The building project for the new Scoil Íosagáin school in Buncrana is being fast-tracked to clear the way for the tenders in 2020.Minister for Education and Skills Joe McHugh has today announced that Scoil Íosagáin was given the green light to draw up a shortlist of builders.This step will run alongside the review of the design and plans for the new school, which is expected to house 600-700 pupils. Minister McHugh praised the progress as: “A welcome boost and a bit of a bonus in the run-in to Christmas.“I am delighted to see such good progress. Allowing the shortlisting of builders to run alongside the review of the design and plans for the new school is a good move. It will help fast-track the project to tender and that means the building work is one step closer.”The Department of Education and Skills’ Building Unit received the final designs and planning documents from the school’s design team and a reviewing of the paperwork will be carried out.Minister McHugh said: “It is really welcome news and it is great to see progress as other projects move along, like the Little Angel’s Special School in Letterkenny. “The pre-qualification for contractors is underway and it should be complete early in the new year and that will clear the way for the school to go to tender.“Elsewhere, we have seen good progress on St Mary’s NS, Stranorlar and St Colmcille’s Letterkenny and Glenswilly NS all going to construction in 2020.” Buncrana school gets green light to progress on new build was last modified: December 20th, 2019 by Rachel McLaughlinShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window)
This September, the MFLN will host the second annual Virtual Conference which will be held September 18-20. This year’s conference will focus on cultural competency through awareness, action, and advocacy and will include a keynote, capnote, and 4 sessions in between.The Family Development team has invited past webinar facilitator, Dr. Jenifer McGuire to present Sexual Orientation and Gender Expression within Families. In 2017, Dr. McGuire provided the Family Development team with two webinars- The ABCs of LGBT: Learning Language and Inclusive Practices in Work with LGBT Families and TRANSforming Conversations: Addressing Needs of Transgender Youth and their Families. We are delighted to have Dr. McGuire join us again during our 2018 Virtual Conference to discuss the context for working with and advocating for families with diverse structures, sexualities, and genders. She will also discuss diverse families and family members within the context of the military experience and so much more!Please join us as Dr. McGuire facilitates another engaging, insightful, and relevant session on Wednesday, September 19, 2018 at 1:30pm ET. To find out more about the 2018 Virtual Conference and to register, check out our 2018 Virtual Conference Page!
Watch as two video essay maestros clash in good fun while arguing the pros and cons of contemporary film scores.Top image via Journal SentinalAfter the recent release of Every Frame a Painting’s excellent breakdown of why current film scores lack the enduring appeal of classics like Star Wars, Dan Golding just released a response video to Tony Zhou’s original piece while posing some new questions about the current state of film scores.The Marvel Symphonic UniverseThe intriguing video above was released a few days ago. It lays out a pretty convincing argument: While the Marvel cinematic universe certainly has many things going for it, memorable film scores are not one of them.While movie classics such as Star Wars, Jurassic Park, and Harry Potter all have memorable soundtracks that provoke feelings of nostalgia and joy, Marvel seems to be lacking in this department entirely. Shouldn’t these billion-dollar products have a more profound audio impact on audiences? Tony Zhou breaks down the ins and outs of the situation, while explaining how movie soundtracks are produced, copied, and sometimes essentially stolen.By breaking down scenes from Iron Man, Captain America and Thor, Zhou demonstrates how the film scores (or lack thereof) could benefit from a few subtractions or mood changes. The Captain America clip proves especially frustrating after Zhou demonstrates what could have been.Temp MusicThe central focus of the video essay shifts halfway through to temp music. To put it simply, temp music is a score from a previously released film that is placed into the rough edit of the current production before the soundtrack has been composed.This is done to give the composer an idea of what the director wants for the film. This inevitably leads to many scores sounding strikingly similar to those of other movies.The similarities between 300 and Titus are surprising and undeniable and serve to further Zhou’s point of how lazy scoring has become. In a similar vein, while Mad Max: Fury Road’s shredding guitars might have been more