DOCSLIB.ORG

Ashleigh Gordon, Laptop: Stefan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ashleigh Gordon, Laptop: Stefan Ghostland Empire : for viola, two bowls of water, and electronics - Stefanie Lubkowski viola: Ashleigh Gordon, laptop: Stefanie Lubkowski A resident of Cambridge, MA, Stefanie Lubkowski studied flute, organ, and piano as a child before moving on to a ten-year love affair with the classical guitar. Her initial compositional efforts involved developing unusual timbres on her mother’s Wurlitzer organ and independent study in her high school electronic music studio. These early explorations nurtured Stefanie’s interest in creating sound worlds guided by harmony, punctuated by melody, and inspired by poetry and prose. She went on to study Music and Technology and Guitar Performance at Connecticut College in New London, CT, and received her masters from New England Conservatory where her primary teachers were Lee Hyla and Pozzi Escot. Stefanie has written for orchestra, voice, various chamber ensembles, and electronic media. She has been commissioned by Auros Group for New Music, Ashleigh Gordon, Anthology, the New Gallery Concert Series, Alea III, The Fourth Wall Ensemble, and Transient Canvas. She received her doctorate in composition from Boston University in 2014, where her teachers included Ketty Nez and Sam Headrick. www.stefanielubkowski.com Jamaican-American violist Ashleigh Gordon has performed throughout North America, Europe, and Hong Kong, ranging from chamber and orchestral music settings to off-Broadway and new music productions. As an entrepreneur, Ashleigh is the Artistic Director of Castle of our Skins, a newly created concert series dedicated to promoting the music of Black American composers. She is also the founding violist of Sound Energy, a dynamic new string trio dedicated to performing and commissioning new works. She can be heard on Naxos, Musique Suisse labels. www.violashe.com Inter Alia II - Jed Speare My work emerges out of field recordings and moves through transformative and combinatory phases, inter alia, often with long gestation periods and desultory stances. They pool like eels on the ocean floor, and move about as they wish, in the dark knowledge of their depths until they discover their chains of affinities and move closer to them, eventually finding them. Jed Speare is an interdisciplinary artist who has presented time-based arts internationally for over thirty years. In 2008, The Wire magazine called him “a pioneer of multimedia presentation,” for his use of location recordings in performance and multimedia collaborations. His work encompasses albums, notably Cable Car Soundscapes (Smithsonian Folkways, 1982) and Sound Works 1982-1987 (Family Vineyard, 2008); public projects such as Quiet Zone (Fitchburg, MA, 1994; Toronto Island, 2004) and Audiograms (1994); and sound in urban design (Peaceful - An Ping, Tainan, Taiwan, 1999). In Boston, he’s been Director of two alternative arts organizations, Mobius and Studio Soto, for a combined twenty years. He performs solo electroacoustic work as well as in other combinations, and is active with the New England Phonographers Union, a group he co-founded. He is also on the Board of Directors of the American Society of Acoustic Ecology. LUSITANIA (re)CALLING - Danny McCarthy The work LUSITANIA (re)CALLING was created initially as a sound installation which took place in the Sirius Arts Centre Cobh Ireland to mark the centenary of the sinking of the ship the Lusitania .Cobh is the Irish town where most of the survivors were landed also the bodies of the dead were held there for identification etc. There are numerous photos of the bodies lying in coffins and the town ran out of coffins. The town obviously echoed to the sound of coffins being made and closed.Once commissioned to make the installation the artist undertook extensive research and proceeded to make numerous field recordings of this sound in local workshops. He then used these field recordings and some basic electronics to create the work which was then played back on speakers in the Arts Centre and on the streets of the town to co inside with the centenary of the sinking on the 7th May2015. The work that you will be hearing is a remix of this piece. A special limited edition 10" vinyl record was released by Farpoint Recordings also.The record consists of two tracks "Coffinmakers Blues" and "Stonecarvers Lament". Danny McCarthy tudied at the National College of Art and Design. He currently lectures in Sound Art in the School Of Music and Drama ,UCC as well as visiting lecturer and workshop facilitator in various institutions He has pioneered both performance art and sound art in Ireland and he continues to be a leading exponent exhibiting and performing both in Ireland and abroad .His work has appeared on numerous CD.s, DVDs and has been broadcast widely on both radio and T.V. His work regularly appears on the programme NOVA Lyric FM and he has been the subject of several features on the programme. He is a founding director of Triskel Arts Centre