Herodotus' Croesus
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Verdi Falstaff
Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably. -
HAYDN À L'anglaise
HAYDN à l’anglaise NI6174 CAFO MOZART Caf€ Mozart Proprietor Derek McCulloch Emma Kirkby soprano Rogers Covey-Crump tenor Emma Kirkby soprano Rogers Covey-Crump tenor Jenny Thomas flute Ian Gammie guitar Alastair Ross square piano Jenny Thomas flute Ian Gammie guitar Alastair Ross square piano Derek McCulloch proprietor Instruments: Four-keyed flute: Rudolph Tutz, Innsbruck 2003, after August Grenser, c1790 Guitar: Nick Blishen, 2001; copy of Lacote, c1820 Square piano: William Southwell, London c1798. Restored by Andrew Lancaster, 2008 Tuning & maintenance: Edmund Pickering Tuning: a’=430; Vallotti Recorded June 7th-9th 2011 in Rycote Chapel nr Thame, Oxfordshire Sound engineer: Anthony Philpot. Producer: Dr Derek McCulloch Music edited and arranged by Ian Gammie & Derek McCulloch Source material: Bodleian Library, Oxford, UK Bodleian Libraries UNIVERSITY OF OXFORD © 2012 Caf€ Mozart Enterprises 64 Frances Rd Windsor SL4 3AJ [email protected] HAYDN à l’anglaise Cover picture: Derek McCulloch (©2012) after George Dance (1794) Haydn’s songs as edited by William Shield Graphics: Rod Lord (www.rodlord.com) ‘Ballads’ adapted from his instrumental music by Samuel Arnold Dedicated to the memory of Roy Thomas († February 2011) Rondos on his Canzonettas by Thomas Haigh Alastair Ross started his musical career as HAYDN à l’anglaise Organ Scholar in New College, Oxford in Caf€ Mozart Proprietor Derek McCulloch the 1960s. In the intervening years he has (a) Emma Kirkby soprano [1,2,3,6,8,10,14,15,17,19,20] established himself as one of the country’s (b) Rogers Covey-Crump tenor [1,2,4,7,9,10,11,13,14,15,18,19,20] foremost continuo players and as a solo (c) Jenny Thomas flute [2,7,8,9,10,13,14,15,19] harpsichordist with a particular affection for (d) Ian Gammie guitar [2,6,7,8,9,10,11,14,15,17,18,19,20] JS Bach. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Taking Sides: the Political Economy of Solon's Law for Civil Wars*
Taking sides: The Political Economy of Solon’s Law for Civil Wars* Soeren C. Schwuchow**, Brandenburg University of Technology, Germany George Tridimas***, Ulster University, Northern Ireland This version: 18 June 2019 Abstract In 594 BCE the Athenian statesman Solon defused a grave social crisis by introducing wide- ranging constitutional, political and economic reforms which granted various rights to a nas- cent ‘middle class’ and reduced the power of the wealthy birth aristocracy. Solon’s reforms included a law which perhaps counter-intuitively banned citizens from staying neutral in cas- es of civil conflict. After reviewing aspects of the law against neutrality debated by historians, the present paper employs the methodology of the economics of conflict to investigate the implications of the law for the stability of the constitutional order initiated by Solon. We ex- amine a stylised model of three social classes, Rich, Middle and Poor, where the former two compete for control of the government, and the Poor may decide to stay neutral or side with either the Middle or the Rich. By solving the model we identify conditions for the Rich to ac- cept the Solonian order or reject it and mount a coup. Key words: Ancient Athens; Solon; social conflict; neutrality; social stability; constitution- al choice. JEL Classification: D7: Analysis of Collective Decision making; D72: Political Processes D74: Conflict; Conflict Resolution; Alliances; N4: Economic History– Government; N93 - Europe: Pre-1913 Regional and Urban History * Paper in early stage of progress, preliminary and incomplete. Please do not circulate. ** Soeren C. Schwuchow (corresponding author), Brandenburg University of Technology, Cottbus-Senftenberg, Chair of Microeconomics, P.O. -
Oracles and Greek Mentalities: the Mantic Confirmation of Mantic Revelations
ORACLES AND GREEK MENTALITIES: THE MANTIC CONFIRMATION OF MANTIC REVELATIONS Pierre Bonnechere The average Greek had a sense of divine intervention in human affairs.1 Day-to-day worries were one thing; faced with anything else, he soon found himself lost in a forest of symbols, whose meaning he had to decode if he were to hope to act rationally. A sign is ambiguous by defini- tion, however, and always hazardous to interpret; his best strategy would be to follow the greatest concentration of symbols and potentially telling mantic clues. And if ever these signs did not accumulate naturally, there were always means of soliciting them. Hence the universal preference for composite mantic enquiries: among the Azanda in s Sudan, each oracle obtained ‘by poison’ demanded a counter-test to be credible.2 The