Shots of Christmas lights in Kingsport. Episode one of three contains beautiful night shots of local christmas lights.

Shots of Christmas lights in Kingsport. Episode two of three contains beautiful night shots of local christmas lights.

Shots of Christmas lights in Kingsport. Episode three of three contains beautiful night shots of local christmas lights.

The following is a list of holiday closures and schedule changes for the City of Kingsport. Please refer to the following list to find the hours of operation for various city organizations during the upcoming holidays.

Kingsport Fire Department talks about Christmas fire safety. For more information contact their office, 423-229-9440.


Nashville, TN – Governor Phil Bredesen announced today that the state will provide a Tennessee Roadscapes Grant in the amount of $32,085 to the city of Kingsport in Sullivan County.

These funds will help make improvements along the roadways that serve as the front door to our communities, said Bredesen.‚  Well-planned landscaping programs create an inviting atmosphere that can boost local economies and improve the quality of life for citizens.

The Roadscapes grant will fund landscaping work at four gateway entries to Kingsport.‚  The project will include native plants and welcome to signage along four different state route corridors.

The Tennessee Roadscapes initiative was developed in 2006 as a partnership between community organizations across the state and TDOT to create inviting spaces through an integrated approach to roadside landscaping. TDOT funds 80 percent of the cost of a project with the grant recipient contributing the remaining 20 percent. Grants are derived from federal funds that are specifically earmarked for roadway enhancement projects.

The Roadscapes program creates an opportunity to showcase the roadways and natural beauty of our state, said TDOT Commissioner Gerald Nicely.‚  Its important to create welcoming places for people to live and work and to build a sense of pride in ones community. ‚ 

The Tennessee Roadscapes program includes a variety of environmental stewardship and beautification programs:

Landscaping with naturalized flowers and native flowering trees
Memorials and parks
Roadside tree planting
Exotic and invasive plant removal
Litter cleanup and prevention education programs
Adopt-A-Highway and Adopt-A-Spot programs
Community landscaping at intersections, street corners, medians, entrances, and gateways

The Sullivan County delegation to the Tennessee General Assembly helped secure these funds for the city of Kingsport.

For more information about the Tennessee Roadscapes program, please click here.

Kingsport – The Cultural Arts Division of the City of Kingsport is pleased to present The Nature of Rhythm, 3:00PM‚  on Sunday, January 10 at the Kingsport Renaissance Theater.‚  Tickets are $12 and can be purchased by call the Central Box Office at 423-392-8417 or on-line at‚  This performance is made possible by a grant of the Tennessee Arts Commission Touring Artist program.‚ 

The Nature of Rhythm – Sunday, January 10 at 3:00 PM

About the Artists:

Jay Oberfeitinger

Jay Oberfeitinger is active as both a performer and educator in the Northeast TN and Southwest VA region.‚  He has been a percussionist for the Knoxville Symphony since 1995; the principal percussionist for the Symphony of the Mountains since 2000; a founding member and percussionist for the Knoxville Wind Symphony since 2006 and is the ‚¬first-call percussionist for the Barter Theatre in Abingdon, VA.‚  He is a founding member of the Tri-Cities Jazz Masters quintet.‚  Additionally, Jay is an Educator/Endorser for ProMark sticks and mallets.

Jay received a BSM in Orchestral Performance from Duquesne University, Pittsburgh, PA where he studied with Gerald Unger and Stanley Leonard of the Pittsburgh Symphony.‚  He pursued graduate studies in Music Education at Miami University of Ohio where he studied with Dr. William Albin along with Dick Jensen and Eugen Espino of the Cincinnati Symphony.‚  Jay has also received a Masters Degree in Education/Curriculum Design from the University of Phoenix.