and of the National Sculpture Factory and is a director the Sirius Arts Centre Cobh as well as curating numerous exhibitions and projects including Sound Out (with David Toop), Bend It Like Beckett, Sonic Vigil, Just Listen plus many more, He is the recipient of numerous awards and bursaries from both the Irish Arts Council and Dept of Foreign Affairs, Culture Ireland and has represented Ireland abroad at various exhibitions. He is a First Prize winner in EV+A (selector Pierre Restany). His Books CDs DVDs, vinyls etc are available from www.farpointrecordings.com, www.dannymccarthy.ie and www.soundoutin.blogspot.com . Praest Arif-John-Lichun - Mick O'Shea When visiting Boston with Strange Attractor in 2012 I came across Brattle a second hand bookshop. I bought a book written in Danish in 1909 with the title Praest. The book was small hard backed and smelled good, the cost was $1. In an effort to ‘understand’ this book I asked and recorded non Danish speakers to read from the book. After they read I drew on the pages. These were I think two transgressive acts. The first changed the words and meaning into sounds the second added layers of symbols and marks on top of the words. For this recording I’ve used the voices of Arif Ayab (Singapore), John Thompson (Ireland) and Lichun Tseng (Taiwan). This is an ongoing project. Mick O’Shea lives and works in Cork city and is a member and director of the Cork Artists Collective and The Guesthouse and has been instrumental in establishing a vibrant and growing sound art scene in Cork city. He has exhibited in UK, Germany, Poland, Lithuania, Austria, Belgium, Finland, Tasmania, USA, China and Japan. He studied instrument physics in C.I.T. and works as an instrument technician in UCC. All of his works spring from his essential experience in drawing. His medium includes sculpture, drawing, sound and cooking. In 2003 O’Shea and fellow artist Stephen Brandes and Irene Murphy set up the collaborative practice, The Domestic Godless which, through performative cooking events, explores culinary activity as art practice and tests assumptions about the cultural traditions of food in challenging and often irreverent and absurdist ways. He also works with various sound artists and composers both national and international including: The Quiet Club with sound artist Danny McCarthy, Rhodri Davies, Stephen Vitiello, Steve Roden, David Toop, Rajesh Meta, Jennifer Walshe, Damo Suzuki;Strange Attractor: Experiments in a quinary landscape and other fields with Anthony Kelly, Danny McCarthy, Irene Murphy, David Stalling Gaitkrash (an experimental performance group) with Bernadette Cronin and Regina Crowley. Broken Memory (excerpt) - David Morneau Gameboy: David Morneau Welcome to Broken Memory by David Morneau, Immigrant Breast Nest's composer-in-residence. Although born from the limited sonic palette of chip-tunes, Morneau is able to coax delightfully unexpected results from the familiar 8-bit chirps and blips in each of these six pieces. Immediately dissolving our preconceptions, "The Black Hallway" leads us to other strange locales, brutal and broken terroir, terminating finally with "Rue D'Auseil" which riddles blips with funk and thumps. Each track title references H.P. Lovecraft's story The Music of Erich Zann in which the titular hero plays his intense, strange music to keep the demons at bay. It's apropos, Broken Memory is radically creative music for staving off the abyss. (immigrantbreastnest.com) David Morneau is a composer of an entirely undecided genre. Described by Molly Sheridan as a "shining beacon" of inspiration, his diverse work illuminates ideas about our culture, issues concerning creativity, and even the very nature of music itself. His eclectic output has been described variously as "elegantly rendered", "happily prissy", "impressive", "unusual, esoteric, and offbeat". Morneau’s eclectic output is shown by two recent albums Love Songs and Broken Memory. One is songs that combine Shakespeare’s Sonnets with contemporary poetry. The other is noisy, droning Gameboy tracks that "absolutely wreck shop.… For that, David Morneau wins." Morneau is composer-in-residence with Immigrant Breast Nest, an underground electronic music label, and the artistic director of Circuit Bridges, a new electronic music concert series. Learn more at http://5of4.com Integer Underground - Stefanie Lubkowski A collage of numbers stations samples and sounds from my garage evoke a cold war intrigue and paranoia. Cloud 1 - Max Lord Recorded in 2015 with the Buchla Electric Music Box Max Lord is a Boston-based improvisor who has worked in a variety of rock, noise, electronic and improv settings. Though originally identifying as a percussionist, since 2000 he has performed with Buchla electronic instruments. His recorded work as Ghost Grass recalls mid-century electronic experimentation as often as more modern improvised approaches and is intimately tied to the magnetic medium on which it is created. As a collaborator and organizer, he is closely associated with the experimental movement community.
