DOCSLIB.ORG

Filme-Co Certo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Filme-Co Certo ATÓIO GOÇALO QUITAS FIGUEIREDO DE BARROS FILME-COCERTO: MÚSICA E CIEMA Orientador: Professor Doutor Luís Cláudio Ribeiro Universidade Lusófona de Humanidades e Tecnologias Escola de Comunicação, Arquitectura, Artes e Tecnologias da Informação Lisboa 2014 ATÓIO GOÇALO QUITAS FIGUEIREDO DE BARROS FILME-COCERTO: MÚSICA E CIEMA Dissertação apresentada para obtenção do Grau de Mestre em Programação e Gestão Cultural no Curso de Mestrado de Programação e Gestão Cultural conferido pela Universidade Lusófona de Humanidades e Tecnologias. Orientador: Prof. Doutor Luís Cláudio Ribeiro Universidade Lusófona de Humanidades e Tecnologias Escola de Comunicação, Arquitectura, Artes e Tecnologias da Informação Lisboa 2014 2 Agradecimentos Agradeço a todos os que me ajudaram neste percurso, em especial aos meus pais, o apoio todos os dias e o seu amor; à Ângela Alves, a sua companhia; ao meu orientador, Professor Luís Cláudio, o seu tempo e perspicácia; ao Professor Victor Flores, o seu estímulo; ao Curtas Vila do Conde, a disponibilidade; Casa da Música no Porto, profissionalismo; ao crítico João Lopes, a sua delicadeza; aos músicos, Victor Afonso (Kubik), Ernesto Rodrigues, Tó Trips (Dead Combo), André Simão (La la la ressonance) e Emídio Buchinho, pela colaboração nas entrevistas, sem as quais este estudo não existiria. 3 Resumo Passado o tempo da investigação inerente ao conteúdo deste estudo, é importante fazer um pequeno balanço sobre a configuração do objecto Filme-concerto, numa perspectiva de emergência de uma prática artística em Portugal, nomeadamente, nos inícios do século XXI até à actualidade. Para o estudo, o ponto de partida foi o som e a imagem, a partir dos quais estabelecemos diferentes ligações. Para compreender este processo, tal como ele ocorre hoje, foi necessário analisá-lo a partir de diversas dimensões: da evolução e da experiência histórica; das metodologias de trabalho; dos agentes; das práticas; das programações. O tema surgiu na ideia de ordenar o caos na informação disponível sobre o objecto em estudo, na tentativa de unir um conjunto de iniciativas e reflectir a sua programação, nomeadamente, os seus programadores culturais e os músicos, os seus processos de criação e práticas culturais. A nova realidade começa a estruturar-se ainda durante os anos 80, século XX e, especialmente, na década 90 surgem as primeiras designações filme-concerto na Europa. Desenvolvem-se diferentes contributos de estudos nas áreas da música e na área do cinema que podem através do cruzamento das duas áreas fornecer novos caminhos, novas criações musicais e visuais. Analisam-se também as novas abordagens com recurso às novas tecnologias como ferramentas que permitem criar e apresentar novas dimensões onde surgem matérias sonoras e visuais nas quais se constroem narrativas de vanguarda, desenvolvendo ao mesmo tempo novas oralidades. Este é um contributo para fornecer um modo como olhamos para o objecto de estudo, alcançar um outro olhar, uma outra forma de compreender a criação artística através do filme-concerto e alterar a relação do público português com o cinema português e o cinema em geral. Assim reforça-se a ideia de criação de um festival específico para promover e questionar o filme-concerto, no sentido de novos desenvolvimentos para o formato de apresentação. Um espaço de incentivo à criação e promoção de bandas-sonoras originais interpretados ao vivo, um espaço de debate e aberto à ligação às universidades e escolas de ensino artístico, propondo novas leituras sobre o objecto, associado a valores de criatividade, inovação e aprendizagem. Palavras-Chave: Cinema, música, concerto, som, imagem 4 Abstract This study concerns a cultural practice that, in recent years, has been growing in popularity, in Portugal - the projection of films with live music accompaniment. For the sake of simplicity we will refer such a cultural event as "film-concert". This term first appeared in Europe, in the last decade of the 20th century, although this practice started spreading in the eighties. Since the early 21th century, we have been seeing a growing number of film-concerts happening all over Portugal. Film-concerts may be seen as a new art practice, but there was not a good source of information about these events. In order to achieve a better understanding of this new trend, we decided to collect information about this artistic practice and to look at film-concerts from several perspectives. We present a systematic study of the diverse aspects involved in film-concerts such as the cultural programmers, the musicians, the creative processes and the cultural practices. This led us to researching seminal events and how this practice evolved over time, how are film- concerts created, who are the people involved in the creation and presentation of film- concerts and how are these events programmed and set up. Creating a musical piece to be performed while a film is being projected may involve experimenting with image-music correspondences. Consequently, this art practice leads to new creative fields where images and music are combined to produce artistic events. In recent years, digital technology has been used to develop tools that allow artists to develop multi-sensory experiments in the genre of visual music, music visualization, audiovisual art and other innovative combinations of music and images. We present an overview of these experimental and emerging artistic practices. I intend that this study contributes to a better understanding of the film-concert creative process and, furthermore, to emphasize the relevant role that this artistic practice may play in promoting a closer relationship between people and cinema. I believe that a festival dedicated to film-concerts should be created in order to broaden the discussion of film-concert issues and to promote new forms of approaching this art practice. The scope of the festival should include both learning and creative activities besides the presentation of artistic projects and the projection of films accompanied by original soundtracks played live. Keywords: Film, music, concert, sound, image. 