Jay is the owner of PineTree Music, a private teaching studio in Kingsport, TN and was the Founding Director of the Tri-Cities Homeschool Band and Orchestra.‚  Jay has served as Percussion Instructor/Associate Director with the Dobyns ‚¬ Bennet HS band and orchestra, and as percussion consultant for the Tennessee High School Band (Bristol) and Hamblin County Schools, TN.‚  He has served as a clinician and arranger for several schools in the Pittsburgh, PA regional and the Kalamazoo/Battle Creek/Grand Rapids, Michigan region.‚  Currently he serves as adjunct faculty in music at Virginia Highlands Community College and Emory and Henry College.

Jay has composed, arranged and performed music for two PBS documentary films: Where the Wild Things Live: Americas Wildlife Refuges, and a biography of May OHara, author of‚  My Friend Flicka.

Jay Oberfeitinger Matthew Frederick

Matthew Frederick

A native of Slatington, Pennsylvania, Matthew Frederick attended West Chester University in West Chester, Pennsylvania and earned a Bachelors degree in Music Education. Upon graduation he began graduate school at Auburn University then continued his education at The University of Texas where he completed his Doctor of Musical Arts degree in trumpet performance.‚  He is currently the associate professor of trumpet and director of instrumental studies at Emory & Henry College. In addition to his duties here at Emory & Henry College, Dr. Frederick currently performs with the Symphony of the Mountains and has performed as principal trumpet of the Johnson City Symphony, first trumpet player at The Barter Theater, and is an active lecturer on Civil War Brass Bands as well as serving as a clinician for school music programs.‚  Some of Dr. Fredericks brass band arrangements can be on the CD entitled Cheer Boys Cheer released by the Moravian Music Foundation, and his book, entitled Trumpet Notes has recently been published by A.K. Brass Press.‚  Matt Lives in Abingdon, VA with his wife Sandy and their sons Hyder and Jackson.

About the Performance: ‚ 

The Love of L’Histoire, Charles Delancey (1959-‚ ‚ ‚  )

Charles Delancey is a percussionist with the Los Angeles Philharmonic and a composer of works primarily for percussion. The Love of L’Histoire is based on thematic material from Stravinsky’s monumental paean to jazz – L’Histoire du Soldat (The Soldier’s Tale).

The instruments required and the set-up are similar to that required in Stravinsky’s work. If you are familiar with L’Histoire, you may recognize several of Stravinsky’s themes as translated to non-pitched and relatively-pitched percussion instruments.

The True Lover’s Farewell‚ ‚  ‚ 

Steven Gwin’s arrangement of The True Lover’s Farewell presents this classic Appalachian folk song in a grand setting. Gwin’s arrangement opens with the simple melody of the folk song, and gradually adds and embellishes on the melody.‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚  ‚ 

Composed Improvisation for Snare Drum Alone and Child of Tree, John Cage (1912-1992)‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚  ‚ 

In the nature of the use of chance operations is the belief that all answers answer all questions.

In 1952, David Tudor sat down in front of a piano for four minutes and thirty-three seconds and did nothing. The piece 4‚¬²33 written by John Cage, is possibly the most famous and important piece in twentieth century avant-garde. 4‚¬²33 was a distillation of years of working with found sound, noise, and alternative instruments. In one short piece, Cage broke from the history of classical composition and proposed that the primary act of musical performance was not making music, but listening.

Born in Los Angeles in 1912, Cage studied for a short time at Pomona College, and later at UCLA with classical composer Arthur Schoenberg. There he realized that the music he wanted to make was radically different from the music of his time. I certainly had no feeling for harmony, and Schoenberg thought that that would make it impossible for me to write music. He said ‚¬Youll come to a wall you wont be able to get through. So I said, ‚¬Ill beat my head against that wall. But it wasnt long before Cage found that there were others equally interested in making art in ways that broke from the rigid forms of the past. Two of the most important of Cages early collaborators were the dancer Merce Cunningham and the painter Robert Rauschenberg.

Together with Cunningham and Rauschenberg at Black Mountain College, Cage began to create sound for performances and to investigate the ways music composed through chance procedures could become something beautiful. Many of Cages ideas about what music could be were inspired by Marcel Duchamp, who revolutionized twentieth-century art by presenting everyday, unadulterated objects in museum settings as finished works of art, which were called found art, or ready-mades by later scholars. Like Duchamp, Cage found music around him and did not necessarily rely on expressing something from within.

