DOCSLIB.ORG

High-Fidelity-1957-N

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
High-Fidelity-1957-N The Magazine for Music Listeners November 60 cents Hih oiidclilq The - Natural History of the Orchestra by Norman Pickering Going Stereo by Herman Burstein Aa Violetta In Lu traviata RENATA TEBALDI Portrait of a Prima Donna by Francis Robinson www.americanradiohistory.com I I l l I ¡ I I I I I III I I I I t COMPAR SON OF PRINT -THROUGH FOR MASTER AUDIOTAPE AND CONVENTIONAL TAPE How Is It Eliminated? What Is Print -Through? 20 In Master Low Print- Through Print- Through is the magnetic ú Conve ntion al Tape Audiotape, print- through has "echo" effect induced in adja- o been reduced 8 db, by the use cent layers of by tape any 15 of specially developed mag- recorded signal. It continually netic oxides and special proc- d increases with time while the 13 essing techniques - without recorded tape is in storage. To Recorder No's* z Professional Type Machine) changing any other perform- keep print -through from being 10 ance characteristics. The curves too objectionable, conscien- v at the left show the remark- tious recordists have hereto- v able improvement obtained. fore had to lower recording z Mast. Audiotape Since print- through of Master levels as much as 6 to 8 db, 5 Low Print -Through Audiotape with reduced signal -to -noise remains well below the ma- ratio and sacrifice in tone chine noise, it is "eliminated" quality. for even the most critical ear. o t 8 hrs. day 1 wk. 1 mo. 1 yr. 10 yrs. loo yrs. TIME AFTER RECORDING 0 =63 db below 3X distortion at 1 kc, peak bias Thoroughly PROVED in service, and now available in AMPLE QUANTITY! Master Low Print -Through Audiotape has proved it- self in over a year of actual service. Thousands of reels have been used by manufacturers of phonograph records and pre- recorded tapes and other top pro- fessional users. It has been in regular production since May, 1957, and is now available in ample quantity through dealers everywhere. Laboratory studies indicate that stored Master Master Low Print -Through Audiotape will take more than 100 years to reach Audiotape on 11/2-mil cellu- lose acetate the same print -through level that mars ordinary tape in one week! With an 8 db reduction in print- through, you can use higher recording levels, get better signal - to -noise ratio, and still have decades of freedom from Master Low Print -Through harmful print- through effects. For a new high in Audiotape on 11/2-mil hi-fi "MYLAR" polyester film and new permanence for your priceless recordings, ask your dealer for Master Low Print- Through Audiotape. Available in 1200 and 2500 foot lengths in two types - on 11/2 -mil acetate and on 11/z -mil Mylar`. *DuPont Trade Mark In Hollywood: 840 N. Fairfax Ave. Milwaukee Ave. 1AM MAR In Chicago: 5428 Export Dept.: 13 East 40th St., N.Y. 16, N.Y. AUDIO DEVICES, INC., 444 Madison Ave., New York 22, N.Y. Cables "ARLAB" www.americanradiohistory.com Burton Browne Adrertning UNAX SINGLE ELEMENT DUAX 2. ELEMENT SYSTEMS Cx -Wo p1.255 COAXIAL 3- ELEMENT SYSTEMS You'll spend less for more performance ... get traditional Jensen quality! Making the utmost of the hi -fi possibilities of two coordinated cones driven by one voice coil, Jensen's new DUAX speakers bring you a lot more performance at a lot less than you'd expect to pay. No one makes a better speaker at anywhere near the price. H-320 Both acoustic elements operate together up to a "mechanical cross- over" at 4000 cps; above this the small cone operates with special COAXIAL 2 -WAY SYSTEMS effectiveness. Frequency range, 40- 13,000 cps, with low end en- closure dependent, but working fine just about anywhere you put it. One pound new high efficiency DP- Alnico -5 magnet. Twelve inch DX -120, net S25.50; fifteen inch DX -150, only S35.50. Free condensed Catalog 165 -B tells about the complete new Jensen line. Write for it now. TRIAXIAL' and T. M. Rat. TRIAX KTX-2 "STEP -UP" KIT 3 WAY SYSTEMS Start with a DUAX, up -grade later to a true 2 -way system with compression horn THE tweeter for 2000. 15,000 cps. Easy to add, WORLD'S costs only 532.50 net. MOST COMPLETE MANUFACTURING COMPANY HIGH Jensen FIDELITY 6601 South Laramie Ave., Chicago 38, Illinois LOUDSPEAKER In Conado: J. R. Longstaffe Co., Ltd., Toronto Division of The Muter Co. LIKE In Mexico: Radios Y Television, S.A., Mexico D.F. T. M. Rat. NOVEMBER 1957 I www.americanradiohistory.com volume 7 number zz The cover photograph, of Renata Tebaldi costumed for La Traviata, was taken at the Metropolitan Opera by Louis Melancon. A R T I C L E S The Natural History of the Orchestra 44 Norman Pickering 'l be John M. Conly evolution of the Alex instrument of Editor artistic e.tprt ,,ir,n in all civilization. Roland Gelatt Music Editor Renata Tebaldi - Portrait of a Model Prima Donna 48 Francis Robinson Roy F. Allison Formula for a successful operatic career today: Audio Editor a beautiful voice and an insatiable appetite for work. Miriam D. Manning Managutg Editor A Look of Youth for a Ripe Old Art 50 William Weaver Joan Griffiths Opera in opera's homeland nove delights ale as well as ear. Associate Editor J. Gordon Holt Going Stereo 53 Herman Burstein Technical Editor Hpu to make the moil of the fact that Too have luno cars. Roy Lindstrom Art Director The Audacious Oculist 56 Sol London Martha Jane Brewer A modern phlsiciau investigates the charges against the Editorial Assistant surgeon said to Gare killed Hach and Mandel. Frances A. Newbury Manaiiiit, Book Division A Hi -Fi Primer 135 John H. Newitt C. G. Burke Part /ll of a basic instructional tuiles. R. D. Darrell James Hinton, Jr. Robert Charles Marsh nlrsburns Editors REPORTS Charles Fowler Books in Review 31 Publisher Warren B. Byer Music Makers 61 Roland Gelatt Associate Publisher Claire N. Eddings Record Section 65 Advertising Sales Manager Records in Review Arthur J. Griffin Circulation Manager The Tape Deck 105 R. D. Darrell Tested in the Home 121 AMI Mark I radio -phonograph Tech-Master amplifier A D V E R T I S I N G Ferrograph tape recorder Sonotone HFA -150 amplifier Morn Office Weathers Barrington speaker system Claire N. Eddings, The Publishing House Great Barrington, Mass. Telephone 1300. New York Bernard Covit, 280 Madison Ave. AUTHORitatively Speaking 4 On the Counter 6 Telephone: MUrray Hill 3.4449 or 3 -4450. Chicago John R. Rutherford 8 Associates, Letters 9 Noted with Interest 21 As the Editors see It 43 Inc., 230 East Ohio St. Telephones Whitehall 4.6715 Audio Forum 139 Trader's Los Angeles Marketplace 160 Brand 8 Brand, Inc., 6314 San Vicente Blvd. Telephone: Webster 8 -3971. Professional Directory 162 Advertising Index 165 High Fidelity Magazine is published monthly by Audiocom, Inc., at Great Barrington, Mass. Telephone: Great Barrington 1300. Editorial, publication, and circulation offices at: The Publishing House, Great Barrington, Mass. Subscriptions: $6.00 per year in the United States and Canada. Single copies: 60 cents each. Editorial contributions will be welcomed by the editor. Payment tor articles accepted will be arranged prior to publication. Unsolicited manuscripts should be accompanied by return postage. Entered as second -class matter April 27, 1951 at the post office at Great Barrington, Mass., under NOVEMBER 1957 the act of March 3, 1879. Additional entry at the post office, Pittsfield, Mass., application for additional entry at Bristol, Conn. pending. Member Audit Bureau of Cucuiation. Copyright 1957 by Audiocom, Inc. The cover design and contents of High Fidelity Magazine are fully protected by copyrights and must not be reproduced in any manner. www.americanradiohistory.com e > only the has 100% IQF Choice of the best phonograph pickup can only be resolved by comparison! What is the yardstick? ... How can you tell? ... What do you look for? ... the answer is 100% Important Quality Features'! FREQUENCY RESPONSE CURVES PICKERING has had long experience in the cartridge field, supplying the finest quality products for recording studios, broadcast stations, wired music services, and high fidelity home music systems. As a result of this extensive experience, PICKERING has developed the FLUXVALVE . the one car- tridge which incorporates all of the Important Quality Features' so necessary for high fidelity reproduction from records. Before you choose a cartridge . ItfOUfNCY IN CYCLES PER SECOND CARTRIDGE A ........_-. Frequency Response: Flat 20-20,000 cps ± 2 db YES 20 Points NO 0 Points NO 0 Points NO 0 Points (see curves on right) Low Tracking Force, YES 20 Points NO 0 Points YES 20 Points NO 2 -4 grams 0 Points L FREQUENCY IN CYCLES PER SECOND High Output, No YES 10 Points NO 0 Points NO 0 Points YES Transformer Required 10 Points CARTRIDGE e Replaceable Styli YES 10 Points NO 0 Points NO 0 Points YES 10 Points I Mil Stylus YES 15 Points NO 0 Points NO 0 Points NO 0 Points One Cartridge For YES 5 Points LP's and 78's NO 0 Points NO 0 Points YES 5 Points Anti -Hum Design YES 10 Points YES 10 YES Points 10 Points YES 10 Points FREQUENCY IN CYCLES PER SECOND IMPORTANT Hermetically Sealed YES 10 Points NO 0 Points NO 0 Points NO 0 Points CARTRIDGE C QUALITY OTAL POINT VALUE 100% 10% 30% 35% FEATURES -so THE FLUXVALVE ... chosen time and again as the top cartridge sole y on the necessary basis of listening quality ... by panels of qualified experts ... tests which have proven that it is actually less costly to own a FLUXVALVE for The FLUXVALVE preserves the quality and prolongs the life of your record high since is L there complete absence of resonances throughout the audio frequency FREQUENCY IN CYC.ES PER )Er range.
Load more

Recommended publications
  • L'amico Fritz
    opera Stagione teatrale 2015-2016 TEATRO DANTE ALIGHIERI Pietro Mascagni L’amico Fritz Fondazione Ravenna Manifestazioni Comune di Ravenna Ministero dei Beni e delle Attività Culturali e del Turismo Regione Emilia Romagna Teatro di Tradizione Dante Alighieri Stagione d’Opera e Danza 2015-2016 L’amico Fritz commedia lirica in tre atti di P. Suardon musica di Pietro Mascagni Teatro Alighieri 9, 10 gennaio con il contributo di partner Sommario La locandina ................................................................ pag. 5 Il libretto ....................................................................... pag. 6 Il soggetto .................................................................... pag. 23 L’amico Fritz, seconda opera di Mascagni di Fulvio Venturi ........................................................ pag. 25 Guida all’ascolto di Sara Dieci ................................................................ pag. 31 I protagonisti ............................................................. pag. 33 Coordinamento editoriale Cristina Ghirardini GraficaUfficio Edizioni Fondazione Ravenna Manifestazioni Si ringrazia il Teatro Municipale di Piacenza per aver concesso il materiale editoriale. Foto © Gianni Cravedi L’editore si rende disponibile per gli eventuali aventi diritto sul materiale utilizzato. Stampa Edizioni Moderna, Ravenna L’amico Fritz commedia lirica in tre atti dal romanzo omonimo di Erckmann-Chatrian musica di Pietro Mascagni libretto di P. Suardon (Nicola Daspuro) Casa Musicale Sonzogno personaggi e interpreti Suzel
    [Show full text]
  • Romana Palma 1..10
    PIERANGELA PALMA Gioconda De Vito La dea del violino Indice sommario Presentazione di SALVATORE ACCARDO ................................................... XII Premessa .................................................................................... 1 Cronologia.................................................................................. 5 Intervista a Gioconda De Vito in occasione della consegna del premio Amadeus, Londra, 18 febbraio 1991 ................................................................ 7 ‘‘Mi pare un secolo’’. Ritratti e parole di centosei protagonisti del novecento.... 11 CAPITOLO I La scuola violinistica di Gioconda De Vito ............................................. 13 Brevi cenni sul talento ................................................................ 19 CAPITOLO II L’attivita` didattica ......................................................................... 21 Intervista a Vanda De Vito .......................................................... 37 CAPITOLO III Il ventennio fascista e l’attivita` artistica ................................................. 51 CAPITOLO IV Attivita`concertistica....................................................................... 67 Alcuni programmi di concerto ...................................................... 81 Una tourne´e............................................................................ 91 Carteggi dall’archivio storico dell’Accademia Nazionale di Santa Cecilia Roma ...................................................................................
    [Show full text]
  • Tape Re Rding
    TAPE RE RDING 1,01.00..... vow Tow, low, wow,- loom" i,xnosszyi 'ST szno7 1-8 'any usngZi7 ILO DT/9H .zamats I* A.zaa.zo 'sYz Recording at the Zoo August, 1961 35c WE DON'T CARE IF IT'S SINGLE TRACK Al DUAL Havai EVEN af10 national tape can duplicate national tape can duplicate national tape can duplicate national tape can duplicate national tape can dupl icat national tape can d'plical Major users of magnetic national tape can duplical national tape can duplico' tape look to national tape can ilup!ieal NATIONAL TAPE ii VitivaaI lape err II ii ii plies, national lape eon drlpliral for superior processing national lape can rinrplieu national Jupe ea >r rlllplira +' of tape duplicates II u l i o n a l lap e u rr rl rr li /iea national lape ea a rlrlitlieu national lape eo n il ii pl ;poti Language Laboratories nnlinII al tape eau rlulrliea' Recording Companies a rr 1 if) Ii rI I / II p «' a ìi rl n i pl i e u Radio Stations nufinnal la pc eu i!uiplieu' u e ,r Audio -Visual Producers rl l i ri it a I 1 a p r e a ri el rr l i Vi o (I (I I later rn Background Music Operators ralinnal lape eu Book Publishers a l iriH11I Ill pr l'a rr ' rr l,i,r u Corporations using I it l i anti/ t rpl e rn ll to p iea I tape for intercommunication al i inn l la p( ea a d alit i ea / raliaII aI lape e rlulrliea! Tape Recorder Manufacturers ,rr IloIiUI 1 rr pr eet it el n p/ ire 1 a 1 Ì n il rr I tripe e u rr rl rr a l i e n .
    [Show full text]
  • HBO and the HOLOCAUST: CONSPIRACY, the HISTORICAL FILM, and PUBLIC HISTORY at WANNSEE Nicholas K. Johnson Submitted to the Facul
    HBO AND THE HOLOCAUST: CONSPIRACY, THE HISTORICAL FILM, AND PUBLIC HISTORY AT WANNSEE Nicholas K. Johnson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of History, Indiana University December 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee __________________________________ Raymond J. Haberski, Ph.D., Chair __________________________________ Thorsten Carstensen, Ph.D. __________________________________ Kevin Cramer, Ph.D. ii Acknowledgements First, I would like to thank the members of my committee for supporting this project and offering indispensable feedback and criticism. I would especially like to thank my chair, Ray Haberski, for being one of the most encouraging advisers I have ever had the pleasure of working with and for sharing his passion for film and history with me. Thorsten Carstensen provided his fantastic editorial skills and for all the times we met for lunch during my last year at IUPUI. I would like to thank Kevin Cramer for awakening my interest in German history and for all of his support throughout my academic career. Furthermore, I would like to thank Jason M. Kelly, Claudia Grossmann, Anita Morgan, Rebecca K. Shrum, Stephanie Rowe, Modupe Labode, Nancy Robertson, and Philip V. Scarpino for all the ways in which they helped me during my graduate career at IUPUI. I also thank the IUPUI Public History Program for admitting a Germanist into the Program and seeing what would happen. I think the experiment paid off.
    [Show full text]
  • View / Open Bratslavsky Oregon 0171A 10830
    FROM EPHEMERAL TO LEGITIMATE: AN INQUIRY INTO TELEVISION’S MATERIAL TRACES IN ARCHIVAL SPACES, 1950s -1970s by LAUREN MICHELLE BRATSLAVSKY A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2013 DISSERTATION APPROVAL PAGE Student: Lauren Michelle Bratslavsky Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Dr. Janet Wasko Chairperson Dr. Carol Stabile Core Member Dr. Julianne Newton Core Member Dr. Daniel Pope Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2013 ii © 2013 Lauren M. Bratslavsky This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Lauren Michelle Bratslavsky Doctor of Philosophy School of Journalism and Communication September 2013 Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s The dissertation offers a historical inquiry about how television’s material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials “worthy” of preservation and academic study.
    [Show full text]
  • Katonah Museum of Art Rom the Irector Anner Ear F D Board of Trustees Museum Staff a B Y Victoria F
    Katonah Museum of Art Annual Report 2007/08 rom the irector anner ear F D Board of Trustees Museum Staff A B Y Victoria F. Morris, President Neil Watson Carole Alexander, Vice Executive Director President Virginia Gold, Vice President Margaret Adasko Shelley LeBoff, Vice President Education Coordinator Rochelle C. Rosenberg, Vice Laura Bass President Public Relations/Marketing Sylvia Smolensky, Secretary Assistant Maralyn Carr, Treasurer Anaïs Borg-Marks Mary Lou Alpert Development Officer Nancy Beaver Gail Bryan Cynthia R. Brennan Public Programming Coordinator Leslie Cecil Allison Chernow Alexander Cortesi Director of Development Rosalie Dolmatch Raymond Finney Mindy Friedman Custodian Literary Lunch Spring Benefit: An Artful Event Nisa Geller Jonni Hirsch This sold-out annual event at Tappan The KMA’s biggest fundraiser LaRuth Hackney Gray Administrative Assistant Leslie A. Jacobson, Emeritus Nancy Hitchcock Hill featured Michael Beschloss, honored long-time KMA leaders Edith Katz Registrar NBC’s “presidential historian,” Mary Lou and Ira Alpert and What a stellar year for the Katonah Museum of Art! We Bernard Korman Patricia Keane Jeffrey Toobin, CNN’s senior legal corporate honoree Blue Sky Studios celebrated two important milestones and broke a number of Paul Llewellyn Director of Finance analyst, and Thomas Edsall, a 25-year at the Roosevelt Ballroom in Yonkers. attendance records. Childhood was commemorated with the Katherine C. Moore Gail Keene Linda Nordberg Administrative Assistant veteran of political affairs for The Rebecca and Arthur Samberg’s popular Children Should Be Seen: The Image of the Child in American Jerry Pinkney Gina Keir Washington Post (December 2007) $60,000 Education Challenge Grant Picture-Book Art.
    [Show full text]
  • Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924
    Wickstead, H 2017 “Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924. Bulletin of the History of Archaeology, 27(1): 4, pp. 1–18, DOI: https://doi.org/10.5334/bha-596 RESEARCH PAPER “Wild Worship of a Lost and Buried Past”: Enchanted Archaeologies and the Cult of Kata, 1908–1924 Helen Wickstead Histories of archaeology traditionally traced the progress of the modern discipline as the triumph of secular disenchanted science over pre-modern, enchanted, world-views. In this article I complicate and qualify the themes of disenchantment and enchantment in archaeological histories, presenting an analysis of how both contributed to the development of scientific theory and method in the earliest decades of the twentieth century. I examine the interlinked biographies of a group who created a joke religion called “The Cult of Kata”. The self-described “Kataric Circle” included notable archaeologists Harold Peake, O.G.S. Crawford and Richard Lowe Thompson, alongside classicists, musicians, writers and performing artists. The cult highlights the connections between archaeology, theories of performance and the performing arts – in particular theatre, music, folk dance and song. “Wild worship” was linked to the consolidation of collectivities facilitating a wide variety of scientific and artistic projects whose objectives were all connected to dreams of a future utopia. The cult parodied archaeological ideas and methodologies, but also supported and expanded the development of field survey, mapping and the interpretation of archaeological distribution maps. The history of the Cult of Kata shows how taking account of the unorthodox and the interdisciplinary, the humorous and the recreational, is important within generously framed approaches to histories of the archaeological imagination.