5 ÍDICE GERAL 1. INTRODUÇÃO ............................................................................................................. 8 2. HISTÓRIA DA SONORIZAÇÃO DO CINEMA .................................................. 15 3. AS MODALIDADES DO FILME-CONCERTO ....................................................... 3.1 Revivalismo ............................................................................................................ 27 3.2 Recriação ................................................................................................................ 40 3.3 Novo ........................................................................................................................ 81 4. CONCLUSÃO ............................................................................................................. 95 5. BIBLIOGRAFIA ....................................................................................................... 102 6. ANEXOS .......................................................................................................................... Entrevistas ................................................................................................................... 106 Programação Curtas Vila do Conde (2001-2013) ..................................................120 6 ÍDICE DE IMAGES 2.1 Fonógrafo de cilindro de Thomas Edison (1877) ………………………………………….18 2.2 Gramofone de Emil Berliner (1888) ……………………………………………………….18 2.3 Fonoautógrafo de Édouard-Léon Scott de Martinville (1860) …………………………….18 2.4 Kinetoscope de Thomas Edison (1894) ……………………………………………………19 2.5 Phono-Cinéma-Théâtre (1900) …………………………………………………………….19 2.6 Chronophone de Léo Gaumont (1902) …………………………………………………….20 2.7 Kinetophone de Thomas Edison (1913) …………………………………………………...20 2.8 Exemplo 1 - Cue Sheet …………………………………………………………………….21 2.9 Exemplo 2 - Cue Sheet …………………………………………………………………….21 2.10 Tri-Ergon (1923) ………………………………………………………………………….24 2.11 Vitaphone (1926) …………………………………………………………………………25 7 1. ITRODUÇÃO No livro, “O que é o Cinema?” publicado em 1958, André Bazin escreve “O Cinema ainda não está inventado!” (Bazin, 1992 (1958), p. 28). Quando Jean-Luc Godard, no último episódio “Os Signos entre nós”, do filme “História(s) do Cinema” diz “…o único grande problema do Cinema, onde e porquê começar um plano e onde e porquê acabá-lo.” (Godard, 1998) Entre as duas frases passaram-se quarenta anos, os músicos quando trabalham a relação entre a imagem e o som têm a mesma questão em pensamento, onde e porquê começar um som ou uma música e onde e porquê acabá-lo. Enquadro as frases no contexto sobre o objecto de estudo filme-concerto e a sua potencialidade observada como uma emergente prática cultural, em Portugal. O objectivo do estudo é fazer um plano sobre o panorama filme-concerto em Portugal, para melhor analisar o conceito. Sendo esta prática cultural recente, existe a necessidade de reflectir o tipo de programação, investigar quem e em que contextos culturais são programados. Outro objectivo da investigação, será verificar se o filme- concerto é um conceito com uma identidade, e se a tem, qual é a identidade do filme- concerto. No percurso da investigação verifiquei que não existe praticamente nenhum material sobre o tema em si e a informação encontra-se muito dispersa pelas várias organizações. Por este facto, reuni o material existente e analisei, por um lado, em alguns programadores culturais,
Load more

Recommended publications
  • Close-Up on the Robot of Metropolis, Fritz Lang, 1926
    Close-up on the robot of Metropolis, Fritz Lang, 1926 The robot of Metropolis The Cinémathèque's robot - Description This sculpture, exhibited in the museum of the Cinémathèque française, is a copy of the famous robot from Fritz Lang's film Metropolis, which has since disappeared. It was commissioned from Walter Schulze-Mittendorff, the sculptor of the original robot, in 1970. Presented in walking position on a wooden pedestal, the robot measures 181 x 58 x 50 cm. The artist used a mannequin as the basic support 1, sculpting the shape by sawing and reworking certain parts with wood putty. He next covered it with 'plates of a relatively flexible material (certainly cardboard) attached by nails or glue. Then, small wooden cubes, balls and strips were applied, as well as metal elements: a plate cut out for the ribcage and small springs.’2 To finish, he covered the whole with silver paint. - The automaton: costume or sculpture? The robot in the film was not an automaton but actress Brigitte Helm, wearing a costume made up of rigid pieces that she put on like parts of a suit of armour. For the reproduction, Walter Schulze-Mittendorff preferred making a rigid sculpture that would be more resistant to the risks of damage. He worked solely from memory and with photos from the film as he had made no sketches or drawings of the robot during its creation in 1926. 3 Not having to take into account the morphology or space necessary for the actress's movements, the sculptor gave the new robot a more slender figure: the head, pelvis, hips and arms are thinner than those of the original.
