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BREU HISTÒRIA DE LA DIAGONAL Lluís Permanyer
BREU HISTÒRIA DE LA DIAGONAL Lluís Permanyer La Diagonal és el carrer més important del Pla de l’Eixample. L’urbanista Ildefons Cerdà li va atorgar unes característiques que el singularitzen en el sentit físic: llargada, amplada i posició. Els seus onze kilòmetres, els noranta- dos metres de la zona universitària i la forma com talla la trama de les mansanes evidencia un protagonisme indiscutible. Supera el Paral·lel i la Meridiana, que constituïen el que Cerdà va qualificar com a “via transcendental”, és a dir, avingudes ràpides per unir nuclis de població allunyats. En aquest cas: Sarrià, Gràcia, Clot i Poblenou. Totes tres van ser les úniques que van rebre de Cerdà el nom, ja que els altres carrers van ser batejats per Víctor Balaguer. El seu desenvolupament va ser més aviat lent i en tres grans etapes ben diferenciades. PRIMERA ETAPA La primera etapa va girar al voltant de la influència del passeig de Gràcia. En efecte, el 1884 va començar amb timidesa l’urbanització entre l’esmentat passeig i Pau Claris. El 1896 s’estenia ja entre Bruc i Tuset, que no era res més que el camp del mateix nom, que era el del mas i el seu propietari. El 1901 aquell extrem de la nova Barcelona era tan inhòspit, que el marquès de Robert es reconeixia més segur portant pistola en arribar tard a casa, quan venia del Liceu. Es curiós que abans d’acabar segle XIX (1891) li fos canviat el nom, almenys en aquell sector evocat fins ara, i que pertanyia a Gràcia; li van atorgar el d’ Argüelles. -
En Torno a Los Compositores Hurgaleses Santamaría, Oirnecla, Antonio José Y Calleja
En torno a los compositores hurgaleses Santamaría, Oirnecla, Antonio José y Calleja. Han existido músicos españoles que, bien habiendo o nó nacido en la misma región o provincia, en sus vidas y obras presentan curio- sos paralelismos; tales Bretón y Chapí, salmantino el primero y alican- tino el segundo, y Falla y Tun, ambos andaluces. Falla, de Cádiz, y Turma de Sevilla. Mas, entre las vidas, principalmente, obras y labor de los cuatro músicos objeto de esta disertación, que son Santamaría, Olmeda, Antonio José y Rafael Calleja, no se encuentran similitudes ni paralelismos tan notorios, corno entre las dos parejas de maestros nombrados, lo cual es prueba, por un lado, de lo amplio que es el campo de la música y, por tanto, la serie de especializaciones que se pueden cultivar dentro de ella y, por otro lado, es muestra de la inde- pendencia e iniciativa castellana. Cada uno de nuestros cuatro maestt os realizó labor bastante dis- tinta, conforme personalmente fueron asaz diferentes. Santamaría fué músico de gran tesón pero de escaso talento y, si su nombre perdura, es porque abordó la ópera y consiguió estrenar su única producción de tal género en el Teatro Real, de Madrid, que fue, principalmente, un feudo de la ópera italiana. Olmeda se destacó fuertemente entre los compositores españoles de música religiosa; poseyó carácter inquieto y luchador, por lo que se hizo célebre con sus polé:) icas y mostró un acendrado amor a la tierra burgalesa recopilando gran número de tonadas populares con las que formó su « Folklore de Burgos», primer cancionero editado de esta provincia. -
El Rocío: a Case Study of Music and Ritual in Andalucía
