2020. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000014409.

 

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century. 

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Beyond the Notes! Spring 2020 Season Announcement!

  Beyond the Notes logo

Mark your calendars!

Beyond the Notes announces its Spring 2020 concerts!

Join us as we continue our exciting inaugural season in Temple’s beautiful new Charles Library.

All concerts are free and open to the public.

Light refreshments served.
Boyer recital credit given.

photo of Fats Waller

Fats Waller

Photo of James Johnson

James P. Johnson

photo of Jelly Roll Morton

Jelly Roll Morton

Photo of Zez Confrey

Zez Confrey

 

 

 

 

 

 
A Celebration of Stride and Novelty Piano
Charles Abramovic and his studio
Works by James P. Johnson, Thomas “Fats” Waller, Jelly Roll Morton, and Zez Confrey
Wednesday, February 12th
12:00PM – 12:50PM
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photo of portrait of Elisabeth Jacquet de la Guerre

Elisabeth Jacquet de la Guerre

 

Music of Elisabeth Jacquet de La Guerre
Featuring Joyce Lindorff and her studio
Wednesday, March 18th
12:00PM – 12:50PM
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photo of guitar and mandolin

Mandolin and Guitar. Photo by Andrewa.

Music for Guitar, Mandolin, Mandolin and Guitar, and even more Guitars!
Featuring Allen Krantz and his studio
Wednesday, April 8th
12:00PM – 12:50PM
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Beyond the Notes thanks Temple University Libraries and the Boyer College of Music and Dance for their support of this concert series.

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Extra Seating in Charles Library for Finals

We know that preparing for final exams and papers is stressful enough without having to worry about where to study. Head on over to Charles Library, which is open 24/7 starting December 5th at 8 a.m. For final exams, we’re also opening up more study spots and seating options. 

Check out the following rooms, which you are welcome to use any time they’re not booked (schedules are posted outside each room):

  • 113
  • 202
  • 210 (complete with desktop computers!)
  • 381
  • 401

We’re also setting up extra seats and tables in the first floor event space and throughout the building. And be on the lookout for the comfiest new option around—bean bag chairs! 

From all of us here at the Library, good luck with finals.

Reimagining Hagar: Blackness and Bible

Image of Professor Nyasha Junior, interviewee of this recording

Professor Nyasha Junior

 

How did Hagar become Black? That is the historical puzzle biblical scholar Professor Nyasha Junior of Temple University investigates in her new book, Reimagining Hagar: Blackness and Bible (Oxford, 2019). 

Hagar first appears in Genesis chapters 16 and 21 as the Egyptian slave of Sarah, the wife of Abraham. Due to her inability to conceive with Abraham, Sarah offers Hagar to her husband as a surrogate and Ishmael is born. 

And Hagar bare Abram a son; and Abram called his son’s name, which Hagar bare, Ishmael.  (Genesis 16:15, King James Bible)

Later, Sarah miraculously gives birth to Isaac and commands Abraham to drive Hagar and Ishmael out of her home.  

And Abraham rose up early in the morning, and took bread, and a bottle of water, and gave it unto Hagar, putting it on her shoulder, and the child, and sent her away: and she departed, and wandered in the wilderness of Beersheba.  (Genesis 21:14, King James Bible)

We actually know little about Hagar’s origins from the biblical text other than the fact that she is an Egyptian. Over the course of her teaching at Howard University, a historically Black university, Professor Junior often encountered certainty among her students that Hagar was Black. On the other hand, she also met people to whom this was an entirely new idea. Professor Junior wanted to understand how this relatively obscure biblical character came to embody her contemporary identity, particularly among African Americans.

Reimagining Hagar is what scholars call a reception history, an investigation into the afterlife of the biblical character Hagar. After explaining Hagar in her ancient setting, Professor Junior leaps forward to the pre-Civil War period and the debates between pro- and anti-slavery forces. What she finds is surprising and begins the process of unravelling the mystery of how Hagar became Black. I spoke with Professor Nyasha Junior on October 2, 2019.

—Fred Rowland

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From the Margins to the Fore

Logo Modern RevealA Modern Reveal

An Eclectic Compilation of Vocal Music by Women Composers, 1560-present

Wednesday, October 30, Noon

Charles Library Event Space

Light refreshments served. Boyer recital credit given.