    [Show full text]
  • Kino in Coburg
    - 1 - Inhaltsverzeichnis Vorwort ................................... 3 Kinematografische Treffpunkte in Coburg ... 4 Premieren im Union-Theater ............... 10 Margarethe Birnbaum ...................... 12 Luther - Der Film (2002) ................. 14 Weitere in Coburg gedrehte Filme ......... 16 Karrierestart Coburg ..................... 18 Der Flieger (1986) ...................... 21 Rubinrot / Saphirblau .................... 22 Interview Michael Böhm ................... 25 Gästebuch Goldene Traube ................. 27 Das kleine Hofkonzert .................... 29 Jürgen A. Brückner ....................... 30 Michael Ballhaus ......................... 32 Michael Verhoeven ........................ 33 Premiere „Der blaue Strohhut“ ............ 34 Annette Hopfenmüller ...................... 36 Filmkontor Graf .......................... 37 Himmel ohne Sterne ....................... 38 Der letzte Vorhang ....................... 40 Der Abriss / Der Neubau .................. 42 Drehort Coburg · Filmkulisse Coburg ...... 44 Beruf im Wandel: Filmvorführer ........... 46 Danksagung / Impressum ................... 47 Liebe Leserinnen, liebe Leser, mit meinem Jahrgang 1968 gehöre So sahen wir den ganzen „Krieg der ich zu der Generation, die mit Sterne“-Film, von dem ein Teil mei- einem Schwarz-Weiß-Fernseher mit ner Freunde begeistert erzählt hatte. vier Programmen und ohne Fern- Mich hat dieser Film nicht beson- bedienung aufgewachsen ist. Der ders beeindruckt und ich konnte die Besuch eines Kinos war dagegen Begeisterung meiner Freunde nicht
    [Show full text]
  • Sächsisches Archivblatt Heft 1/2015
    SÄCHSISCHES STAATSARCHIV Sächsisches Archivblatt Heft 1 / 2015 Inhalt Seite Jahresbericht Sächsisches Staatsarchiv 2014 1 Andrea Wettmann Aus den Beständen Grundbücher in Sachsen (Teil 2: Seit 1935) 9 Roland Pfirschke Zur audiovisuellen Überlieferung in den Abteilungen des Sächsischen Staatsarchivs (Teil 2: Chemnitz und Freiberg) 12 Stefan Gööck Leipziger Messe – Tor zur „Daten-Welt“. Messebestände elektronisch erschlossen 14 Katrin Heil/Birgit Richter Gießmannsdorf – verlorenes Land. Eine Geschichte zum Braunkohlebergbau 16 Bernd Scheperski Gottfried Huppertz – Werke des „Metropolis“-Filmkomponisten ermittelt 18 Elisabeth Veit Meldungen/Berichte „Akten – Akteure – Erinnerungen“ – Veranstaltung der BStU-Außenstelle Chemnitz zur politischen Wende von 1989 im Staatsarchiv Chemnitz 19 Raymond Plache Lagerorte auf Knopfdruck – Einführung des AUGIAS-Archiv-Magazinmoduls im Staatsarchiv Chemnitz 20 Tobias Crabus/ Yvonne Gerlach/Raymond Plache Wider besseres Wissen – Positionspapier des Umweltbundesamtes zur Archivierbarkeit von Recyclingpapier mit dem „Blauen Engel“ 24 Thomas Sergej Huck Bestandserhaltung im Staatsarchiv Chemnitz – Zusammenarbeit mit der Stadtmission Chemnitz 26 Tobias Crabus/Katja Gehmlich Sächsisches Berg- und Hüttenwesen digital 28 Angela Kugler-Kießling/Oliver Löwe Workshop des Landesverbandes Sachsen im VdA „Auf dem Weg ins Archivportal-D“ 30 Grit Richter-Laugwitz Rezensionen Matthias Donath, Rotgrüne Löwen. Die Familie von Schönberg in Sachsen 31 Jens Kunze Elke Schulze, Erich Ohser alias e. o. plauen 32 Clemens Heitmann Jahresbericht Sächsisches Staatsarchiv 2014 Der umfassende Modernisierungsprozess, 2014 Staatsarchiv Sächsisches Jahresbericht der 2005 mit der Gründung des Sächsischen Staatsarchivs begonnen und mit der Been- digung der Baumaßnahmen an vier von ins- gesamt fünf Standorten 2013 einen vorläu- figen Höhepunkt gefunden hatte, wurde im Berichtsjahr mit dem Kabinettsbericht zum Unterbringungsprogramm und mit der No- vellierung des Archivgesetzes für den Freistaat Sachsen abgeschlossen.
    [Show full text]
  • EVS REVISION WORKSHEET CLASS II __ OUR HEAVENLY BODIES I Colour the Planets
    DON BOSCO SCHOOL OF EXCELLENCE NAME: ________ EVS REVISION WORKSHEET CLASS II __ OUR HEAVENLY BODIES I Colour the planets II Write whether the statements are true or false: (i) Te sun has nine satellites. (ii) Saturn is the largest planet. (iii) All planets have natural satellites. (iv)The planet nearest to the sun is Mercury. (v) Venus has no satellite. III Choose the correct answer 1. Which of the following is a star? __________ a. earth b. mercury c. sun 2.________ is the second largest and the sixth planet. a. Saturn b. Jupiter c. mars 3. Which of the following object emits light of its own? ___________ a. Sun b. Star c. Moon 4. Our earth is a _______ while a moon is a ________. (planet,satellite / planet, constellation) 5. The _________ is a big ball of fire. ( star/ sun) IV Draw and colour Day Night DON BOSCO SCHOOL OF EXCELLENCE NAME: ________ REVISION WORKSHEET CLASS II __ EVS(OUR EARTH) I Match the following II Fill in the blanks 1. A _________ is a large area of flat or gently rolling land. 2. low land between hills and mountains are called ________. 3. A __________ is a large area of flat land that is higher than the land around it. 4. A large water body is called ____________. III Explain the land forms a.Plains __________________________________________________ __________________________________________________ b. Mountains: _________________________________________________ _________________________________________________ c. Plateau: __________________________________________________ __________________________________________________
    [Show full text]
  • The Film Music of Edmund Meisel (1894–1930)
    The Film Music of Edmund Meisel (1894–1930) FIONA FORD, MA Thesis submitted to The University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis discusses the film scores of Edmund Meisel (1894–1930), composed in Berlin and London during the period 1926–1930. In the main, these scores were written for feature-length films, some for live performance with silent films and some recorded for post-synchronized sound films. The genesis and contemporaneous reception of each score is discussed within a broadly chronological framework. Meisel‘s scores are evaluated largely outside their normal left-wing proletarian and avant-garde backgrounds, drawing comparisons instead with narrative scoring techniques found in mainstream commercial practices in Hollywood during the early sound era. The narrative scoring techniques in Meisel‘s scores are demonstrated through analyses of his extant scores and soundtracks, in conjunction with a review of surviving documentation and modern reconstructions where available. ii Acknowledgements I would like to thank the Arts and Humanities Research Council (AHRC) for funding my research, including a trip to the Deutsches Filminstitut, Frankfurt. The Department of Music at The University of Nottingham also generously agreed to fund a further trip to the Deutsche Kinemathek, Berlin, and purchased several books for the Denis Arnold Music Library on my behalf. The goodwill of librarians and archivists has been crucial to this project and I would like to thank the staff at the following institutions: The University of Nottingham (Hallward and Denis Arnold libraries); the Deutsches Filminstitut, Frankfurt; the Deutsche Kinemathek, Berlin; the BFI Library and Special Collections; and the Music Librarian of the Het Brabants Orkest, Eindhoven.