ABSTRACT Title of Document: EL ROCÍO: A CASE STUDY OF MUSIC AND RITUAL IN ANDALUCÍA W. Gerard Poole, Ph.D., 2007 Dissertation directed by: Dr. Carolina Robertson, Department of Ethnomusicology Music is central to the processional pilgrimage of El Rocío, which attracts hundreds of thousands of pilgrims to Andalusia, Spain, late each spring. The pilgrimage affords a unique view, in microcosm, of the relationships between music and ritual from both ritual-studies and ethnomusicological perspectives. Based on extensive fieldwork and other research, this dissertation explores the nexus of the Catholic ritual system in Andalusia, flamenco, and the specific music of El Rocío: the Sevillanas Rocieras. That nexus becomes clear through exploration of three particular features of the pilgrimage: (1) the devotional processions that generate a single, focused, collective emotion; (2) the Andalusian musical form called the palo; and (3) the informal musical gatherings called juergas, which take place nightly along the route. Analysis of structural and morphological relationships between ritual, music, and emotion yields surprising realizations about how these three elements come together as embodied aesthetics within a communitas to generate popular culture. Another important finding of this work is the necessity of placing, at the center of the inquiry, the religious experience—including the curious Andalusian phenomenon of the “chaotic” emotional procession and its role within the overall pilgrimage and ritual system. The dissertation concludes with two theoretical positions. The first addresses the process of “emotional structuring” and its role within the musical rituals of El Rocío and, by extension, Andalusia. The second advances a theory of ritual relations with potential application to ritual systems beyond Andalusia. -
Towards an Ethnomusicology of Contemporary Flamenco Guitar
Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon. -
Trompete De Espanha Partitura Pdf 174
1 / 2 Trompete De Espanha Partitura Pdf 174 Morales?, ¿cómo identificar dichas partituras dentro de un corpus musical tan ... arreglo para canto y piano:] cuño en gomígrafo ... la que se cambió el clarinete en Do y el cornetín por clarinete y trompeta en Sib ... diciembre 2002): 165-174.. Beethoven - Piano Sonatas - Rubinstein (1962) [RCA,SACD] ... 174. Rossini - Il Barbiere di Siviglia - I - Galliera, Callas, Gobbi, Alva (1957) [EMI,HD Remaster] ... Falla, Chopin - Noches en los Jardines de Espana, Piano Concerto No.2 - Haskil .... tradições culturais europeias: a espanhola (latino-americana e caribenha), ... formação por instrumentos de sopro, bateria, banjo e piano. 42 ... Era a instrumentação mesmo de uma orquestra: trombone, trompete, sax, violão, ... 174. SAROLDI, Luiz Carlos. O rádio e a música. Revista USP, São Paulo, n.. em meados dessa década há o primeiro Método Infantil para Piano, de ... violão do espanhol Fernando Sor, por exemplo, um dos primeiros ... Trompete: Para esta imitação, a mão direita deve pulsar as cordas próximas da ponte, ... 174 organizar as partes dentro do todo, mesmo quando o esperado seria .... edição da partitura utilizada nesta tese; e aos membros da banda da polícia que ... 34 FÉTIS, F.J. Manual dos compositores, directores de musica, ... portuguesa e espanhola nos séculos XVI a XVIII do historiador ... 19-20; 132; 161-174). ... de três a quatro músicos (duas ou três charamelas, o trompete ou .... Book Title: Quatre mélodies judéo-espagnols pour chant et piano (ou harpe) ... Uma canção popular francesa na tradição brasileira: A Filha do Rei da Espanha ... (174-175), compuesto de retazos de varios romances tradicionales (entre ellos ... -
Manuel II Palaiologos' Point of View
The Hidden Secrets: Late Byzantium in the Western and Polish Context Małgorzata Dąbrowska The Hidden Secrets: Late Byzantium in the Western and Polish Context Małgorzata Dąbrowska − University of Łódź, Faculty of Philosophy and History Department of Medieval History, 90-219 Łódź, 27a Kamińskiego St. REVIEWERS Maciej Salamon, Jerzy Strzelczyk INITIATING EDITOR Iwona Gos PUBLISHING EDITOR-PROOFREADER Tomasz Fisiak NATIVE SPEAKERS Kevin Magee, François Nachin TECHNICAL EDITOR Leonora Wojciechowska TYPESETTING AND COVER DESIGN Katarzyna Turkowska Cover Image: Last_Judgment_by_F.Kavertzas_(1640-41) commons.wikimedia.org Printed directly from camera-ready materials provided to the Łódź University Press This publication is not for sale © Copyright by Małgorzata Dąbrowska, Łódź 2017 © Copyright for this edition by Uniwersytet Łódzki, Łódź 2017 Published by Łódź University Press First edition. W.07385.16.0.M ISBN 978-83-8088-091-7 e-ISBN 978-83-8088-092-4 Printing sheets 20.0 Łódź University Press 90-131 Łódź, 8 Lindleya St. www.wydawnictwo.uni.lodz.pl e-mail: [email protected] tel. (42) 665 58 63 CONTENTS Preface 7 Acknowledgements 9 CHAPTER ONE The Palaiologoi Themselves and Their Western Connections L’attitude probyzantine de Saint Louis et les opinions des sources françaises concernant cette question 15 Is There any Room on the Bosporus for a Latin Lady? 37 Byzantine Empresses’ Mediations in the Feud between the Palaiologoi (13th–15th Centuries) 53 Family Ethos at the Imperial Court of the Palaiologos in the Light of the Testimony by Theodore of Montferrat 69 Ought One to Marry? Manuel II Palaiologos’ Point of View 81 Sophia of Montferrat or the History of One Face 99 “Vasilissa, ergo gaude...” Cleopa Malatesta’s Byzantine CV 123 Hellenism at the Court of the Despots of Mistra in the First Half of the 15th Century 135 4 • 5 The Power of Virtue. -
Catalunya éS Mãºsica
catalonia is music «Music, this wonderful universal language, should be a source of communication between all of mankind» Pau Casals © Generalitat de Catalunya Departament d’Innovació, Universitats i Empresa Gran Teatre del Liceu. Barcelona. In Catalonia, music and passion have always gone together. Their alliance began with the troubadours, evolved in the mediaeval monasteries, crossed the desert after the defeat of the secessionist uprising (La Guerra dels Segadors or Reaper’s War), recovered with the coming of classical and contemporary music during the time of the 19th century Catalan cultural movement known as the Renaixença, flourished on a popular level with habaneras and sardanas, went into exile with Pau Casals after the Civil War, established ties later on during the dictatorship with European folk and re-emerged with the Nova Cançó (the New Song), expanded during democracy with Catalan rock and pop, and is now expressed in the electronic rhythms of the Sonar festival. Welcome to the sounds of Catalonia! Sephardic troubadours and romancers were already singing about the day-to-day life and sentiments of the Catalans when the County of Barcelona was established. Then came the mediaeval monasteries, the Escolania de Montserrat choir, plainchant with its sacred and profane polyphony during the Renaissance, and later, during the Renaixença, Catalan art and language made a recovery and classical music flowered in Catalonia with Albéniz, Mompou and Montsalvatge. These were followed by the cellist Pau Casals and the habanera and the sardana, with their substrate of popular dance and song; a legacy which has been given new life by mixing rhythms and fusing styles.. -
