C. Curti Gialdino – Lineamenti Di Diritto Diplomatico E Consolare
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The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
LINER NOTES Recorded Anthology of American Music, Inc
ALL THE RAGE: New World Records 80544 Nashville Mandolin Ensemble At the turn of the twentieth century, a sound lilted through the air of American music like nothing that had ever been heard before. It inspired one writer to call it “the true soul of music.” It inspired thousands of Americans to pick up instruments and form groups to create this sound for themselves. It was the sound of the mandolin orchestra, a sound that the Nashville Mandolin Orchestra recreates on All the Rage, a sound as fresh and new today as it was in its heyday. The late nineteenth century was an exciting time for American music lovers. The invention of the phonograph had brought music into the home, and the increased exposure and competition brought out the best in musicians. John Philip Sousa’s band perfected the sound of the brass band, and the Peerless Quartet took four-part vocal performance to a level of perfection. But these were stylistic accomplishments with familiar, existing sounds—brass instruments and human vocal cords. The sound of the mandolin orchestra carried an extra edge of excitement because most Americans had never even heard a mandolin, much less the sound of mandolin-family instruments played in an orchestral setting. The mandolin alone had a distinct, unique sound. When a mandolinist plucked a single-note run, nothing could match its crispness of attack and delicacy of tone. And when a group of mandolin-family instruments launched into an ensemble tremolo, the listener was bathed in wave after wave of the most beautiful sound imaginable. -
María Grever, Ignacio Fernández Esperón “Tata Nacho,” and Agustín Lara
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2014 ITALIAN AND SPANISH INFLUENCE ON SELECTED WORKS OF MEXICAN COMPOSERS: MARÍA GREVER, IGNACIO FERNÁNDEZ ESPERÓN “TATA NACHO,” AND AGUSTÍN LARA Manuel M. Castillo University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Castillo, Manuel M., "ITALIAN AND SPANISH INFLUENCE ON SELECTED WORKS OF MEXICAN COMPOSERS: MARÍA GREVER, IGNACIO FERNÁNDEZ ESPERÓN “TATA NACHO,” AND AGUSTÍN LARA" (2014). Theses and Dissertations--Music. 32. https://uknowledge.uky.edu/music_etds/32 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Emilio and Emily Calamara: a Tale of Two Musicians Sheri Mignano Crawford
Emilio and Emily Calamara: A Tale of Two Musicians Sheri Mignano Crawford It is not an unusual story when two musicians fall in love but this is a tale of two musicians with successful careers and intertwined lives that did not end well. The unraveling of their world and how they became estranged has been shrouded in mystery. Even their contributions and accomplishments have remained mostly unknown and underappreciated. It begins with a well- respected harp guitarist who fell in love with a married woman who taught mandolin. A young handsome Italian immigrant Emilio Calamara encountered a regal bourgeois American woman with roots allegedly dating back to the American Revolution. Emily Regina Jeanette “Nettie” Welch, née Macomber and Signore Calamara both excelled at being the best in their fields and associated with the finest musicians, received stellar recognition from their peers and in particular, from a fellow Chicagoan, luthier Joseph Bohmann. In exchange for solicited endorsements and testimonials, their reciprocal arrangement with Bohmann expected that they performed on his musical instruments. As his stable of musicians grew, Bohmann greatly amplified his prestige and standing among luthiers and musicians. It is no different today when a manufacturer and a musician agree upon mutually satisfying benefits. Emilio and Nettie Calamara were not naïve about the stress-related pressures associated with brand loyalty; however, in the course of their marriage and professional careers, other decisions ultimately damaged their marital and professional partnership. And in the end, they would pay dearly. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ In the autumn of 1872 Gregorio Calamara and his son Emilio departed from the port of Gibraltar on the Ismailia and arrived at Castle Garden.1 Their last residence had been Siracusa, Sicily. -
Società Filarmonica Aretina (1832-1976)