Historiography has marginalized the contributions of women in many spheres of endeavor, and musical composition is no exception. Even as the names of contemporary female musicians found their way into eighteenth-century lexicons, e.g., Johann Gottfried Walther’s Musicalisches Lexicon (Leipzig, 1732), entries for famous opera singers far surpassed those of composers. This lack of representation alludes to social expectation and bias: women could thrive in the world of music by filling roles deemed appropriate to their gender. In the light of such social constraint, the legacy of women composers is remarkably rich. Our upcoming concert will showcase many of these little-known compositions, delivering them from the margins to the fore.

Given in collaboration with A Modern Reveal, the program features sixteen songs by fifteen different composers, some of whom will no doubt be familiar to music scholars and enthusiasts: among those representing the early baroque is Francesca Caccini (1587-1646), an employee of the Medici family who is recognized as the first woman to compose opera; the formidable composer-pianist Clara Schumann (1819-1896), who was dubbed “Queen of the Piano” in the age of Romanticism; Amy Beach (1867-1944), the first American woman to achieve distinction as a composer of large-scale art music; and the prolific Libby Larsen (b. 1950), whose catalog comprises more than 400 works, including several operas.

The content of the program spans more than four hundred years; as a result, there is great variety in material both lyrical and musical. The duet “Il gondoliere,” by Maria Malibran (1808-1836), belongs to the genre known as the barcarole (It. barcarola). The traditional song of the gondolier, the barcarole (6/8 time signature) depicts the lilting motion of the iconic vessels that traverse the waters of Venice. Another example is the Lied “Verlust” (Loss), a setting of the poem “Und wüssten’s die Blumen” (If the Little Flowers Knew) by Fanny Hensel (1805-1847). Hensel largely evades the tonic and closes the song with an unresolved dominant, reflecting the inconsolable anguish of Heinrich Heine’s text. Finally, a rendition of “I’m Nobody” will offer the listener a blend of modern music and nineteenth-century wit. Lori Laitman (b. 1955) composed the bouncy and comical setting, part of a cycle entitled Four Dickinson Songs (1996). In short, the stylistic diversity of this program ensures something for everyone.

We invite you to join us on Wednesday, October 30, for this special celebration of women composers. We also encourage you to visit https://www.amodernreveal.com/ to learn more about the women featured in the program.

Consult the following sources for more information:

Frasier, Jane. Women Composers: A Discography. Detroit, MI: Information Coordinators, 1983.

Jezic, Diane Peacock. Women Composers: The Lost Tradition Found. New York: Feminist Press at the City University of New York, 1994.

.Marrazzo, Randi, ed. The First Solos: Songs by Women Composers. Bryn Mawr, PA: Hildegard Pub. Co., 2000.

Marrazzo, Randi, and Nicole Leone.  A Modern Reveal: Songs and Stories of Women Composers.  18 Oct. 2019, www.amodernreveal.com/

Pendle, Karin, ed.. Women in Music: A History. Bloomington, IN: Indiana University Press, 2001.

Rodgers, Stephen. “Fanny Hensel’s Lied Aesthetic.” Journal of Musicological Research 30, no. 3 (2011): 175-201.

Schleifer, Martha and Sylvia Glickman. Women Composers: Music through the Ages. New York: G.K. Hall, 1996. https://librarysearch.temple.edu/catalog/991000427089703811

Tick, Judith, Margaret Ericson, and Ellen Koskoff. “Women in music.Grove Music Online. 2001; Accessed 17 Oct. 2019. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000052554.

(Note: Grove Music Online contains entries for all of the composers mentioned in this article.)

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century.

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The Sound of History

Johann Sebastian Bach Concerto Festival!

Wednesday, October 2nd, 12:00 Noon
Charles Library Event Space

Presented by Dr. Joyce Lindorff
with Boyer College Harpsichordists
and Baroque Strings

Light refreshments served. Boyer recital credit given.

Hands on a harpsichordMore than a mere antecedent to the modern piano, the harpsichord is a keyboard string instrument with an otherworldly sound. Its metallic timbre and precise articulation result from an internal mechanism: quills pluck the strings when the keys are depressed, and dampers silence the strings when the keys are released. Creating the effect of cascading notes, this mechanical operation is ideal for the performance of contrapuntal music because of the clarity it lends to the middle and lower voices; in other words, the design and function of the instrument met the musical demands of its time.

Emerging in the years around 1400, the harpsichord reached its zenith in the 1700s. During this era, luminaries such as Johann Sebastian Bach (1685-1750), François Couperin (1668-1733), George Frideric Handel (1685-1759), and Domenico Scarlatti (1685-1757) composed some of the finest music for the instrument. Famous examples from the solo repertory include J. S. Bach’s The Well-Tempered Clavier, a collection of 48 preludes and fugues in two volumes, and Scarlatti’s 555 keyboard sonatas. The harpsichord was also regularly used for accompaniment in the performance of both sacred and secular music. This role kept the instrument in service until the turn of the nineteenth century, when changes in musical tastereflected in the rising popularity of the pianofortediminished its presence. The resurgence of the harpsichord in the late 1800s may be attributed to the special qualities mentioned above, namely its suitability for the performance of early music. 

