Musical and Cultural Osmoses in the Balkans
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Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent. -
SAINT MARY ORTHODOX CHURCH October 1St 2017
SAINT MARY ORTHODOX CHURCH The Self-Ruled Antiochian Orthodox Christian Archdiocese of North America “The disciples were first called Christians in Antioch.” (Acts 11:26) 6330 W. 127th St., Palos Heights, IL 60463 Phone : (708) 239-0004, Fax : (708) 221-6449 www.stmaryoc.org ([email protected]) Church Office Hours : Monday - Friday 10:00am-3:00pm St. Mary Parish Clergy st V. Rev. Fr. Mousa Haddad, Pastor October 1 2017 V. Rev. Fr. Malek Rihani Rev. Fr. Danial Doss (OCA) Seventeenth Sunday after Pentecost & Second Sunday of Luke Rev. Archdeacon Saed Rihani Subdn. John Andoun, Youth Director Apostle Ananias of the Seventy, First Bishop of Damascus Parish Council Luai Sweiss - Chairman & Righteous Father Romanos the Melodist Isa Riadi - Vice Chairman Fadi Abu Manneh - Treasurer Scott Abdo - Financial Secretary John Eannace - Secretary Magida Abudayyeh Nidal Al-Farah Jason Haddad Natalie Salman Rashid Sweis Parish Ministries Sunday School - Philip Riske SOYO - Jehan Tadros YAM - Marram Salman Antiochian Women - Nihad Sweis Fundraising - Rashid Sweis Humanitarian - Shireen Salman OCLife - Nancy Cannon Fishers of Men - John Eannace Athletics - Nidal Haddad Choir - Michael Rascia Chanters - Khaled Salman, Faris Samawi and Danny Haddad Webmaster - Sana Sweis Ushers - Jamal Swais, Louis Sweiss Office May Sweis [email protected] Church Hall Rental Call the church office or email our Office Administrator Weekly Schedule of Services: Saturday Great Vespers 5:00pm (Confessions heard after Great Vespers) Sunday Orthros 8:45am followed by Divine Liturgy 10:00am Wednesday Morning Prayers followed by Arabic Bible Study 10:00am Check our website for feast day services and all other services Welcome to St. -
Pristup Cjelovitom Tekstu Rada
GODIŠNJAK NJEMAČKE ZAJEDNICE DG JAHRBUCH 2013. Zbornik radova 20. Znanstvenog skupa “Nijemci i Austrijanci u hrvatskom kulturnom krugu” Zagreb, 9. - 11. 11. 2012. Osijek, 2013. DG Jahrbuch, Vol. 20, 2013. str. 1-414 UDK 08:061.2 ISSN 1331-7172 Izdavač: NJEMAČKA ZAJEDNICA Zemaljska udruga Podunavskih Švaba u Hrvatskoj, Osijek DEUTSCHE GEMEINSCHAFT Landsmannschaft der Donauschwaben in Kroatien, Essegg Glavna urednica mr. sc. Renata Trischler Izdavački savjet Ludwig Bauer (Zagreb), dr. sc. Lidija Dujić (Zagreb), doc. dr. sc. Marija Karbić (Zagreb), prof. dr. sc. Snježana Paušek-Baždar (Zagreb), dr. sc. Stanko Piplović (Split), dr. sc. Zlata Živaković-Kerže (Osijek). Adresa uredništva Ribarska 1 31000 Osijek Tel: 031/213-610 Fax: 031/213-611 E-mail: [email protected] Prijevodi sažetaka na njemački jezik Elisabeth Klein, prof. Grafička priprema Zlatko Škrinjar Tisak Grafika d.o.o. Osijek UDK: 08:061.2 ISSN: 1331-7172 Mišljenja autora ne odražavaju nužno gledište uredništva. Radovi objavljeni u “Godišnjaku Njemačke zajednice – DG Jahrbuch” dostupni su u bazama: Portal znanstvenih časopisa - Hrčak (http://hrcak.srce.hr/) Zbornik radova “Godišnjak Njemačke zajednice – DG Jahrbuch” tiskan je uz financijsku potporu Savjeta za nacionalne manjine i Osječko-baranjske županije. Das Buch “Godišnjak Njemačke zajednice – DG Jahrbuch” wurde Dank der finanziellen Unterstützung des Rates für nationale Minderheiten der Republik Kroatien und der Osijeker-Baranjaer Präfektur herausgegeben. DG Jahrbuch, Vol. 20, 2013. str. 1-414 UDK 08:061.2 ISSN 1331-7172 Njemačka zajednica Zemaljska udruga Podunavskih Švaba u Hrvatskoj, Osijek Deutsche Gemeinschaft Landsmannschaft der Donauschwaben in Kroatien, Essegg DG Jahrbuch, Vol. 20, 2013. str. 1-414 UDK 08:061.2 ISSN 1331-7172 DG Jahrbuch, Vol. -