Load more

Recommended publications
  • VIII. Música Popular E Diferenças Regionais
    MÚSICA POPULAR E DIFERENÇAS REGIONAIS 1 VIII Susana Sardo VIII MÚSICA POPULAR E DIFERENÇAS REGIONAIS Le Portugal est un pays romantique, d’un romanticisme calme et contemplatif, qui vit du souvenir de ses gloires passées, en feuilletant le livre de son histoire, pour se rap- peler ses héros, ses conquêtes, et se laisse caresser indo- lemment par son soleil divin, au milieu d’un paysage admi- rable. Sa musique, comme son peuple, est généralement triste, indolente, mélancolique et douce. PEDRO BLANCO, 1912 Ascetas e serandeiros Comum a mais ou menos todo o território português, o serandeiro era e é ainda hoje, na sua versão fol- clorizada, um personagem miste- rioso que surge à noite, ao serão, du rante as actividades agrícolas comu nitárias, escondido pelo man - to e pelo silêncio com que se en vol - ve, deixando-se apenas enunciar pelo ramo de cheiro que segura e com o qual acaricia as faces das ra - parigas solteiras. Envolto pelo mis- tério, num compromisso entre o medo e a sedução, o serandeiro é tam bém a encarnação de um mito: um personagem que emana do na - Representação de um serandeiro da, que não se deixa descobrir, que na reconstituição de uma desfolhada em Arões, Vale de Cambra, Setembro de 2005. se esconde num atrevimento que Fotografia de Nuno Dias apenas a noite autoriza e que, tam - bém por isso, se torna imaculado. Imaculadas são também as raparigas que se juntam nestas actividades nocturnas, vigiadas pelos homens mais velhos e pelas mulheres-mães, enquanto ouvem e repetem um repertório musical desempenhado em grupo, com o qual aprendem a comunicar, a dialogar e a partilhar uma linguagem comum.
    [Show full text]
  • The Fado & the Blues
    1 The Fado (Destiny or fate) The "Blues" of Portugal and American Blues Fado and the Blues - 1 Story of the Blues - 17 Ana Moura Bio - 4 Articles - 19 Origin & Genre - 6 Magic Melody (Kern) - 44 Moura Interview II - 7 Conclusion - 93 Spirituals - 9 Music - 95 The Fado & the Blues While working on the story behind the song “April in Portugal” I found the composer of the English version was Jimmy Kennedy, the lyricist of many popular songs. He added lyrics that did not mirror the Brazilian words but did try to keep the emotion behind the original music and lyrics by Raul Ferrdo and Jose Galhardo. Upon further research I found out that the tune was what is called a “Fado” (fate) in Portugal. In Portugal the Fado is considered the national music. Its impression is a nostalgia felt when missing someone or losing someone (in Portuguese the word ‘saudade’ is used much as the word blues is used). The origin of the Fado is said to have been a mixture of African slave rhythms with the traditional music of Portuguese sailors and Arabic influences. This fact got me thinking about the similarities and differences between the Fado and the Negro Blues. Further research finds that some jazz players also became interested in the Fado. Don Byas had an interest in the Fado and actually performed with Fado singers. There are many similar things about Fado and the Blues. Both seemed to have origins in Negro Slaves. Slaves during the era of slavery that went to Brazil numbered 3,646,800.
    [Show full text]
  • Folk Or Fake: the Notion of Authenticity in Portuguese Fado
    1 Folk or Fake: The Notion of Authenticity in Portuguese Fado James Patrick Félix Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music March 2015 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement © 2015 The University of Leeds and James Patrick Félix The right of James Patrick Félix to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. 3 Acknowledgements Para a minha mãe Anne Marie Félix, meu pai Amorim Carvalho Félix, minha esposa Denise Sara Bryan e minha filha Emma Maria Félix. This thesis would not have been possible without the assistance and support of a large number of individuals. I wish to extend my thanks first to my supervisory team of Professor Derek Scott and Professor Kevin Dawe, whose input, encouragement and advice helped keep things moving. I would also like to thank friends and colleagues at the University of Leeds, including Dr Karen Burland, Dr Lauren Redhead and Tenley Martin, whose conversations and suggestions allowed me to focus my thoughts and research in the right direction. I would also like to thank Professor Peter Johnson and Dr Liz Garnett at Birmingham Conservatoire who first helped me develop my interest in authenticity and folk music.
    [Show full text]
  • The Portuguese Guitar: History and Transformation of an Instrument Associated with Fado
    THE PORTUGUESE GUITAR: HISTORY AND TRANSFORMATION OF AN INSTRUMENT ASSOCIATED WITH FADO NUNO JOSÉ DOS SANTOS ANAIA CRISTO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JANUARY 2014 © Nuno José dos Santos Anaia Cristo 2014 ABSTRACT Since the mid-nineteenth century the Portuguese guitar has been connected to the fado genre. Over the years, both the instrument and the song genre have experienced significant transformations, at times related to aesthetic changes, at other times conditioned by social, political and economic alterations. This thesis focuses on the historic organological development of the Portuguese guitar, as an instrument associated with fado, and explores how the Lisbon guitar model has been progressively replaced by the Coimbra guitar model (both in practice and iconic symbolism). I argue that this tendency is related to the current new era of Portuguese guitar practice with its origins in the post-revolutionary period lived in Portugal after the political overthrow in 1974. My study is based on the review and analysis of the most recent works on the subject, fieldwork among players and makers, iconographic and archival research, and my own experience as a player and maker of both models of the Portuguese guitar. ii DEDICATION To my parents iii ACKNOWLEDGMENTS Many thanks to: York University for the 2012 GS-CUPE Unit 1 Graduate Financial Assistance - Dom Award. The Faculty of Graduate Studies for the allocation of the 2012-2013 Fieldwork Fund, without whose generous financial assistance this research would have not been possible; My supervisor Louise Wrazen and secondary reader Judith Cohen for all their encouragement, help and insightful advice throughout this process; My teachers at York University: Rob van der Bliek, Robert Witmer, Robert Simms, Trichy Sankaran, and Sherry Johnson.
    [Show full text]
  • A Canção Tradicional Portuguesa No Ensino Básico Do Canto André Nuno Almeida Lacerda
    MESTRADO ENSINO DE MÚSICA CANTO A canção tradicional portuguesa no ensino básico do canto André Nuno Almeida Lacerda SETEMBRO/2018 MESTRADO ENSINO DE MÚSICA M CANTO A canção tradicional portuguesa no ensino básico do canto André Nuno Almeida Lacerda Relatório de Estágio apresentado à Escola Superior de Música e Artes do Espetáculo e à Escola Superior de Educação como requisito parcial para obtenção do grau de Mestre em Ensino de Música, especialização Canto. Professor Orientador António Salgado Professor Cooperante Emanuel Henriques SETEMBRO/2018 iii Agradecimentos Ao professor cooperante – prof. Emanuel Henriques; Ao professor orientador – prof. António Salgado; Aos amigos de sempre e aos que conheci ao longo do meu trajeto académico; À minha família; À Rita. iv Resumo O presente documento consiste no relatório final da unidade curricular Prática de Ensino Supervisionado, inserida no Mestrado em Ensino da Música – variante Canto, da ESMAE/ESE. Este documento está dividido em três capítulos: guião de observação, relatório de estágio e projeto de investigação. No primeiro capítulo é apresentada a instituição onde foi realizado o estágio pedagógico inserido no Mestrado em Ensino da Música. É retratada a instituição acolhedora - Conservatório de Música do Porto - explicada a sua história, importância cultural e são apontados os seus documentos orientadores: projeto educativo, regulamento interno e programa da disciplina de canto. No segundo capítulo é descrito o percurso efetuado enquanto estagiário ao longo do ano letivo 2017/18, descrevendo as planificações efetuadas, observações das aulas lecionadas, atividades dinamizadas pela classe de canto, principais obstáculos e conclusões obtidas. Com o projeto de investigação pretende-se apresentar uma reflexão sobre a utilização da canção tradicional portuguesa no ensino básico do canto e faz-se uma seleção destas canções com interesse pedagógico relevante.
    [Show full text]
  • The Case of Portuguese Fado 10.1177/1350507620988093 Journals.Sagepub.Com/Home/Mlq
    MLQ0010.1177/1350507620988093Management LearningSimpson et al. 988093research-article2021 Article Management Learning 1 –22 Art, culture and paradox pedagogy © The Author(s) 2021 in management learning: Article reuse guidelines: sagepub.com/journals-permissions The case of Portuguese fado https://doi.org/10.1177/1350507620988093DOI: 10.1177/1350507620988093 journals.sagepub.com/home/mlq Ace Volkmann Simpson Brunel University London, UK Marco Berti University of Technology Sydney, Australia Miguel Pina e Cunha Universidade Nova de Lisboa, Portugal Stewart Clegg University of Technology Sydney, Australia Nova School of Business and Economics, Universidade Nova de Lisboa, Portugal Abstract We propose a reawakening of interest in the role of artistic knowing for managerial education, presenting a pedagogy that is sensitive to cultural context and aimed at enabling the phronetic management of paradox. Inspired by fado, the iconic Portuguese popular music, especially the ways in which it embodies the stresses of society, we develop strategies for management learning based on engagement with art that fosters sensitivity to paradox. We contribute to management learning by inviting practitioners to be sensitive to the complexity of competing tensions in the cultures and language in and through which everyday lives are lived by bringing attention to the potential of artistic knowing for highlighting and navigating management paradoxes, to develop phronesis. Keywords Metaphors, paradox, power, socio cultural studies, teaching Introduction Inspired by the theme of EURAM’s 2019 conference1 and by work on how local-popular forms of art may inform management studies (e.g. Stovall, 2006), we advance an original approach to man- agement education. From even a purely “functionalist” perspective, it is apparent that rapid Corresponding author: Ace Volkmann Simpson, Brunel Business School, Brunel University London, Kingston Ln, Uxbridge, UB8 3PH, UK.
    [Show full text]
  • Soak in Fado, the Music of Portugal
    Thursday, March 1, 2018 15 Reports by Lezima Gomes For events and press releases email Slice of the West [email protected] or call (974) 44422077 Soak in Fado, the music of Portugal Maria Ana Bobone ADO is a form of Portuguese singing that The embassy of Portugal in Qatar will be is often associated with pubs, cafés and restaurants. This genre of music has its origins generally placed around the bringing the experience of Fado to Qatar with 1820’s in Portugal. Fado is generally known for its expressive nature, as well as for being profoundly melancholic. General- Portuguese singer Maria Ana Bobone set to ly, in Fado music, the singer will sing about the reali- ties of daily life, balancing both resignation and hope perform at Qatar National Convention Centre and expecting a solution to the torments. This can be described by using the Portuguese word ‘saudade’, which means ‘longing’ and stands for a feeling of loss. Auditorium in Doha on March 17 The Embassy of Portugal in Qatar will be bring- ing the experience of Fado to Qatar on March 17 at the Qatar National Convention Centre Auditorium 3 with Portuguese Fado singer Maria Ana Bobone. Bobone is recognised as one of the best voices of her generation. Bobone made her debut singing Fado at the age of 16, having subsequently completed the piano and singing courses at the National Conservatory of Mu- sic in Lisbon. Her first album entitled ‘Alma Nova’, recorded in partnership with two other Fado singers, was the be- ginning of a brilliant career.
    [Show full text]
  • Celebrations
    Celebrations Alentejo Portalegre Islamic Festival “Al Mossassa” Start Date: 2021-10-01 End Date: 2021-10-03 Website: https://www.facebook.com/AlMossassaMarvao/ Contacts: Vila de Marvão, Portalegre The historic town of Marvão, in Alto Alentejo, will go back in time to evoke the time of its foundation by the warrior Ibn Maruam, in the ninth century, with an Islamic festival. Historical recreations with costumed extras, an Arab market, artisans working live, a military camp with weapons exhibition, games for children, knights in gun duels, exotic music and dance, acrobats, fire- breathers, snake charmers , bird of prey tamers and circus arts are some of the attractions. Centro de Portugal Tomar Festa dos Tabuleiros (Festival of the Trays) Date to be announced. Website: http://www.tabuleiros.org Contacts: Tomar The Festival of the Trays takes place every four years; the next one will take place in July 2023. Do not miss this unique event! The blessing of the trays, the street decorations, the quilts in the windows and the throwing of flowers over the procession of the trays carried by hundreds of young girls on their heads, is an unforgettable sight. The Procession of the Tabuleiros, heralded by pipers and fireworks, is led by the Banner of the Holy Ghost and the three Crowns of the Emperors and Kings. They are followed by the Banners and Crowns from all the parishes, and the girls carrying the trays. In the rear are the cartloads of bread, meat and wine, pulled by the symbolic sacrificial oxen, with golden horns and sashes. The girls who carry the trays have to wear long white dresses with a coloured sash across the chest.
    [Show full text]
  • Music, Theatre and the Nation: the Entertainment Market in Lisbon (1865–1908)
    Newcastle University School of Arts and Cultures Music, theatre and the nation: The entertainment market in Lisbon (1865–1908) João Luís Meireles Santos Leitão da Silva Submitted in fulfilment of the degree of Doctor of Philosophy September 2011 Abstract The development of the Portuguese entertainment market and the rise of several types of musical theatre are inextricably bound to the complex symbolic and material process through which Portugal was established, presented, developed, and commodified as a modern nation-state between 1865 and 1908. During this period, several fundamental transformations that merged urban planning, everyday life, and modernity took place in Lisbon. In this process, leisure activities began to include new forms of music theatre (such as operetta and the revue theatre) that became an important site for the display of modernity, representing and commodifying the nation. Despite its colonial possessions, Portugal was a peripheral European country where modernity developed in a specific way. The commodification of music associated with both music publishing and mechanical music fostered the creation of a transnational market for goods in a period when most of the trade was conducted with or within national economies. In this context, the Portuguese entertainment market reflected a particular form of negotiation between the local, the national and the global levels, in which gender, class, ethnicity, and technology intertwined with theatrical repertoires, street sounds and domestic music making. ii Acknowledgements The research for this thesis was made possible by a scholarship of the Fundação para a Ciência e Tecnologia, for which I am very grateful. It allowed me to concentrate exclusively on my research and to study at the International Centre for Music Studies in Newcastle University.
    [Show full text]
  • A Major New Reference Work to an Understanding of Music and Social Life in Portugal’S 20Th Century
    ANTHONY SEEGER A major new reference work to an understanding of music and social life in Portugal’s 20th century Análise Social, 205, xlvii (4.º), 2012 issn online 2182-2999 edição e propriedade Instituto de Ciências Sociais da Universidade de Lisboa. Av. Professor Aníbal de Bettencourt, 9 1600-189 Lisboa Portugal — [email protected] REVIEW ARTICLE ANTHONY SEEGER A major new reference work to an understanding of music and social life in Portugal’s 20th century Discussed in this essay: castelo-branco, Salwa (dir.), Enciclopédia da Música em Portugal no Século xx, Lisboa, 4 volumes, Círculo de Leitores / Temas e Debates, 2012. isbn: 9789896440916; isbn: 9789896440985; isbn: 9789896441081; isbn: 9789896441142. he four-volume Enciclopédia da Música em Portugal no Século xx (empxx) is a magnificent achievement. It establishes a solid baseline for all future works on the music of Portugal and marks the emergence Tof an important group of Portuguese scholars who are profoundly influencing the way music is studied in Portugal and abroad. The largest musicological work on the music of Portugal published to date, the empxx is also one of the most carefully conceived, tightly organized, and self-reflexive reference works this reviewer has ever encountered. As such it certainly merits a review in the Análise Social. This review begins with a discussion of the general objectives and organizing principals of the encyclopedia. This is followed by a discussion of entries on each of the three levels of generalization found in empxx. In turn, this is followed by reflections on the music of Portugal in Wikipedia, on-line reference resources, and the future of empxx in the digital age.