    [Show full text]
  • RCA LHMV 1 His Master's Voice 10 Inch Series
    RCA Discography Part 33 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA LHMV 1 His Master’s Voice 10 Inch Series Another early 1950’s series using the label called “His Master’s Voice” which was the famous Victor trademark of the dog “Nipper” listening to his master’s voice. The label was retired in the mid 50’s. LHMV 1 – Stravinsky The Rite of Spring – Igor Markevitch and the Philharmonia Orchestra [1954] LHMV 2 – Vivaldi Concerto for Oboe and String Orchestra F. VII in F Major/Corelli Concerto grosso Op. 6 No. 4 D Major/Clementi Symphony Op. 18 No. 2 – Renato Zanfini, Renato Fasano and Virtuosi di Roma [195?] LHMV 3 – Violin Concerto for Violin and Orchestra No. 2 (Bartok) – Yehudi Menuhin, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 4 – Beethoven Concerto No. 5 in E Flat Op. 73 Emperor – Edwin Fischer, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 5 – Brahms Concerto in D Op. 77 – Gioconda de Vito, Rudolf Schwarz and the Philharmonia Orchestra [1954] LHMV 6 - Schone Mullerin Op. 25 The Maid of the Mill (Schubert) – Dietrich Fischer-Dieskau, Gerald Moore [1/55] LHMV 7 – Elgar Enigma Variations Op. 36 Wand of Youth Suite No. 1 Op. 1a – Sir Adrian Boult and the London Philharmonic Orchestra [1955] LHMV 8 – Bach Brandenburg Concerto No. 2 in F/Brandenburg Concerto No. 5 in D – Harold Jackson, Gareth Morris, Herbert Sutcliffe, Manoug Panikan, Raymond Clark, Gerraint Jones, Edwin Fischer and the Philharmonia Orchestra [1955] LHMV 9 – Beethoven Symphony No. 5 in C Minor Op.
    [Show full text]
  • CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
    LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself.
    [Show full text]
  • Selected Scifi 201102.Xlsx
    Selected Used SciFi Books- Subject to availability - Call/email store to receive purchasing link ([email protected] 540206-2505) StorePri AuthorsLast Title EAN Publisher ce Cross-Currents: Storm Season, The Face of Chaos, Abbey, Robert Lynn Asprin and Lynn B000GPXLOQ Nelson Doubleday,. $8.00 and Wings of Omen Adams, Douglas Life, The Universe and Everything 9780517548745 Harmony Books $8.00 Adams, Douglas Mostly Harmless 9781127539635 BALLANTINE BOOKS $15.00 Adams, Douglas So Long, and Thanks for All the Fish 9780795326516 HARMONY BOOKS $6.00 Adams, Douglas The Restaurant at the End of the Universe 9780517545355 Harmony $8.00 Adams, Richard MAIA 9780394528571 Knopf $8.00 Alan, Foster Dean Midworld B001975ZFI Ballentine $8.00 Aldiss, Brian W. Helliconia Summer (Helliconia Trilogy, Book Two) 9781111805173 Atheneum / $8.00 Aldiss, Brian W. Non-Stop B0057JRIV8 Carroll & Graf $10.00 Aldiss, Brian Wilson Helliconia Winter (Helliconia, 3) 9780689115417 Atheneum $7.00 Allen, Roger E. Isaac Asimov's Inferno 9780441000234 Ace Trade $6.00 Allen, Roger Macbride Isaac Asimov's Utopia 9781857982800 Orion Publishing Co $8.00 Allston, Aaron Enemy lines (Star wars, The new Jedi order) 9780739427774 Science Fiction $15.00 Anderson, Kevin J and Rebecca The Rise of the Shadow Academy 9781568652115 Guild America $15.00 Moesta Anderson, Kevin J,Herbert, Brian Hunters of Dune 9780765312921 Tor Books $10.00 Anderson, Kevin J. A Forest of Stars: The Saga of Seven Suns Book 2 9780446528719 Aspect $8.00 Anderson, Kevin J. Darksaber (Star Wars) 9780553099744 Spectra $10.00 Anderson, Kevin J. Hidden Empire: The Saga of Seven Suns - Book 1 9780446528627 Aspect $8.00 Anderson, Kevin J.
