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Overview: The Investigative Reporting Workshop, a project of the School of Communication (SOC) at American University, is a nonprofit, professional newsroom. The Workshop publishes in-depth stories at investigativereportingworkshop.org about government and corporate accountability, ranging widely from the environment and health to national security and the economy. The Workshop pairs experienced professional reporters and editors with graduate students, and co-publishes with mainstream media partners and nonprofit newsrooms. We also have an ongoing relationship with the PBS program FRONTLINE — producer Rick Young and his team are based at the School of Communication as well — and with The Washington Post. The Workshop helped develop the American Press Institute's guiding principles for nonprofit newsroom.


Background In recent years, much of the traditional American media, in a drive to cut costs and maintain profits, has slashed the capacity to do investigative journalism. This has happened as the forces of technology and globalization are combining to make government and powerful private institutions less transparent and less subject to oversight. The Investigative Reporting Workshop addresses this fundamental issue for democracy by: • Creating significant, original investigative reporting on subjects of national and international importance. This work is being done by preeminent journalists working closely with graduate students, and is published on the Workshop’s website and in partnership with national news organizations, including PBS FRONTLINE, The Philadelphia Inquirer, msnbc.com and various organizations in the Investigative News Network (INN). • Analyzing and experimenting with new economic models for creating and delivering investigative reporting. The Workshop’s Investigative Laboratory or iLab, has assisted in the development of several nonprofit ventures. We also tracked emerging news nonprofits through a series of “new journalism ecosystem” stories, interactive tables and a database, presented at the Online News Association conference in 2010 and updated in 2011.The Workshop began publishing in the spring of 2009. It is modeled on the Children’s Television Workshop, which originally was created to produce “Sesame Street,” but became an incubator and innovator for much of educational television. The Workshop operates under the 501(c)(3) designation of American University. The Dean of the AU School of Communication is Dr. Jeffrey Rutenbeck. Who’s who Our core staff:• Charles Lewis ,a national investigative journalist for more than 30 years who founded the Center for Public Integrity in 1989 and its International Consortium of Investigative Journalists in 1997, is the founding executive editor of the Workshop. Lewis frequently writes for the Workshop’s site and speaks in the U.S. and around the world. The research for his 2014 book, "935 Lies: The Future of Truth and the Decline of America's Moral Integrity," helped lead to ASOS DESIGN scuba mini skirt with extreme asymmetric hem Outlet With Mastercard rXrP4Cjx
, a unique multimedia, oral history website that documents "truth to power" moments in contemporary U.S. history and the journalists behind them. Lewis teaches international investigative reporting at AU, where he is a tenured faculty member.• John Sullivan, a Pulitzer Prize winning reporter from The Philadelphia Inquirer, joined the Workshop as a senior editor in May 2013 to spearhead a new partnership between the Workshop and The Washington Post, where he is also a member of the investigations team. He is teaching an investigative practicum at the graduate level, with AU students working alongside Post reporters on their projects. He led a team of five reporters who examined violence in the Philadelphia schools at the Inquirer; the series won the Pulitzer for Public Service in 2012. Sullivan previously was a senior lecturer and assistant director of Medill Watchdog and on the journalism faculty at Northwestern University.

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03 Aug

MCTC #5: Chord Circuit

Johnny Five is Alive!!! This is technically the 5 th installment of my theory corner, not counting the introduction, hence the Short Circuit reference! What’s goin’ on theory enthusiasts! I hope your respective seasons have treated you well (for all my Southern Hemisphere readers). We are making quite a trail so far in this music theory forest, but there is much more to explore. So let’s punch some trees, make some paper, and get to some theory!

We talked about inversions last time, but if you didn’t join us, then hop in your TARDIS and correct that (or just read it, but if you know the Doctor, hit me up). So we can stack all these chords, we know how to invert them, and we even have a method for categorizing the chord qualities and what they are in the key, but these chords all play a role as well. A couple posts back I reference a song by Stewie from Family Guy, and talked about how he referenced a chord as being his home. We are going to start with a chord that is typically the first and last chord you hear in a piece of music, or song. This is the I (roman numeral) chord, or, a more forgiving name in the written medium, the tonic.

Yes, the tonic you don’t mix with your gin, if you’re of age. If you’re under 21, MCTC® does not condone the consumption of alcohol; go read a book about music theory.

Sorry. Ok, but the tonic is just a starting place. To preface, what I am about to present to you is merely the tendency of composers studied by theorists, and in no way is a strict set of rules for how to compose your music. This is for the composition of tonal music, but learning new things never hurt. So don’t fight it. Let’s go ahead and pick a key!

The dice roll video posted on Lindby’s instagram last week was to help us decide the key (wanna know how that works, hit me up), which it looks like we are going with the key of D-major. Two Sharps (pound sign/hashtag/tic-tac-toe board – ## <-those things) So the tonic chord is a D-major chord. Pretty straight forward like that. The beauty of the tonic chord is its’ ability to go to any chord without an unsettling amount of dissonance. A tonal partner to the tonic is the dominant chord, or the V chord. In the key of D-major, that would be an A-major chord. Before continuing further I have included the tonal chords in D-major to help with the discussion.

One aspect about the dominant (V) chord in a key is that you will typically see the seventh of the chord being used as well. This is important because adding the seventh will create a sound of tension between the 3 rd and 7 th of the chord (C#-G in an A7 chord). This is interval, as we know, is a diminished fifth, or tritone. The tension naturally wants to resolve itself inwards, with C# ascending to D, and G descending to F#. So the tritone in a dominant-seventh chord wants resolve to the root and third of the tonic. As far as the roll of the dominant within the key, it is the chord that is most likely to appear before the tonic, again because of the tritone resolution that happens. There are plenty of instances where the chord following a dominant chord is not the tonic, but we are just covering basic tendencies. Here is an example of a V65 – I progression so you can see the motion I mentioned.

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