Digibooklet Antonio Janigro
ANTONIO JANIGRO & ZAGREG SOLOISTS Berlin, 1957-1966 ARCANGELO CORELLI (1653-1713) Concerto grosso in D major, Op. 6/4 I. Adagio – Allegro 2:32 II. Adagio 2:03 SOLOISTS III. Vivace 1:09 IV. Allegro – 1:58 V. Allegro 0:41 Gunhild Stappenbeck, Cembalo Continuo recording: 14-01-1957 GIOACHINO ROSSINI (1792-1868) Sonata for Strings No. 6 in D major I. Allegro spiritoso 6:32 II. Andante assai 2:39 ZAGREG III. Tempesta. Allegro 5:12 recording: 19-04-1964 & PAUL HINDEMITH (1895-1963) Trauermusik (Funeral Music) for Solo Viola and Strings I. Langsam 4:28 II. Ruhig bewegt 1:25 III. Lebhaft 1:32 IV. Choral „Für deinen Thron“ 2:24 Stefano Passaggio, solo viola recording: 12-03-1958 JANIGRO DMITRI SHOSTAKOVICH (1906-1975) Octet for Strings, Op. 11 II. Scherzo recording: 17-04-1964 SAMUEL BARBER (1910-1981) Adagio for Strings recording: 19-04-1964 ANTONIO ANTONIO MILKO KELEMEN (*1924) Concertante Improvisations for Strings I. Allegretto 2:20 II. Andante sostenuto – Allegro giusto 2:05 SOLOISTS III. Allegro scherzando 1:15 IV. Molto vivace quasi presto 2:05 recording: 12-03-1958 MAX REGER (1873-1916) Lyric Andante for String Orchestra5:18 recording: 16-03-1966 WOLFGANG AMADEUS MOZART (1756-1791) Divertimento in B-flat major, K. 137 ZAGREG I. Andante 4:10 II. Allegro di molto 2:44 & III. Allegro assai 2:17 recording: 19-03-1961 ROMAN HOFFSTETTER (1742-1815), former attrib. to JOSEPH HAYDN (1732-1809) Serenade in C major (from Op. 3/5) recording: 11-11-1958 ANTONIO VIVALDI (1678-1741) Concerto in D major, RV 230 (Cello Version) JANIGRO I. -
The Orthodox Post Page 3
The Orthodox Post Page 3 THE ORTHODOX October 2014 Volume X, Issue 9 POST 2009 St. Nicholas Albanian Orthodox Church, 181-14 Midland Parkway, Jamaica Estates, New York, NY 11432 Volume V, Issue 6 Web site: www.stnicholasalbanian.org E-mail: [email protected] Tel: (718) 380-5684 Pastor’s Message INSIDE THIS ISSUE by Fr. Nathan Preston Pastor’s Message & President’s Message 1 There were, when I worked at the shelter, certain Daughters’ Corner & Flea Mkt/Bake Sale 2 maxims—ideas needing to be remembered—to help one throughout Golf Outing 3 the day and throughout the job. And the longer I worked there, after Community News & General Meeting 4 the sheen of novelty had long worn from my tasks, and as more 2015 Pledge Program 5 responsibility was handed over to me, particularly that responsibility to help and direct and inspire others in our jobs, the return to these September Feast Days 6 fundamental ideas, these maxims, became a necessity. One of these Merchant Ads 7-9 of which I needed routinely to be reminded and to remind was quite Major Events & Ushers’ Sunday Schedule 10 simple: “To walk through those doors is an act of bravery,” those My life now as your priest is differently frenzied than it was doors being the front doors of our building off a side street in before. The fights I have to break up are not physical; the food and downtown Newark. And though the bravery referred to might be welfare to be expended not always so immediate; the case planning, thought to be that of the staff, who so often endured thankless though, is sometimes quite similar. -
Biografije-Kandidata