Cages first experiments involved altering standard instruments, such as putting plates and screws between a pianos strings before playing it. As his alterations of traditional instruments became more drastic, he realized that what he needed were entirely new instruments. Pieces such as Imaginary Landscape No 4‚¬³(1951) used twelve radios played at once and depended entirely on the chance broadcasts at the time of the performance for its actual sound. In Water Music (1952), he used shells and water to create another piece that was motivated by the desire to reproduce the operations that form the world of sound we find around us each day.

While his interest in chance procedures and found sound continued throughout the sixties, Cage began to focus his attention on the technologies of recording and amplification. One of his better known pieces was Cartridge Music (1960), during which he amplified small household objects at a live performance. Taking the notions of chance composition even further, he often consulted the I-Ching, or Book of Changes, to decide how he would cut up a tape of a recording and put it back together. At the same time, Cage began to focus on writing and published his first book, Silence (1961). This marked a shift in his attention toward literature.

In the 70s, with inspirations like Thoreau and Joyce, Cage began to take literary texts and transform them into music. Roratorio, an Irish Circus on Finnegans Wake (1979), was an outline for transforming any work of literature into a work of music. His sense that music was everywhere and could be made from anything brought a dynamic optimism to everything he did. While recognized as one of the most important composers of the century, John Cages true legacy extends far beyond the world of contemporary classical music. After him, no one could look at a painting, a book, or a person without wondering how they might sound if you listened closely.

The Composed Improvisation for Snare Drum alone is the first of a series of similar works Cage completed between 1987 and 1990. The series includes "improvisations" for snare drum, Steinberger Bass-guitar, and one-sided (single-headed) drums with or without jangles. The snare drum version is dedicated to, and was premiered by percussionist Stuart Smith. The published version consists of 2 pages of text with performance instructions. The work consists of 3 time brackets, 1 variable surrounded by 2 fixed. Each time bracket contains 1-8 events and 1-64 icti.‚  The performer is instructed to perform chance operations in order to decide on the amount of events and icti to be played, as well as on certain specifics such as the type of implements used, snares on or off, and the durations of the time brackets.
Being on a tour in Arizona with the Merce Cunningham Dance Company in 1975, one of the dancers (Charles Moulton) brought a dried cactus to Cage, placed it near his ear and plucked the spines of it. This was the initial inspiration for Cage to use cacti as musical instruments in works such as Child of Tree.

The score consists only of performance instructions on how to select 10 instruments, using I-Ching chance operations.‚  All instruments should be made of plant materials or be the plant materials themselves (e.g. leaves, branches, etc.).‚  One of the instruments specified is a pod (rattle) from a Poinciana tree which is native to Mexico. "Using a stopwatch, the soloist improvises clarifying the time structure by means of the instruments.‚  This improvisation is the performance". (From performance instructions).

Three Etudes for Marimba, C. O. Musser (1901 – 1998)

Marimba virtuoso Clair Omar Musser’s influence on playing, teaching, composition, and manufacture has been pervasive. He performed his own arrangements of Chopin, Mendelssohn, Bach, Paganini, and others internationally. His solo compositions and transcriptions and his ensemble arrangements have enjoyed great popularity. Musser’s large marimba orchestras were acclaimed throughout the world. He was a teacher of renown, having headed the Northwestern University Marimba Department for ten years and sent many of his students to important positions in playing and teaching. His innovations in grip, mallets, and technique revolutionized marimba and vibraphone playing. An inventor and designer of instruments, he custom-made instruments for many famous performers. Musser also founded the company that bears his name.

Out of the multitudes of compositions and arrangements for marimba by Mr. Musser, only a handful are currently in print. They are all published by Studio Four Productions (now a division of Alfred Publishing Co.) and have been meticulously edited by Joel Leach in collaboration with Mr. Musser himself. Musser’s etudes in C major and B major, first published in 1948, illustrate the early use of four-mallet technique.