Hittites, likewise, could verify ominous dreams with such deductive orac- ular procedures as ornithomancy and hepatoscopy.3 For the Greek world, the example of Croesus would immediately spring to mind. Wishing to invade Persia, he sought the sanction of the gods, and to test the reliability of each one, he sent to the Greek oracles as many envoys, all charged with asking the same question, at the same 1 This article is part of a vast research project, funded by the Social Sciences and Humanities Research Council of Canada, whose ultimate goal is to replace A. Bouché- Leclercq, Histoire de la divination dans l’Antiquité, vols. (Paris: Leroux, –). I am delighted to participate in the medley offered to Jan Bremmer, a scholar whom I have long admired and now count among my friends. -
The Tyrannies in the Greek Cities of Sicily: 505-466 Bc
THE TYRANNIES IN THE GREEK CITIES OF SICILY: 505-466 BC MICHAEL JOHN GRIFFIN Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Classics September 2005 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. 2 ACKNOWLEDGEMENTS Firstly, I would like to thank the Thomas and Elizabeth Williams Scholarship Fund (Loughor Schools District) for their financial assistance over the course of my studies. Their support has been crucial to my being able to complete this degree course. As for academic support, grateful thanks must go above all to my supervisor at the School of Classics, Dr. Roger Brock, whose vast knowledge has made a massive contribution not only to this thesis, but also towards my own development as an academic. I would also like to thank all other staff, both academic and clerical, during my time in the School of Classics for their help and support. Other individuals I would like to thank are Dr. Liam Dalton, Mr. Adrian Furse and Dr. Eleanor OKell, for all their input and assistance with my thesis throughout my four years in Leeds. Thanks also go to all the other various friends and acquaintances, both in Leeds and elsewhere, in particular the many postgraduate students who have given their support on a personal level as well as academically. -
Sample Excerpt.MMSW
Fable Us! The Musical Book and Lyrics By P.K. Silverson Music By Gary Sironen SAMPLE EXCERPT Contact: Paul Silberberg Writing as P.K. Silverson [email protected] © 2010, 2016. All Rights Reserved 1. FABLE US! INTRODUCTION (The Greek Chorus enters around a towering urn decorated with the fourteen gods of Olympus. The heavenly mountain rises majestically behind the urn.) GREEK CHORUS (sings) EFPROSDEKTOS! WELCOME FRIEND. BACK TO HELLAS LET'S ATTEND. FUN TOGETHER WE INTEND. IT'S ALL GREEK TO US! JOIN US WHEN THE WORLD WAS NEW. WHEN BRONZE TURNED TO IRON TRUE. WE WILL SHOW IT ALL TO YOU! IT'S ALL GREEK TO US. IT'S ALL GREEK TO US WHEN OUR GODS ARE LAUGHING. DIONYSUS' MERRY AND WE DRINK ALL DAY. IT'S ALL GREEK TO US 'TIL GREAT ZEUS GETS ANGRY. WE'RE GONE IN A FLASH WHEN HE GETS THAT WAY. WE INVENTED HISTORY, MEDICINE, PHILOSOPHY. WE PUT THE HIP IN HYPOCRISY. IT'S ALL GREEK TO US. WE MADE CIVILIZATION, CITY STATES AND THE NATION. WE COULD USE A VACATION. IT'S ALL GREEK TO US! IT'S ALL GREEK TO US WHEN OUR TYRANTS ARE DOTING. EACH STATE THEN REBUTS BUT IT'S ALL THE SAME. IT'S ALL GREEK TO US WITH OUR WAY OF VOTING, THEN WE LOOK FOR SOMEONE ELSE TO TAKE THE BLAME. TWELVE GODS RULE OUR GRECIAN SCENE ON OLYMPUS THEY CONVENE. DIMITRIS Sound Off! (A spotlight highlights each god on the urn as they're named.) ALEXANDRA Mighty Zeus is number one. 2. GEORGI Aphrodite, love's sweet fun. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
|What to Expect from L'elisir D'amore
| WHAT TO EXPECT FROM L’ELISIR D’AMORE AN ANCIENT LEGEND, A POTION OF QUESTIONABLE ORIGIN, AND THE WORK: a single tear: sometimes that’s all you need to live happily ever after. When L’ELISIR D’AMORE Gaetano Donizetti and Felice Romani—among the most famous Italian An opera in two acts, sung in Italian composers and librettists of their day, respectively—joined forces in 1832 Music by Gaetano Donizetti to adapt a French comic opera for the Italian stage, the result was nothing Libretto by Felice Romani short of magical. An effervescent mixture of tender young love, unforget- Based on the opera Le Philtre table characters, and some of the most delightful music ever written, L’Eli s ir (The Potion) by Eugène Scribe and d’Amore (The Elixir of Love) quickly became the most popular opera in Italy. Daniel-François-Esprit Auber Donizetti’s comic masterpiece arrived at the Metropolitan Opera in 1904, First performed May 12, 1832, at the and many of the world’s most famous musicians have since brought the opera Teatro alla Cannobiana, Milan, Italy to life on the Met’s stage. Today, Bartlett Sher’s vibrant production conjures the rustic Italian countryside within the opulence of the opera house, while PRODUCTION Catherine Zuber’s colorful costumes add a dash of zesty wit. Toss in a feisty Domingo Hindoyan, Conductor female lead, an earnest and lovesick young man, a military braggart, and an Bartlett Sher, Production ebullient charlatan, and the result is a delectable concoction of plot twists, Michael Yeargan, Set Designer sparkling humor, and exhilarating music that will make you laugh, cheer, Catherine Zuber, Costume Designer and maybe even fall in love. -