    [Show full text]
  • 2016 Portugal Wild Coast Regional Info.Pub
    Regional Information Portugal — Alentejo & Algarve Wild Coast In Arrabida Natural Park you'll admire beauful Mediterrane- an forest and the gorgeous cliff coast line with some stunning beaches of fine sand and clear sea water. Enjoy the coast and the beauful sand Troia Peninsula. The Vicenne Coast Natu- ral Park extends itself along the Portuguese coast and is bor- dered by the Atlanc Ocean. This SW landscape is 300 million years old and it is one of the most preserved landscapes in all of Europe; human intervenon is less visible throughout the areas long history. Once submerged (about 2 million years Pure Adventures ago), this is a vast area with many different coastal habitats and countless beaches and cliffs and isolated islets. This area www.Pure-Adventures.com 6501 E. Greenway Parkway boasts a diversity of rare botanical species, with very inter- #103 - 439 esng flora and a variety of marime birds that nest here and Scottsdale, AZ 85254 complete this beauful and unique scenery. Cape S. Vicente USA/CAN: 800-960-2221 is the south-western-most point in connental Europe and a Other: (001) 480-905-1235 passing area for thousands of birds. Sagres is the place from Fax: 602-357-7475 where the brave Portuguese forefathers sailed on their cara- E-mail: [email protected] vels seeking new people and connents. Portugal - Alentejo & Algarve Wild Coast General Information Some History... The land within the borders of today's Portuguese Republic has been connuously seled since prehistoric mes. In 29 B.C. the territory was occupied by the Gallaeci and the Lusitanians when it was integrated in the Roman Empire as the provinces of Lusitania and part of Gallaecia.
    [Show full text]
  • Portugal & Spain
    PORTUGAL & SPAIN Early-Bird Special! 49 $3,149 $3,0 doba Tour if d FREE Cor an 6, 2018. y October 2 reserved b ice MARCH 8-16, 2019 ry, at this pr Hur sell the trip will out quickly. FROM $3,049 AIR & LAND 9 DAYS, 7 NIGHTS INCLUDING HOTELS, MEALS, DAY TRIPS AND AIRFARE FROM MINNEAPOLIS, MN Discover the layers of culture and history on this amazing journey including two countries and four major cities. Crowned by St. George's Castle and straddling seven hills, Lisbon is one of Europe's most visually striking capitals. Evora, an architectural phenomenon, once enclosed behind medieval walls, lives up to its reputation as a living museum. Seville's historic center is lorded over by a colossal Gothic cathedral, Mudéjar palaces, baroque churches and winding medieval lanes. The Mosque-Cathedral of Cordoba is a symbol of the worldly sophisticated culture that flourished more than a millennium ago when Cordoba was the capital of Islamic Spain and Europe's largest cultural and intellectual center. Join us on this all-encompassing and unique journey to Portugal and Spain. For more details and reservations contact: Allyson Krull at the Chamber of Commerce E-mail: [email protected] Telephone: (641) 423-5724 PORTUGAL & SPAIN DESTINATION HIGHLIGHTS from air & land Explore historic & colorful Lisbon • Old-World neighborhoods of 9 Days $3,049 Alfama and Belém • UNESCO World Heritage Jeronimos Monastery & Belém Tower • Traditional Fado show • Discover Historic town of (3) Lisbon • (1) Évora • (3) Seville Sintra • Visit a tile factory • Évora, a living
    [Show full text]