On Wednesday, October 2, Dr. Joyce Lindorff and her colleagues from Boyer College will present performances of J. S. Bach’s concerti for one, two, and four harpsichords. (The latter is a transcription of a solo concerto from Vivaldi’s L’estro armonico, Op. 3, no. 10.) Listeners will have the opportunity to experience the singular sound of the instrument thrown into relief by contrasting tutti (full ensemble) and solo sections. Do not forgo what is sure to be an eminently satisfying musical event.

Consult the following sources for more information:

Kottick, Edward L. A History of the Harpsichord. Bloomington: Indiana University Press, 2003.

Pollens, Stewart. The Early Pianoforte. Cambridge: Cambridge University Press, 1995.

Ripin, Edwin M., Howard Schott, John Koster, Denzil Wraight, Beryl Kenyon de Pascual, G. Grant O’Brien, Alfons Huber, William R. Dowd, Charles Mould, Lance Whitehead, and Martin Elste. “Harpsichord.” Grove Music Online. 2001; Accessed 11 Sep. 2019. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012420.

Wolff, Christoph. Bach: Essays on His Life and Music. Cambridge: Harvard University Press, 1991.

Wolff, Christoph, and Walter Emery. “Bach, Johann Sebastian.” Grove Music Online. 2001; Accessed 11 Sep. 2019. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-6002278195.

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century.

 

 

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Beyond the Notes Announces Fall 2019 Season at Charles Library!

We are excited to announce the first season of Beyond the Notes in Temple University’s beautiful new Charles Library! Mark your calendars!

J.S. BACH CONCERTO FESTIVAL!

Wednesday, October 2nd, 2019
12:00 Noon – 12:50pm
Charles Library Event Space

Presented by Dr. Joyce Lindorff with Boyer College Harpsichordists and Baroque Strings.

Historic Harpsichord

Program:
Concerto in C Major for Two Harpsichords
Concerto in A minor for Four Harpsichords and Strings
Concerto in D minor, featuring soloist Benjamin Katz

Come join our festive opening of the Noontime Concert Series in the beautiful Charles Library! Be the first to hear the new event space resonate with J. S. Bach’s brilliant concertos for one, two and four harpsichords accompanied by a Baroque string ensemble. Dr. Joyce Lindorff will perform and conduct, along with current and alumni Boyer performers.

_______________________________________________________________________________________________________________________________

 

Modern Reveal Logopictures of women composers

Herstory

An Eclectic Compilation of Vocal Music by Women Composers, 1560-present 

Featuring Vocal Arts Students at Temple University

Jean Francois Proulx, pianist

Randi Marrazzo, faculty coordinator

Wednesday, October 30, 2019
12:00 Noon-12:50pm
Charles Library Event Space

 

All events are free and open to the public. Light refreshments served. Boyer recital credit given.

 

 

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New Semester, New Look at the Libraries

Charles Library, photo by Betsy Manning for Temple University

Welcome to the fall 2019 semester! While Temple University Libraries has a new Main Campus building (Charles Library, heard of it??!) and a new website, we are committed as ever to getting you the materials, resources, and expert help you need as you start a new academic year at Temple!

First off, we hope you’ll stop by the new Charles Library building, where you’ll find a variety of specialized and flexible spaces. Explore all the cool things you can do in the new Loretta C. Duckworth Scholars Studio, including 3D printing and experimenting with virtual reality. Watch the BookBot in action, grab a snack at the new cafe, then stay up all night in the 24/7 study area. There’s so much more to this state-of-the-art building—come see us in person

If you want to learn more about Charles Library, we’ll be offering tours from 9:00 am–4:00 pm as well as a staffed info table the first two weeks of the semester. No need to register: just stop by and get to know your new library.

Once you’ve scoped out your syllabi, head over to our comprehensive Research Guides for each of your course subjects, as well as our How Do I…? guides for help with basic tasks and services. 

Or maybe you are looking for new ways to learn or spend an afternoon? Check out the Libraries’ Beyond the Page public programming series for a variety of free programs, concerts, workshops, and more, many of which will take place in Charles Library’s new event space

Here are a few more tips to help you start the new school year off right: