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Underserved Communities
National Endowment for the Arts FY 2016 Spring Grant Announcement Artistic Discipline/Field Listings Project details are accurate as of April 26, 2016. For the most up to date project information, please use the NEA's online grant search system. Click the grant area or artistic field below to jump to that area of the document. 1. Art Works grants Arts Education Dance Design Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts 2. State & Regional Partnership Agreements 3. Research: Art Works 4. Our Town 5. Other Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of April 26, 2016. Arts Education Number of Grants: 115 Total Dollar Amount: $3,585,000 826 Boston, Inc. (aka 826 Boston) $10,000 Roxbury, MA To support Young Authors Book Program, an in-school literary arts program. High school students from underserved communities will receive one-on-one instruction from trained writers who will help them write, edit, and polish their work, which will be published in a professionally designed book and provided free to students. Visiting authors, illustrators, and graphic designers will support the student writers and book design and 826 Boston staff will collaborate with teachers to develop a standards-based curriculum that meets students' needs. Abada-Capoeira San Francisco $10,000 San Francisco, CA To support a capoeira residency and performance program for students in San Francisco area schools. Students will learn capoeira, a traditional Afro-Brazilian art form that combines ritual, self-defense, acrobatics, and music in a rhythmic dialogue of the body, mind, and spirit. -
No Goose Step at the Cenotaph
,m,^M,w,m^«««^,,mr,'.^,:>-., .'.^^.^^•^.^n^'y^^, »g^y=^^^i^:^3,..^ i».s^-^^.^:n>.««».a»siBai AJ R Information Volume XLIX No. 6 June 1994 £3 (to non-members) Don't miss . The debate about German participation in the VE Day anniversary Controversial corridors p3 No goose step at the Cenotaph Before the anticlimax pl2 he proposed participation of German soldiers To reiterate these facts is not to rehearse the "let's- Musical in ceremonies on the 50th anniversary of VE be-beastly-to-the-Hun" theme beloved of the late midsummer Day is fuelling widespread and bitter debate. Lord Vansittart and currently echoed in sections of madness p. 16 T Amid the clash of contending opinions one truth the tabloid press. The Nazified Wehrmacht did not stands out beyond peradventure. The German army stand in direct line of succession to the Junker-led that surrendered in May 1945 had been an enthusi Prussian Army. Readers familiar with The Case of astic - and, at the very least, a supremely acquiescent Sergeant Grisha will have recognised the bourgeois- — instrument in Hitler's war of conquest. Buoyed up descended Ludendorff figure responsible for Grisha's The by the euphoria of early victories, it had helped inflict execution in the novel as a precursor of Manstein and unprecedented suffering on millions of Poles, Jews, Keitel in the Second World War. imperative Russians and other Europeans. In fact it was largely from the Junker class the that of Justice I German officers had shown none of their Italian opponents of Hitler who engineered the Officers' Plot counterparts' scruples about despatching Jews to of 20 July 1944 came. -
Philosophical Motives and Spiritual Imeratives of Russian Culture (The Context of the Axiology of Creativity)
ISSN 1989 – 9572 DOI: 10.47750/jett.2021.12.02.004 Philosophical motives and spiritual imeratives of russian culture (the context of the axiology of creativity) Ignatov Mikhail Alexandrovich1 Antonova Elena Leonidovna2 Resh Olesya Vladimirovna3 Sharabarin Mikhail Ivanovich4 Anisimova Olga Lvovna5 Journal for Educators, Teachers and Trainers, Vol. 12 (2) https://jett.labosfor.com/ Date of reception: 06 Nov 2020 Date of revision: 05 Feb 2021 Date of acceptance: 03 May 2021 Ignatov Mikhail Alexandrovich, Antonova Elena Leonidovna, Resh Olesya Vladimirovna, Sharabarin Mikhail Ivanovich, Anisimova Olga Lvovna(2021). Philosophical motives and spiritual imeratives of russian culture (the context of the axiology of creativity). Journal for Educators, Teachers and Trainers, Vol. 12(2). 26 – 29. 1Doctor of Philosophy, Associate Professor, Associate Professor of the Department of Philosophy, Cultural Studies, and Science Studies, Belgorod State Institute of Arts and Culture (Belgorod, Russia), 2Candidate of Philosophy, Associate Professor, of the Department of Philosophy, Cultural Studies, and Science Studies, Belgorod State Institute of Arts and Culture (Belgorod, Russia). 3Candidate of Cultural Sciences, Associate Professor of the Department of Musical Art of Variety and Sound Engineering, Belgorod State Institute of Arts and Culture (Belgorod, Russia). 4Candidate of Art History, Associate Professor, Honored Worker of Culture of the Russian Federation, Belgorod State Institute of Arts and Culture (Belgorod, Russia). 5Post-graduate Student of the -
Tver If You Are on the Group Flight, You Will Be Met at the Airport by Your RLUS Representatives
Your Arrival in Tver If you are on the group flight, you will be met at the airport by your RLUS representatives. There may be many students coming through all at once, so please be patient. You will then be taken to Tver in a minibus provided by the university, and will be taken to your accommodation. The journey to Tver is relatively short - approximately 2 hours and 30 minutes depending on traffic. If you are not travelling with the RLUS group flight, you will be expected to make your own way to Tver and to your accommodation. We will provide you with your address and transport information in this case. Public transport from the airport is reasonably-priced and easily navigable. All Moscow airports have a train service to the city, called Aeroexpress. The train costs 500 roubles and takes approximately 45 minutes to get to the city, depending on which airport you arrive at. When you arrive at the station, follow the signs to the metro, which is characterised by a big red M. You can buy tickets from the ticket office inside. Once you arrive into central Moscow, you can take an elektrichka train to Tver – these are small, local trains for which you do not need to buy a ticket in advance. You’d better take a local high-speed train called “Lastochka” Moscow – Tver. It takes 1 hour and 40 min. to get to Tver. It costs 535 roubles. You should buy a ticket at a railway station cash desk or from machines at the train station. -
CATALOGUE 2018 This Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 CATALOGUE 2018 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 CATALOGUE 2018 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany WORLD SALES CEO: Jan Mojto C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager All information is not contractual and subject to change without prior notice. [email protected] & Marketing [email protected] All trademarks used herein are the property of their respective owners. [email protected] Date of Print: February 2018 © UNITEL 2018 All rights reserved Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet [email protected] [email protected] ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES AVAILABLE FOR THE FIRST TIME FOR GLOBAL DISTRIBUTION LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Nutcracker 5 Three Hundred Eighty-Second Program of the 2013-14 Season ______
2013/2014 5 The Nutcracker Peter Ilyich Tchaikovsky Three Hundred Eighty-Second Program of the 2013-14 Season _______________________ Indiana University Ballet Theater as its 55th annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story “The Nutcracker and the Mouse King” by E. T. A. Hoffman Michael Vernon, Choreography Philip Ellis, Conductor C. David Higgins, Set and Costume Design Patrick Mero, Lighting Design The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. ____________ Musical Arts Center Thursday vening,E December Fifth, Seven O’Clock Friday Evening, December Sixth, Eight O’Clock Saturday Afternoon, December Seventh, Two O’Clock Saturday Evening, December Seventh, Eight O’Clock Sunday Afternoon, December Eighth, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Guoping Wang, Ballet Master Shawn Stevens, Ballet Mistress Doricha Sales, Ballet Mistress & Children’s Ballet Mistress The children performing in The Nutcracker are from the Jacobs School of Music Pre-College Ballet Program. MENAHEM PRESSLER th 90BIRTHDAY CELEBRATION Friday, Dec. 13 8pm | Musical Arts Center | $10 Students $20 Regular The Jacobs School of Music will celebrate the 90th birthday of Distinguished Professor Menahem Pressler with a concert that includes performances by violinist Daniel Hope, cellist David Finckel, pianist Wu Han, the Emerson String Quartet, and the master himself! Chat online with the legendary pianist! Thursday, Dec. 12 | 8pm music.indiana.edu/celebrate-pressler For concert tickets, visit the Musical Arts Center Box Office: (812) 855-7433, or go online to music.indiana.edu/boxoffice. -
Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University. -
High-Fidelity-1955-Nov.Pdf
November 60 cents SIBELIUS AT 90 by Gerald Abraham A SIBELIUS DISCOGRAPHY by Paul Affelder www.americanradiohistory.com FOR FINE SOUND ALL AROUND Bob Fine, of gt/JZe lwtCL ., has standardized on C. Robert Fine, President, and Al Mian, Chief Mixer, at master con- trol console of Fine Sound, Inc., 711 Fifth Ave., New York City. because "No other sound recording the finest magnetic recording tape media hare been found to meet our exact - you can buy - known the world over for its outstanding performance ing'requirements for consistent, uniform and fidelity of reproduction. Now avail- quality." able on 1/2-mil, 1 -mil and 11/2-mil polyester film base, as well as standard plastic base. In professional circles Bob Fine is a name to reckon auaaaa:.cs 'exceed the most with. His studio, one of the country's largest and exacting requirements for highest quality professional recordings. Available in sizes best equipped, cuts the masters for over half the and types for every disc recording applica- records released each year by independent record lion. manufacturers. Movies distributed throughout the magnetically coated world, filmed TV broadcasts, transcribed radio on standard motion picture film base, broadcasts, and advertising transcriptions are re- provides highest quality synchronized re- corded here at Fine Sound, Inc., on Audio products. cordings for motion picture and TV sound tracks. Every inch of tape used here is Audiotape. Every disc cut is an Audiodisc. And now, Fine Sound is To get the most out of your sound recordings, now standardizing on Audiofilm. That's proof of the and as long as you keep them, be sure to put them consistent, uniform quality of all Audio products: on Audiotape, Audiodiscs or Audiofilm. -
A. Mosolov Complete Works for Solo Piano
A. MOSOLOV COMPLETE WORKS FOR SOLO PIANO OLGA ANDRYUSHCHENKO 1 ALEXANDER MOSOLOV (1900-1973) COMPLETE WORKS FOR SOLO PIANO OLGA ANDRYUSHCHENKO, piano Catalogue number: GP703-04 Recording Dates: 19-22 February 2015 Recording Venue: CMS Studio, Moscow, Russia (CD1) Sovetskij Kompositor, Moscow (1 and 5), Universal Edition, Wien (2) Triton, Leningrad (1928) (3-4) (CD2) Sovetskij Kompositor, Moscow (1 and 3) Universal Edition, Wien (2) Producer and Editor: Galina Katunina Mastering Engineer: Slava Poprugin Engineer: Sergey Solodovnikov Piano Technician: Artjom Deev Piano: Steinway D Booklet Notes: Anthony Short German translation by Cris Posslac Artist photograph: Nicola Christov Composer portrait: Inna Barsova Cover Art: Tony Price: Moissac Abstract Study 4 www.tonyprice.org 2 CD 1 1 PIANO SONATA NO. 1 IN C MINOR, OP. 3 (1924) 10:55 2 NOCTURNES, OP. 15 (1925-26) 06:56 2 No. 1 Elegiaco, poco stentato 03:28 3 No. 2 Adagio 03:28 3 SMALL PIECES, OP. 23A (1927) 02:25 4 No. 1 00:55 5 No. 2 00:47 6 No. 3 00:43 2 DANCES, OP. 23B (1927) 04:17 7 No. 1 Allegro molto, sempre marcato 02:02 8 No. 2 Allegretto 02:15 PIANO SONATA NO. 2 IN B MINOR, OP. 4 “FROM OLD NOTEBOOKS” (1923-24) 23:35 9 I. Sonata 10:28 0 II. Adagio 06:38 ! III. Final 06:29 TOTAL TIME: 48:06 3 CD 2 1 PIANO SONATA NO. 4, OP. 11 (1925) 11:46 TURKMENIAN NIGHTS – PHANTASY FOR PIANO (1929) 11:41 2 I. Andante con moto 04:07 3 II. Lento 05:15 4 III. -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