Los Motivos Del Fracaso De La Ópera Nacional En España
ANUARIO MUSICAL, N.º 74 enero-diciembre 2019, 37-52 ISSN: 0211-3538 https://doi.org/10.3989/anuariomusical.2019.74.03 “COMO SI LOS AMANTES Y GARÍN FUERAN RUSOS”: LOS MOTIVOS DEL FRACASO DE LA ÓPERA NACIONAL EN ESPAÑA “AS IF LOS AMANTES AND GARÍN WERE RUSSIANS”: REASONS FOR THE FAILURE OF NATIONAL OPERA IN SPAIN Francisco Manuel López Gómez Universidad de Castilla-La Mancha [email protected] ORCID ID: https://orcid.org/0000-0002-2988-2700 Resumen Abstract Las recientes investigaciones, a través del análisis de partitu- Recent research on Spanish 19th-century opera scores that ras del siglo XIX hasta hoy olvidadas, han puesto en valor algunos have been hitherto ignored has recognised the value of some of the de los trabajos operísticos de los compositores españoles más desta- works written by the most notable Spanish composers. This fact has cados, lo cual no ha hecho más que sorprender a la comunidad mu- surprised the musicological community that does not fully under- sicológica, que no termina de comprender por qué estas obras nunca stand why these works have never been included in the regular na- llegaron a implantarse dentro del repertorio canónico operístico tional repertory of opera. In this paper, we will start with some re- nacional. En este artículo, partiremos de los análisis existentes de cent opera analysis, and then, the contemporary written sources will las óperas, reflexionaremos sobre el contexto en que se crearon y enable us to assess public and critic opinion about these works. A tomaremos en consideración las fuentes escritas coetáneas, para co- reception study of these works will lead to the main causes that nocer la opinión de la crítica y el público y llegar a conclusiones prevented Spanish composers from developing a national opera. -
BARCELONA IS Much More NATURE, CULTURE, ENTERTAINMENT, GASTRONOMY
FREE ISSUE JANUARY 2017 Monthly agenda OFFICIAL FREE GUIDE! BARCELONA IS MUCH MORE NATURE, CULTURE, ENTERTAINMENT, GASTRONOMY... A HOST OF OPTIONS NEAR THE CITY ESSENTIAL THE AGENDA WITH GASTRONOMIC BEST ART MORE THAN EXPERIENCES GALLERIES 200 ACTIVITIES CONTENTS January 2017 Skiing at Masella. 08 BARCELONA 20 IN THE CITY IS MUCH MORE First class music, Enjoy the flavors while discovering history. Unforgettable activities theatre and dance Nature, sport, culture, The best music of all styles gastronomy... a host of activities combined with flamenco, C/ Mercaders 10 outside the city. dance and theatre. 08003 Born - Barcelona 14 ART 22 El Raval Art galleries Tradition and modernity Tel: + 34-932956467 Discover Barcelona’s rich variety go hand in hand in this neighbourhood. www.arcanobcn.com of artistic offerings by zones. 18 FOOD AND DRINK 23 SHOPPING The best gastronomic Catalan crafts in Ciutat Vella activities The best stores stocking Savour our gastronomy heritage related items. through the many activities 25 AGENDA and experiences offered by More than 200 daily restaurants. activities. Publisher: Turisme de Barcelona. Passatge de la Concepció, 7-9. Tel. 93 368 97 00. visitbarcelona.com · Design & layout: ZetaCorp (Ediciones Reunidas SA - Grupo Zeta). Tel. 93 227 94 16 · Advertising: Director Comercial, Juan Garçon. ZETA Gestión de Medios. Tel. 93 484 66 00 DL: B 12.919.2016 Follow us on social media: @VisitBCN_EN facebook.com/visitbarcelona pinterest.com/visitbcn/ youtube.com/c/visitbarcelonaofficial instagram.com/visitbarcelona plus.google.com/+visitbarcelonaofficial 2 visitbarcelona.com tickets.visitbarcelona.com 3 THE HOT Sa. 14 Mo. 23 LIST FOOTBALL MUSIC El Raval January 2017 FC Barcelona- American band neighbourhood. -
ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores. -
La Barcelona Más Desconocida
¡GUÍA Agenda mensual OFICIAL GRATUITA! SEPTIEMBRE 2017 LA BARCELONA MÁS DESCONOCIDA TRES CITAS CON CATAS, MARIDAJES Y AGENDA CON EL MEJOR ARTE VISITAS A BODEGAS EN MÁS DE 200 CONTEMPORÁNEO EL MES DE LA VENDIMIA ACTIVIDADES SUMARIO Septiembre 2017 Las muchas y prestigiosas galerías de arte de Barcelona acogen este otoño numerosas exposiciones. 08 EN PORTADA 18 EN LA CIUDAD La Barcelona más desconocida La Mercè, la gran Descubre los atractivos que te fiesta de Barcelona ofrecen los distintos barrios: Tradición, cultura y diversión arquitectura, museos, espacios para todos en la fiesta mayor. naturales, comercios singulares... Y además, este mes, música, 14 ARTE arte, deporte... El mejor arte contemporáneo 22 SHOPPING Warhol, arte figurativo, Joan Brossa y las mejores galerías de Denim para todos arte de la ciudad. Los mejores establecimientos donde encontrar vaqueros de 16 COMER Y BEBER todo tipo y para toda la familia. Enoturismo en Barcelona En el mes de la vendimia, conoce 24 AGENDA las mejores bodegas y disfruta de El día a día con más catas, maridaje, paseos... de 200 actividades. Síguenos @VisitBCN_ES facebook.com/visitbarcelona youtube.com/c/visitbarcelonaofficial pinterest.com/visitbcn/ instagram.com/visitbarcelona plus.google.com/+visitbarcelonaofficial Leyenda de iconos Tipo: espectáculo, deportes, cultura, enogastronomía Target: familiar, infantil, romántico Espacio: al aire libre, rutas, histórico, panorámico Temporalidad: mañana, tarde, noche, todo el día Edita: Turisme de Barcelona. Passatge de la Concepció, 7-9. Tel. 93 368 97 00. visitbarcelona.com · Diseño y maquetación: ZetaCorp (Ediciones Reunidas SA - Grupo Zeta). Tel. 93 227 94 16 · Publicidad: Director Comercial, Juan Garçon. ZETA Gestión de Medios. -
Barcelona Legende
Barcelona Legende Naam Type Naam Type Arc del Triomf Gebouwen Museu Casa Verdaguer Musea Barceloneta Stadsdelen Museu de Cera Musea Barri Gòtic Stadsdelen Museu de Geologia Musea Bellesguard Casa Figueras Gebouwen Museu de l´Eròtica Musea CaixaForum Musea Museu del Barça Musea Camp Nou Stadions Museu del Perfum Musea Capella de Santa Àgata Kerken Museu d´Arqueologia de Musea Catalunya Carrer d'Avinyó Straten Museu d’Art Contemporani Musea Casa Ametller Gebouwen Museu d’Història de la Ciutat Musea Casa Batlló Gebouwen Museu Etnològic Musea Casa de la Canonja Gebouwen Museu Frederic Marès Musea Casa de la Misericòrdia Gebouwen Museu Maritim Musea Casa de l’Ardiaca Gebouwen Museu Nacional d’Art de Musea Catalunya Casa Lleó Morera Gebouwen Museu Picasso Musea Casa Vicens Gebouwen Museu Taurí Musea Casa-Museu Gaudí Musea Museu Tèxtil i d´Indumentària Musea Castell de Montjuïc Forten Olympisch Dorp Stadsdelen CCCB (Centre de Cultura Musea Palau de la Generalitat Paleizen Contemporània de Barcelona) Colegio Teresiano Kloosters Palau de la Música Catalana Gebouwen CosmoCaixa Musea Palau Güell Gebouwen El Raval Stadsdelen Palau Robert Musea Estadi Olímpic Lluís Companys Stadions Parc de la Ciutadella Parken Font de Canaletes Fonteinen Parc del Laberint d'Horta Parken Font Màgica Fonteinen Parc Güell Parken Fundació Tàpies Musea Parc Zoològic de Barcelona Zoos Gràcia Stadsdelen Parroquia de María Reina Kerken Hospital de Sant Pau Gebouwen Parroquia de Sant Francesc de Kerken Sales Iglesia de los Carmelitas Kerken Parroquia de Sant Gregori Kerken