    [Show full text]
  • ASTROLOGY Istrolog'
    OF INTEREST TO ALL ASTROLOGERS ASTROLOGYiSTROLOG' THE ASTROLOGERS’ QUARTERLY ISSUED UNDER THE AUSPICES OF THE ASTROLOGICAL LODGE OF LONDON AND DEVOTED TO THE STUDY OF ASTROLOGY IN ALL ITS BRANCHES Editor: CHARLES E. O. CARTER Ja n u a r y F e bru ar y 1944 CONTENTS Page ED ITO R IA L............................................................................................. 101 MEDICAL ASTROLOGY. By H. B. P ilkington.................................... 109 THREE U.S.A CRUISERS. By The Editor............................................. 112 “SCIENTIFIC ASTROLOGY.” By The E d i t o r .......................................113 “Q 6.” By George H. Bailey.........................................................................116 THE FOCAL CHART. By“ Regulus” .........................................................124 STUDIES IN THE FIXED STA R S......................................................... 128 LETTERS TO THE EDITOR . 130 ' PRICE ONE SHILLING. ANNUAL SUBSCRIPTION, 4/6 POST FREE ASTROLOGY Subscriptions Single copies axe is. or is. i Jd. post free. The annual subscrip­ tion is 4s. 6d. post free. All annual subscriptions should be sent to C. E. O. Carter, 59 Victoria Drive, London, S.W.19, England, and in sending through the post it is advisable to fill in and cross money and postal orders, or use cheques, which should be made payable to C. E. O. Carter. The issues appear early in March, June, September, and December. Wholesale Trade The trade is supplied by Messrs. L. N. Fowler & Co., 5, Corrie Avenue, London, N.14 (temporary address). Correspondence, Advertisements, and Articles for Publication These should be directed to Astrology, 59 Victoria Drive, London, S.W.19, England, and must be to hand by the 1st of the month prior to publication (advertisements by the 10th). Articles dealing with any aspects of astrological science will be gladly received and considered with a view to publication.
    [Show full text]
  • Adventures in Film Music Redux Composer Profiles
    Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017).
    [Show full text]
  • The Music of Relationality in the Cinema of Claire Denis
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Concert and disconcertion: the music of relationality in the cinema of Claire Denis https://eprints.bbk.ac.uk/id/eprint/40453/ Version: Full Version Citation: Brown, Geoffrey (2019) Concert and disconcertion: the music of relationality in the cinema of Claire Denis. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Concert and Disconcertion : the music of relationality in the cinema of Claire Denis Geoffrey Brown Thesis submitted for the degree of PhD in French 2019 Department of European Cultures and Languages Birkbeck, University of London 2 Declaration I declare that the work presented in this thesis is my own, and that this thesis is the one on which I expect to be examined. Geoffrey Brown 3 This thesis is dedicated to Agnès Calatayud, an inspirational teacher, who reconnected me to French cinema after a long carence, and who, crucially, first introduced me to the films of Claire Denis. 4 Abstract This thesis argues that the interest which the films of Claire Denis display in the ever-shifting modes of relations between people is illustrated through analysis of how music is used throughout her corpus of feature films. Denis draws on an extremely eclectic palette of musical styles, and the thesis proposes that these varying musical modalities are central to her treatment of relational issues, as are the ways in which she deploys her chosen musical selections.
    [Show full text]
  • Bibliographie Der Filmmusik: Ergänzungen II (2014–2020)
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Bibliographie der Filmmusik: Ergänzungen II (2014– 2020) 2020 https://doi.org/10.25969/mediarep/14981 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Bibliographie der Filmmusik: Ergänzungen II (2014–2020). Westerkappeln: DerWulff.de 2020 (Medienwissenschaft: Berichte und Papiere 197). DOI: https://doi.org/10.25969/mediarep/14981. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0197_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist.