    [Show full text]
  • A-151 Adam 10.55 Utchati American Valor JC Eck/Miller 8.50 2.50 P86
    09/01/2016 LARGE GAZEHOUND RACING ASSOCIATION prepared by Ann Chamberlain Please submit all results via email within 48 hrs. to: [email protected] Send hard copies, all foul judge sheets, and FTE papers within 7 days to: Dawn Hall 900 So. East St, Weeping Water, NE 68463-4430 Send checks within 7 days to: Judy Lowther, 4300 Denison Ave., Cleveland OH 44109-2654 CALL 7/30/2016 DQ Recent Middle Oldest LRN NAME WAVE REGISTERED NAME OWNER Career GRC NGRC YTD Meet Score Meet Score Meet Score AFGHAN A-151 Adam 10.55 Utchati American Valor JC Eck/Miller 8.50 2.50 P86 8.00 O128 11.00 O124 15 A-149 Ahnna 18.36 Becknwith Arianna o'Aljazhir Beckwith 2.50 2.50 J12 14.00 I138 22.00 I134 22 A-231 Ali Baba 19.00 Cameo Ghost of Ali Baba Nelson 2.00 2.00 O111 19.00 A-164 Amanda 16.00 El Zagel Victoria's Secret GRC King 12.00 6.00 K161 y 6.00 K113 16.00 K60 16 A-182 Ana 10.18 Naranj Oranje Aiyana King L99 12.00 5.50 R126b y 4.00 R105b 11.00 R007a 9.00 A-300 Ardiri 19.32 Vahalah Ardiri Naranj Oranje Koscinski 7.75 5.00 0.50 V107a 18.00 U298c 20.00 U297a 21.00 A-243 Arrow 10.00 Sharja Straight to the Heart Arwood O187 y 10.00 A-282 Arthur 9.24 Ballyharas Celtic Arthurian Legend Wilkins 0.50 S152b 8.00 S118b 11.00 A-166 Asti 14.41 Noblewinds Asti Spumanti Porthan 1.00 1.00 L46 13.00 J43 16.00 J40 15 A-299 Atala 13.73 Vahalah Atala Naranj Oranje Meuler/Koscinski 11.00 4.50 0.50 V128a 16.00 V107a 11.00 U298c 13.00 A-188 Athena 11.00 Polo's LuKon Vanity F'Air Muise N132 11.00 N84 11.00 M117 11 A-236 Aurora 11.68 Swiftwind Forever Auroras Diva Nelson/Schott
    [Show full text]
  • Microphone Techniques
    AKG Music and Recording Applications A Practical, Hands-on & Ear-Oriented& Guide to Microphone Selection in the Studio Table of Contents Introduction ................................................................................................................................................................1 The Beginings of Hi-Fi ..................................................................................................................................................1 Vocal Recording............................................................................................................................................................2 The Drum Set and Other Percussion Instruments..........................................................................................................3 Micing the Marimba and Vibraphone............................................................................................................................7 The Guitar....................................................................................................................................................................7 Recording the Acoustical Bass.......................................................................................................................................9 Keyboard Instruments, Traditional and Modern...........................................................................................................10 Electronic Keyboard Instruments ................................................................................................................................12
    [Show full text]