Drakulić, Sanja skladateljica, pijanistica (Zagreb, 16. lipnja 1963.) Studij klavira završila 1986. na Muzičkoj akademiji u Zagrebu (prof. P. Gvozdić), a usavršavala se u inozemstvu (J.–M. Darré, S. Popovici, R. Kehrer). Kompoziciju je počela učiti na MA u Zagrebu kod prof. Stanka Horvata, a nastavila u Moskvi. Studij kompozicije s poslijediplomskom specijalizacijom završila je na Moskovskom državnom konzervatoriju P. I. Čajkovski (A. Pirumov, J. Bucko), gdje je studirala i muzikologiju (E. Gordina) i orgulje (O. Jančenko) te bila asistent. Od 1995. radila je kao redovita profesorica na Visokoj školi za glazbenu umjetnost Ino Mirković u Lovranu, a potom je djelovala kao slobodna umjetnica. Od 2000. radi na Umjetničkoj akademiji Sveučilišta J. J. Strossmayera u Osijeku. Održava međunarodne tečajeve i seminare iz kompozicije i teorije (Europa, Amerika, Japan). Angažirana je u žirijima međunarodnih natjecanja. Piše za Cantus i druge novine. Bila je voditeljica Međunarodne glazbene tribine u Puli. Djela joj izvode priznati svjetski i hrvatski solisti i sastavi na međunarodnim festivalima suvremene glazbe, u koncertnim dvoranama Hrvatske, Bosne i Hercegovine, Njemačke, Rusije, Ukrajine, Italije, Njemačke, SAD–a i Japana. Kao pijanistica nastupa po Europi i Sjedinjenim Američkim Državama. Članica je Hrvatskog društva skladatelja, Saveza skladatelja Rusije i Britanske akademije skladatelja i pjesnika. Nagrade: Na Sveruskom natjecanju mladih kompozitora u Moskvi (1993.) osvojila je prvu nagradu s kompozicijom Pet intermezza za klavir solo. Dobitnica je Jeljcinove Predsjednikove stipendije za skladatelje i brojnih nagrada za skladbe: nagrade Ministarstva kulture Ruske Federacije, te hrvatske nagrade Ministarstva kulture RH za poticanje glazbenog stvaralaštva, Hrvatskog sabora kulture, festivala Naš kanat je lip, Matetićevi dani, Cro patria i drugih. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Bibliografije ― Bibliographies, Armud6 47/1-2 (2016) 275-309 275
BIBLIOGRAFIJE ― BIBLIOGRAPHIES, ARMUD6 47/1-2 (2016) 275-309 275 BIBLIOGRAFIJE ― BIBLIOGRAPHIES BIBLIOGRAPHIA MUSICOLOGICA CROATICA ADDENDA I RADOVI ZA 2014. GODINU I. Znanstveni i stručni radovi a) Knjige BACHRACH-KRIŠTOFIĆ, Sanja – KRIŠTOFIĆ, Mario (ur.): Jugoton : istočno od raja : 20.10.-30.11.2014., Tehnički muzej, Zagreb : katalog izložbe, Kultura umjetnosti, Zagreb 2014, ISBN 9789535715016. BAJUK, Lidija – MIHOLIĆ, Irena (ur.): O hrvatskoj tradicijskoj glazbi Međimurja i oko nje : Centar za kulturu Čakovec, Scheierova dvorana, 6.-25. listopada 2014. katalog izložbe, Institut za etnologiju i folkloristiku – Udruga Matapur, Zagreb – Lopa- tinec 2014, ISBN 9789536020959. BAJUK, Lidija – PETROVIĆ OSMAK, Željka (ur.): O hrvatskoj tradicijskoj glazbi Me- đimurja i oko nje : predavanja i radionice Zlatna grana i Međimurska tradicijska glazba, Etnografski muzej – Institut za etnologiju i folkloristiku – Udruga Ma- tapur, Zagreb – Lopatinec 2014, ISBN 9789536273614. BARBIERI, Marija: Nada Tončić : život i djelo, Ex libris, Zagreb 2014, ISBN 9789532840605. BARIĆ, Mirko: Tambura : kako sam gradio bisernicu, Gradska knjižnica »Ivan Goran Kovačić«, Karlovac 2014, ISBN 9789537852146. BELINA, Mirna – KOŽUL, Marina: Vizualna glazba, Udruga 25 FPS, Zagreb 2014, ISBN 9789537848026. BRATIĆ, Martina: Zagrebački solisti : velikih 60, Zagrebački solisti, Zagreb 2014. BRČIĆ, Maroje: S gitarom ruku pod ruku, Matica hrvatska, Ogranak Dubrovnik, Dubrovnik 2014, ISBN 9789537784393. BRUSIĆ, Doris (ur.): Pjevački zbor KUD-a Halubjan kroz povijest, KUD »Halubjan«, Viškovo 2014, ISBN 9789535760702. 276 BIBLIOGRAFIJE ― BIBLIOGRAPHIES, ARMUD6 47/1-2 (2016) 275-309 BULETIĆ, Mario – MARUŠIĆ, Dario: Istarski tradicijski instrumenti : iz fundusa Et- nografskog muzeja Istre : katalog izložbe, Etnografski muzej Istre, Pazin 2014, ISBN 9789537944063. CIKOJEVIĆ, Dalibor: Glazbena trilogija : Ostavština posljednjeg skladatelja ; Posljednja violina Niccolòa Amatija ; Virtuozi, muze i striptiz, Leykam International, Zagreb 2014, ISBN 978953340015. -
On Theatre Stage
Prof. Dr. Şeref Ateş President Greetings our esteemed readers in the last issue of the year 2017, e experience the sweet weariness of lea- from concerts performed by famous Turkish artists ving a busy year behind, and the excite- to film screenings where the most popular examp- Wment of welcoming a new year which har- les of Turkish cinema are shared with the audience, bingers the new projects to be launched. from gastronomic trainings where traditional, unique We have come a long way in teaching Turkish within Turkish dishes are introduced to exhibitions where the past year, that is among our primary goals. We Anatolia's centuries of artistic heritage is presented, have reached 10 thousand people in the last year in short, with both short and long-term projects in a by way of 54 Enstitü centres in 43 countries on 5 very wide range, promoting Turkey still remains as continents, schools with which we have agreements one of our top priorities. within the scope of My Preference Turkish Project, We think that bringing the accumulation of our an- and universities with which we signed cient civilization to regions we reach, is the Turcology protocol. Since the foun- a debt we owe to civilizations that lived dation of the Enstitü, we have taught on these lands for centuries as well as Turkish to nearly 120 thousand people. to our country, and the ties we have es- These figures were multiplied thanks to tablished with all the cultures we have Turkish Instruction Portal. The portal encountered from America to Asia, and has served 65,000 users in as little as from Europe to Africa since 2009, come 9 months. -
1Daskalov R Tchavdar M Ed En
Entangled Histories of the Balkans Balkan Studies Library Editor-in-Chief Zoran Milutinović, University College London Editorial Board Gordon N. Bardos, Columbia University Alex Drace-Francis, University of Amsterdam Jasna Dragović-Soso, Goldsmiths, University of London Christian Voss, Humboldt University, Berlin Advisory Board Marie-Janine Calic, University of Munich Lenard J. Cohen, Simon Fraser University Radmila Gorup, Columbia University Robert M. Hayden, University of Pittsburgh Robert Hodel, Hamburg University Anna Krasteva, New Bulgarian University Galin Tihanov, Queen Mary, University of London Maria Todorova, University of Illinois Andrew Wachtel, Northwestern University VOLUME 9 The titles published in this series are listed at brill.com/bsl Entangled Histories of the Balkans Volume One: National Ideologies and Language Policies Edited by Roumen Daskalov and Tchavdar Marinov LEIDEN • BOSTON 2013 Cover Illustration: Top left: Krste Misirkov (1874–1926), philologist and publicist, founder of Macedo- nian national ideology and the Macedonian standard language. Photographer unknown. Top right: Rigas Feraios (1757–1798), Greek political thinker and revolutionary, ideologist of the Greek Enlightenment. Portrait by Andreas Kriezis (1816–1880), Benaki Museum, Athens. Bottom left: Vuk Karadžić (1787–1864), philologist, ethnographer and linguist, reformer of the Serbian language and founder of Serbo-Croatian. 1865, lithography by Josef Kriehuber. Bottom right: Şemseddin Sami Frashëri (1850–1904), Albanian writer and scholar, ideologist of Albanian and of modern Turkish nationalism, with his wife Emine. Photo around 1900, photo- grapher unknown. Library of Congress Cataloging-in-Publication Data Entangled histories of the Balkans / edited by Roumen Daskalov and Tchavdar Marinov. pages cm — (Balkan studies library ; Volume 9) Includes bibliographical references and index. -