Thales of Miletus Sources and Interpretations Miletli Thales Kaynaklar Ve Yorumlar
Thales of Miletus Sources and Interpretations Miletli Thales Kaynaklar ve Yorumlar David Pierce October , Matematics Department Mimar Sinan Fine Arts University Istanbul http://mat.msgsu.edu.tr/~dpierce/ Preface Here are notes of what I have been able to find or figure out about Thales of Miletus. They may be useful for anybody interested in Thales. They are not an essay, though they may lead to one. I focus mainly on the ancient sources that we have, and on the mathematics of Thales. I began this work in preparation to give one of several - minute talks at the Thales Meeting (Thales Buluşması) at the ruins of Miletus, now Milet, September , . The talks were in Turkish; the audience were from the general popu- lation. I chose for my title “Thales as the originator of the concept of proof” (Kanıt kavramının öncüsü olarak Thales). An English draft is in an appendix. The Thales Meeting was arranged by the Tourism Research Society (Turizm Araştırmaları Derneği, TURAD) and the office of the mayor of Didim. Part of Aydın province, the district of Didim encompasses the ancient cities of Priene and Miletus, along with the temple of Didyma. The temple was linked to Miletus, and Herodotus refers to it under the name of the family of priests, the Branchidae. I first visited Priene, Didyma, and Miletus in , when teaching at the Nesin Mathematics Village in Şirince, Selçuk, İzmir. The district of Selçuk contains also the ruins of Eph- esus, home town of Heraclitus. In , I drafted my Miletus talk in the Math Village. Since then, I have edited and added to these notes. -
Thucydides, Sicily, and the Defeat of Athens Tim Rood
Thucydides, Sicily, and the Defeat of Athens Tim Rood To cite this version: Tim Rood. Thucydides, Sicily, and the Defeat of Athens. KTÈMA Civilisations de l’Orient, de la Grèce et de Rome antiques, Université de Strasbourg, 2017, 42, pp.19-39. halshs-01670082 HAL Id: halshs-01670082 https://halshs.archives-ouvertes.fr/halshs-01670082 Submitted on 21 Dec 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Les interprétations de la défaite de 404 Edith Foster Interpretations of Athen’s defeat in the Peloponnesian war ............................................................. 7 Edmond LÉVY Thucydide, le premier interprète d’une défaite anormale ................................................................. 9 Tim Rood Thucydides, Sicily, and the Defeat of Athens ...................................................................................... 19 Cinzia Bearzot La συμφορά de la cité La défaite d’Athènes (405-404 av. J.-C.) chez les orateurs attiques .................................................. 41 Michel Humm Rome, une « cité grecque -
The Seven Sages.Pdf
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. The Seven Sages of Greece Search the GML advanced Sections in this Page Introduction: The Labyrinth of Wisdom The Seven Sages of Greece Thales Solon Chilon Pittacus Bias "… wisdom is a form of goodness, and is not scientific knowledge but Cleobulus another kind of cognition." (Aristotle, Eudemian Ethics 1246b, 35). Periander Anacharsis Myson Epimenides Pherecydes Table: Lists of the Seven Sages Notes and Sources of Quotations Introduction: The Labyrinth of Wisdom For a god wisdom is perhaps a divine meal to be swallowed at one gulp without need of mastication, and that would be the end of the story. The deities are known for their simplicity. The matter of human wisdom, however, could fill all archives on earth without ever exhausting itself. Humanity is notorious for its complexity. And men proudly say "Good things are difficult." But is wisdom a labyrinth, or "thinking makes it so"? And when did the saga of human wisdom begin and with whom? The Poet When humans contemplated Dawn for the first time, wisdom was the treasure of the poet alone. Of all men he was the wisest, for the gods had chosen his soul as receptacle of their confidences. Thus filled with inspiration divine, the poet knew better than any other man the secrets of the world. And since Apollo found more pleasure in leading the Muses than in warming his tripod, neither the inspiration of the Pythia nor that of seers could match the poet's wisdom.