Aida Mahmudova Passing
Aida Mahmudova Passing By… May 28 – July 3, 2015 Aida Mahmudova, Rambling Vine, 2015, Mixed media on canvas, 65 x 82.6 in / 165x210cm Courtesy of the artist, Yay Gallery, Baku and Leila Heller Gallery, New York Opening Reception: May 28, 6 - 8 pm 568 W 25th Street New York, NY 10012 New York, NY – Aida Mahmudova’s first solo exhibition in the United States, Passing By…, will be on view at Leila Heller Gallery, 568 West 25th Street, from May 28 – July 3, 2015. The exhibition will feature eight new paintings that build on the themes of nostalgia and memory found in her past work and draw inspiration from the landscape and architecture of Azerbaijan where she currently lives and works. 568 West 25th Street New York, NY 10001 | Tel: +1 212 249 7695 Fax: +1 212 249 7693 www.LeilaHellerGallery.com Mahmudova animates the surface of the canvas drawing attention to both the process of painting and the material qualities of the paint itself. Mahmudova plays with depth, perspective and scale, creating large-scale scenes that draw in the viewer. A structure of bold planes of color is combined with layers of textured brushstrokes. The painted surface is further animated and enlivened with the addition of materials such as polyurethane foam over which an impasto application of paint is applied to build volume. In this series of paintings, Mahmudova explores the idea of impermanence. The works provide glimpses of Azerbaijan’s natural surroundings, urban environment and architecture—a backdrop that is undergoing constant and rapid change. Where one expects to see contrasting images of gleaming new construction alongside historic vestiges of Islamic architecture, Mahmudova instead focuses on modest structures on the peripheries of urban centers as they compete and coalesce with the native foliage. -
The Happiest Years Sonatas for Violin Solo by Artur Schnabel and Eduard Erdmann
The Happiest Years Sonatas for Violin Solo by Artur Schnabel and Eduard Erdmann Judith Ingolfsson, Violin The Happiest Years Sonatas for Violin Solo by Artur Schnabel a nd Eduard Erdmann Judith Ingolfsson, Violin Artur Schnabel (1882–1951) Sonata for Violin Solo (1919) 01 I. Langsam, sehr frei und leidenschaftlich . (09'23) 02 II. In kräftig-fröhlichem Wanderschritt, durchweg sehr lebendig . (03'10) 03 III. Zart und anmutig, durchaus ruhig . (11'27) 04 IV. Äußerst rasch (Prestissimo) . (06'39) 05 V. Sehr langsame Halbe, mit feierlichem ernstem Ausdruck, doch stets schlicht . (15'58) Eduard Erdmann (1896–1958) Sonata for Violin Solo, Op. 12 (1921) 06 I. Ruhig – Fließend – Ruhig . (07'48) 07 II. Allegretto scherzando – Trio: Einfach, wie eine Volksweise . (04'17) 08 III. Langsam . (02'39) 09 IV. Lebendig . (03'44) Total Time . (65'11) The Happiest Years he years from 1919 to 1924 in Berlin,” Artur Schnabel told an audience of stu- dents in 1945, “were, musically, the most stimulating and perhaps the happiest I ever experienced.” During this brief period of his life, the great pianist chose to T play fewer concerts and devote more time to composing. He was “happy” com- posing and considered it “a kind of hobby, or love aff air.” He was not interested in the “value” of his compositions, rather in the “activity.” In 1919 the atmosphere in Berlin was turbulent. The loss of the First World War, the No- vember Revolution, and the subsequent establishment of the Weimar Republic had created social disparity. Although theaters, cinemas, and cabarets abounded, and literary and artis- tic life displayed great vitality, there remained a striking contrast between the neon lights of Kurfürstendamm and the impoverished working-class areas.