E-Concerts/Listenings
M.C.E.O. IMS Study Group Music of the Christian East and Orient Aristotle University of Thessaloniki School of Music Studies IMS Study Group Music of the Christian East and Orient First International Musicological e-Symposium: MELISMATIC CHANT REPERTORIES Thessaloniki, 12th –14th June 2020 https://mceo.mus.auth.gr/ E-Concerts/Listenings Friday, 12.6.2020 Τhe “Thessalonikeis Ymnodoi”, dir. Ioannis Liakos: Εὐλογήσατε τόν Κύριον, Ἐμμανουήλ παιδίον, Στίχος ἐκ τοῦ Λατρινοῦ Πολυελέου, εἰς τήν ἑορτήν τῶν Χριστουγένων, Μέλος Ἰωάννη Κουκουζέλη, ἦχος α΄ - Praise the Lord, Emmanouil the Child, Verse from the Latrinos Polyeleos, for Christmas, melody by St John Koukouzeles, first authentic mode: https://www.youtube.com/watch?time_continue=12&v=pBKusHNOYh8&feature=emb_logo Σῶμα Χριστοῦ, Κοινωνικόν, μέλος Μπαλασίου Ιερέως, ιζ΄ αιώνας, ήχος α΄. Ηχογράφηση από τον Καθεδρικό Ναό του Κρεμλίνου – The Body of Christ, melody by Balasios the Priest, 17th cent, first authentic mode. Recording from the Cathedral of the Kremlin: https://www.youtube.com/watch?v=N2GZ9g-hywM 1 Ὦτα ἔχουσιν, Στίχος Πολυελέου, Μπαλασίου ιερέως, ήχος α΄ - They have ears, Verse of a Polyeleos by Balasios the Priest, in the first authentic mode: https://www.youtube.com/watch?v=NJSpqbVDm6o Τhe Volos Women Byzantine Choir “Adousai”, cond. Domestikaina Dr. Sevi Mazera- Mamali: Μεγαλύνει ἡ ψυχή μου τὸν Κύριον, η θ΄ ωδή της θεοτόκου (Λουκ. α΄ 46 – 55), μέλος Κωνσταντίνου Πρωτοψάλτου († 1855), ήχος πλ. δ΄ – Τὴν Τιμιωτέραν, μέλος Μπαλασίου ιερέως και Νομοφύλακος της Μ.Χ.Ε. (περ. 1680), ήχος γ΄ - Bless, my soul, the Lord, ninth ode of the Theotokos (Luke 1, 46-55), melody by Konstantinos Protopsaltes († 1855), plagal of the fourth mode – The more venerated, melody by Balasios the Priest and Nomophylax of the Great Church (ca. -
White Woman Draft
SKYROS CARNIVAL SKYROS CARNIVAL Photographs by Dick Blau Essay by Agapi Amanatidis and Panayotis Panopoulos Audio CD and Video DVD by Steven Feld VOXLOX 3 DICK I I grew up in the theater, my father a director and my mother an actress. As a result, I devel - oped a lifelong fascination with the dramatic moment, the heightened gesture, the mysterious transfor - mation of self into other. I suppose it was inevitable that my abiding preoccupation with the stage would find its way into my photography. When Steve called one day a few years ago and told me that Panos had told him about Greece’s wildest and noisiest carnival, I put down the phone and began packing my bag and cameras. What I eventually discovered on Skyros was not exactly what I spent the next few months imagining. I had been dreaming of Dionysus, Pan, and the Eleusinian mysteries in a smoky grove, but I found myself instead in a small Greek island town with an Internet café. Normal life continued amidst the wildness. Performers and audience were mixed together. And then there were the cameras. Everyone, it seemed, was either taking pictures or posing for them. This was not simply an ancient ritual; it was a modern media event. In fact, the carnival was old and new at the same time. Skyros carnival is a hybrid form in which the goat dancers, dressed in their rough, rank animal skins and festooned in huge clanking bells, mix easily with other performers who look decidedly of our moment. I would be standing at dusk on the street waiting for the dancers to appear when a kid would float by wearing a cheap monkey mask from the grocery store, and I would instantly find myself swept up with him into the world of myth.