COMUNE DIAREZZO ARCHIVIO STORICO Dopolavoro Filarmonico-Drammatico"T.Sgricci”, Società FilodrammaticadeiRisortidiArezzo, Società FilarmonicoDrammatica"T.Sgricci”, Società FilarmonicoDrammaticaAretina poi SocietàFilodrammatica"T.Sgricci", Strumenti dicorredodell'Archivio StoricodelComunediAreno-9 Società FilarmonicaAretina ovvero dellaProvinciadiArezzo Società FilarmonicaAretina, Inventario degliarchividella Società FilarmonicaAretina, Orchestra StabileAretina (1832-1976) (PREPRINT) Arezzo 2000 Comune di Arezzo - Ufficio Protocollo e Statistica - 2014 * Ilriordinodelfondoèavvenuto fral'aprile1998eilmarzo2000,sottoladirezionedi LucaBertieconla Dopolavoro Filarmonico-Drammatico"T.Sgricci", Società FilodrammaticadeiRisortidiArezzo, Società FilarmonicoDrammatica"T.Sgricci", Società FilarmonicoDrammaticaAretina poi SocietàFilodrammatica"T.Sgricci", Società FilarmonicaAretina Ha partecipatoallaschedatura delmaterialeancheLisaSacchini. ovvero dellaProvinciadiArezzo consulenza informaticaebibliografica diFerdinandoBramanti. Società FilarmonicaAretina, Inventario degliarchividella Società FilarmonicaAretina, Chiara BardazzieAlessandraLombardi Orchestra StabileAretina (1832-1976) a curadi Comune di Arezzo - Ufficio Protocollo e Statistica - 2014 Il riordinamentoel'inventariazionedelfondo èavvenutoconilcontributo della ProvinciadiArezzo. Comune di Arezzo - Ufficio Protocollo e Statistica - 2014 Sommario Introduzione pag. 7 Abbreviazioni " 11 Fondi Archivistici " 13 Società Filarmonica Aretina (1832-1866) " 15 Società Filodrammatica dei Risorti di -
Jazz Italiano
Jazz Italiano Jazz Italiano: A History of Italian Syncopated Music 1904-1946 By David Chapman Jazz Italiano: A History of Italian Syncopated Music 1904-1946 By David Chapman This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by David Chapman All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2019-6 ISBN (13): 978-1-5275-2019-6 Negli anni Venti giunsero a Rivarolo Mantovano molte persone che ritornavano dall’America dove erano emigrate quindici o vent’anni prima e portavano con loro molti dischi di musica Americana da ballo, di Paul Whiteman, e altre orchestre. Rimasi folgorato. Più tarde, quando avevo sedici o diciasette anni, verso il ’29 o ’30, cominciai a conoscere personaggi come Ellington e Armstrong. Insomma mangiavo pane e Ellington. In the 1920s several people arrived in Rivarolo Mantovano who returned from America where they had emigrated fifteen or twenty years earlier, and they brought with them several records of American dance music by Paul Whiteman and other orchestras. I was thunderstruck. Later when I was sixteen or seventeen years old, around 1929 or 30, I began to recognize people like Ellington and Armstrong. In the end, I lived on bread and Ellington. -
Signifying Europe
FORNÄS SIGNIFYING €urope SIGNIFying €urOPE JOHAN FORNÄS Signifying Europe provides a systematic overview of the wide range of symbols used to represent Europe and Europeanness, both by the political elite and the broader public. Through a critical interpretation of the meanings of the various symbols—and their often contradictory or ambiguous dimensions—Johan Fornäs investigates how Europe currently identifies itself and is identified by others outside its borders. While the focus is on the European Union’s symbols, those symbols are also interpreted in relation to other symbols of Europe. Offering insight into the cultural dimensions of European unification, this volume will appeal to students, scholars and politicians interested in European policy issues, cultural studies, and postnational cultural identity. Johan Fornäs is Professor at the Department of Media and Communication Studies at Södertörn University in Sweden, director of the Advanced Cultural Studies Institute of Sweden, and the editor of Culture Unbound: Journal of Current Cultural Research. SIGNIFYING ISBN 978-1-84150-521-3 00 €urope 9 781841 505213 JOHAN FORNÄS intellect | www.intellectbooks.com 4HE4RUSTUS0LAYS SignifyingWhy We Make Europe Art at why it is taught Johan Fornäs by Richard Hickman Ê/ÕÌÌi ^ciZaaZXi7g^hida!J@8]^XV\d!JH6 Published with support from the Sven and Dagmar Salén Foundation and the Publication Committee of Södertörn University in Sweden. First published in the UK in 2012 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK First published in the USA in 2012 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA This ebook is licensed under a Creative Commons CC-BY License.