Etude Op. 6, No. 10 – A fast moving etude in C Major. This is perhaps the best known and most loved of all of the etudes. Written in 3/8 time throughout, utilizing four mallets.

Etude Op. 6, No. 8‚  Often subtitled "Nature Boy" and the "Whole Tone" etude (due to it’s use of the whole tone scale), it is very Debussy-like in quality, and consists of several short contrasting sections.

Etude Op. 6, No 9‚  A rapidly moving four-mallet etude in B Major that is a perfect "follow-up" piece to the "Whole Tone" etude.

Encounters III – Duel for Trumpet & Percussion, William Kraft (1923-‚  )

William Kraft has had a long and active career as composer, conductor, percussionist, and teacher. In the summer of 2002, he retired as chairman of the composition department and holder of the Corwin Chair at the University of California, Santa Barbara. From 1981-1985, Mr. Kraft was the Los Angeles Philharmonics Composer-in-Residence. During his residency, he was founder and director of the orchestras performing arm for contemporary music, the Philharmonic New Music Group. Mr. Kraft had previously been a performing member of the Los Angeles Philharmonic for 26 years ‚¬ eight years as percussionist, and the last 18 as Principal Timpanist. For three seasons, he was also assistant conductor of the Philharmonic, and, thereafter, made frequent appearances as guest conductor.

During his early years in Los Angeles, Mr. Kraft organized and directed the Los Angeles Percussion Ensemble, a group which played a vital part in premieres and recordings of works by such renowned composers as Ginastera, Harrison, Krenek, Stravinsky, VarĬse, and many others. As percussion soloist, he performed the American premieres of Stockhausens Zyklus and Boulezs Le Marteau sans MaĨtre, in addition to recording Histoire du soldat under Stravinskys direction.

Mr. Kraft received his bachelors degree cum laude (1951) and his masters degree (1954) from Columbia University, where he was awarded two Anton Seidl Fellowships. His principal instructors were Jack Beeson, Seth Bingham, Henry Brant, Henry Cowell, Erich Hertzmann, Paul Henry Lang, Otto Luening and Vladimir Ussachevsky. He received his training in percussion from Morris Goldenberg and in timpani from Saul Goodman, and studied conducting with Rudolph Thomas and Fritz Zweig.

Encounters III is part of an ongoing series of groundbreaking music that establishes the percussionist as a formidable soloist with various other solo instruments such as trombone, violin and cello. Currently numbering 14, the Encounters series is a compositional journey that will likely continue with more "Encounters" in the future.

Number III, the Duel for Percussion and Trumpet was written and published in 1971; the result of a commission by Thomas Stevens. It was given it’s premiere performance in 1972 by Malcom McNab, trumpet and Karen Ervin Pershing, percussion.‚ ‚ ‚ ‚ ‚  ‚ 

*Program notes prepared by W. Jay Oberfeitinger

The Renaissance Center is a center for arts and senior citizens activities, and as a facility for business meetings, parties, receptions, classes, showers and day long seminars with breakout rooms.‚  The facility includes a 350 seat theatre, three story skylit atrium, art gallery, gymnasium, meeting rooms and offices.‚  The Renaissance Center is located 3 miles off of Interstate 26, 1200 East Center Street.‚ ‚  For tickets or more information call 423-392-8414.


For Christmas week there will be no change to Monday or Tuesday collections.

Garbage, Trash and Recycling normally collected on Wednesday will be collected on Tuesday.

Garbage Trash and Recycling normally collected on Thursday or Friday will be collected on Wednesday.  

The Demolition Landfill will be closed on Thursday, Friday and Saturday (December 24- December 26)

There will be no change to collections during New Years Week.

Crews will work on Friday, January 1st.

The Demolition Landfill will be closed on Friday, January 1st and Saturday, January 2nd.

"Dreams Do Come True" – Harvard Innovation Award Documentary produced by Times Digital Group – Part 1

"Dreams Do Come True" – Harvard Innovation Award Documentary produced by Times Digital Group – Part 2