the more memorable musical cue, there were still plenty of other sections that recalled Captain America: The Winter Soldier.Zhou addresses the problem of composers using temp music and borrowing cues from previously released scores:What changed everything was modern non-linear editing which allowed a director to put their favorite music in the movie and have the editor cut to it. Now the director points to the temp and says ‘make it like that.’We see composers such as Alexandre Desplat explain how directors will watch and listen to the temp track in the edit over and over again until their mind is set — and stuck. Zhou closes his argument by saying that reused scores, temp music, and unmemorable cues stem from the same place — playing things safe.A Theory of Film MusicNow let’s take a look at Dan Golding’s rebuttal essay in which he states that — even though Zhou’s presumptions are correct — everything is still okay. Although the Star Wars theme is the main focus of Zhou’s intro and overall message, Golding counters with the knowledge that the iconic Star Wars score was never all that original in the first place.Taking cues from films such as 1942’s King’s Row and 1963’s How The West Was Won, Golding explains how even the narrative structure and themes of Star Wars are not at all original. However, the film was still executed creatively and with a unique twist. Calling back to films such as 2001: A Space Odyssey, George Lucas had originally intended on using classical pieces for the picture and had to be convinced otherwise. I’d say that was a close call.Image via MGM StudiosGolding goes on to discuss legendary contemporary composer Hans Zimmer. Zimmer changed the game of scoring films and pioneered the way computers are utilized in the process. The director could hear the music as it was being produced/composed and make changes or be more involved with the process, all while editing the film at the same time. This workflow was groundbreaking and many composers have followed suit.In a more traditional light, Golding talks about John Williams process for scoring Star Wars and the difficult nature of recording scores back in the day. For example, because it was so expensive to pay all the artists to come in and record, everything had to be meticulously planned out — and once the score was composed, the film could not be edited anymore. This is a fairly crazy notion, given how many changes contemporary films go through before hitting the silver screen.A key component to today’s approach is the cheap price that comes with this method. Hans Zimmer explains that, by using computers, he is able to personally touch every note in the score himself. By doing this,“you end up creating a landscape of sound rather than melodies and harmonies.”Marvels music isn’t hummable. Each film has a musical landscape, but they’re different not through melody, but through texture. This is the impact of digital technology on film music…. So are we living in an era where composers are told to play it safe? To copy temp tracks? Yes, most of that isn’t new. Remember, Hollywood film music isn’t about originality. It’s about new ways of working with proven formulas, and digital technology has changed that hugely. It’s creative unoriginality for our era of Hollywood.And, hey. If you find yourself in need of some epic, cinematic music for your next film score (and you don’t have that Hans Zimmer money), PremiumBeat’s got you covered.What do you think? Have soundtracks gotten better or worse? Let us know in the comments below!
South African cricket players, Morne Morkel, left, and Dale Steyn pose with the ICC Cricket World Cup Trophy in the Dubai Aquarium & Under Water Zoo to mark the 100-day countdown to the opening ceremony for the Cricket World Cup 2011, Dubai, UAE, Tuesday November 09, 2010.The 100-day countdown for the 2011 ICC Cricket World Cup began in Dubai on Tuesday. The trophy for the tenth edition of cricket World Cup was displayed by South African players Morne Morkel and Dale Steyn at the Dubai Aquarium. The South African and Pakistani teams after concluded their five-ODI series in Dubai on Monday joined fast bowlers Morkel and Steyn as the duo unveiled the trophy. The trophy for World Cup 2011 was launched in a rather innovative manner. Steyn and Morkel went underwater to unveil the coveted trophy amidst sharks and other sea creatures at the aquarium. Talking to media at the ceremony, International Cricket Council (ICC) chief executive Haroon Lorgat said, “It was spectacular to watch the 100-day countdown ceremony and the ICC and the three host countries are gearing up for the World Cup.” The 43-day tournament will be jointly hosted by India, Sri Lanka and Bangladesh. The opening ceremony of the World Cup will be held in Bangladesh capital Dhaka on February 17 and the first will be played two days later. The final match will be held in Mumbai on April 2.