    [Show full text]
  • Sensate Focus (Mark Fell) Y (Sensate Focus 1.666666) [Sensate Focus
    Sensate Focus (Mark Fell) Y (Sensate Focus 1.666666) [Sensate Focus / Editions M ego] Tuff Sherm Boiled [Merok] Ital - Ice Drift (Stalker Mix) [Workshop] Old Apparatus Chicago [Sullen Tone] Keith Fullerton Whitman - Automatic Drums with Melody [Shelter Press] Powell - Wharton Tiers On Drums [Liberation Technologies] High Wolf Singularity [Not Not Fun] The Archivist - Answers Could Not Be Attempted [The Archivist] Kwaidan - Gateless Gate [Bathetic Records] Kowton - Shuffle Good [Boomkat] Random Inc. - Jerusalem: Tales Outside The Framework Of Orthodoxy [RItornel] Markos Vamvakaris - Taxim Zeibekiko [Dust-To-Digital] Professor Genius - À Jean Giraud 4 [Thisisnotanexit] Suns Of Arqa (Muslimgauze Re-mixs) - Where's The Missing Chord [Emotional Rescue ] M. Geddes Genras - Oblique Intersection Simple [Leaving Records] Stellar Om Source - Elite Excel (Kassem Mosse Remix) [RVNG Intl.] Deoslate Yearning [Fauxpas Musik] Jozef Van Wissem - Patience in Suffering is a Living Sacrifice [Important Reords ] Morphosis - Music For Vampyr (ii) Shadows [Honest Jons] Frank Bretschneider machine.gun [Raster-Noton] Mark Pritchard Ghosts [Warp Records] Dave Saved - Cybernetic 3000 [Astro:Dynamics] Holden Renata [Border Community] the postman always rings twice the happiest days of your life escape from alcastraz laurent cantet guy debord everyone else olga's house of shame pal gabor billy in the lowlands chilly scenes of winter alambrista david neves lino brocka auto-mates the third voice marcel pagnol vecchiali an unforgettable summer arrebato attila
    [Show full text]
  • 1 Corinthians, Part 2 Teacher's Guide
    1 Corinthians Part 2 Teacher’s Guide A 28 Week Inductive Bible Study Scripture Paths Bible Studies By Lisa Hughes Scripture Paths Bible Studies Discovering the Treasures of the Word 1 Corinthians Part Two Lesson #1, Introduction, Review and Chapter 9 Overview Teacher’s Guide You are about to begin the adventure of the 1 Corinthians Part 2 Bible Study that covers Chapters 9-16. A hearty welcome back to those who’ve already participated in the 1 Corinthians Part 1 Bible Study on Chapters 1-8. And greetings to those of you who are jumping in this year! May God grant you grace, understanding, and a desire to apply all you will learn from His incomparable and unfailing Word! Don’t faint when you take a look at this lesson! I know there’s a lot here, but the process is so worth the effort. Try to break this lesson up into pieces so you don’t feel overwhelmed. The goal with this lesson is to help you gain a working knowledge of the book of 1 Corinthians before you dive into the rest of the lessons for 1 Corinthians Part 2. Since this year’s Bible study begins in the middle of the book of 1 Corinthians, it's crucial that we know the contents and structure of Chapters 1-8. Understanding the flow of the book will help us understand what God intends for us to know and will guide us into a proper interpretation of the book. Ask the Lord for insight into His Word as you answer the questions that follow.
    [Show full text]
  • We Never Die; an Investigation Into the Future Life Of
    ciass D r / 4 6 / Book -i -J -3 OopyiigMl COPYRIGHT DEPOSIT. WE NEVER DIE AN INVESTIGATION INTO THE FUTURE LIFE OF MAN BY EDWARD JAMES PRINTED AT CHICAGO, ILLINOIS 1921 \o 5* COPTRIGHT. 1921 By MATTHIAS e. hearn All Bights Reserved §>C!.A627753 OCT 26 1921 *\ I I ; PREFACE *T*HE views expressed in this book, upon the subject * of our future life in the spiritual world, and the relationship our present life bears to that period of time, are submitted as the result of what I believe to be, an impartial investigation of the phenomena here presented. I do not expect my readers to believe all this de- scription, or rather report, on my part, of the findings of this investigation, for it is a new and intricate sub- ject; dealing with great fundamental principles. As I have myself, spent over twenty years in a careful study of this subject, I can appreciate how unlikely it is, that anyone can grasp an immediate understanding of it, as here given. Believing these writings to be practically all true, and feeling the obligation upon my part to publish this book I respectfully submit it to public investigation. This work does not raise any question concerning the Scriptures or religious beliefs of any kind, but is simply a report of a personal investigation along the lines of spiritual phenomena. The Author. Digitized by the Internet Archive in 2011 with funding from The Library of Congress http://www.archive.org/details/weneverdieinvestOOjame WE NEVER DIE "AH thoughts of .ill; all evil deeds, That have their root in thoughts of ill; Whatever hinders or impedes The action of the nobler will; — All these must first be trampled down Beneath our feet, if we zvould gain In the bright fields of fair renown The right of eminent domain." —Longfellozv, "The Ladder of St.
    [Show full text]