ARMENIAN CULTURE WEEK 12-19 October 2014 PUBLIC EVENTS
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Sofia Gubaidulina AUSSERDEM Prokofjew, Denissow, Kantscheli, Geringas, Chatschaturjan U.A
AUSGABE 1. 2020 GEBURTS- UND GEDENKTAGE 90. GEBURTSTAG 2021 Sofia Gubaidulina AUSSERDEM Prokofjew, Denissow, Kantscheli, Geringas, Chatschaturjan u.a. INHALT / CONTENT Liebe Leserinnen, 03 / 22 liebe Leser, Sofia Gubaidulina 90. Geburtstag im Jahr 2021 die russische Komponistin Jelena Firssowa sagte ein- 06 / 24 mal über die von ihr bewunderte Sofia Gubaidulina, Georgische Musik sie sei eine „Schamanin in der Musik”, eine der tief- des 20. Jahrhunderts gründigsten und interessantesten Komponistinnen Kantscheli, Zinzadse, der Gegenwart. Im Jahr 2021 begeht Gubaidulina Nassidse ihren 90. Geburtstag. In diesem Magazin, das Kompo- nistenjubiläen der bervorstehenden Jahre 2021 und 08 / 26 2022 zum Inhalt hat, berichten wir von neuesten Sergej Prokofjew Werken Gubaidulinas und veröffentlichen zudem ein zum 130. Geburtstag dieser Komponistin gewidmetes Exklusiv-Interview 12 mit dem Dirigenten Kent Nagano. 100. Geburtstage von Francisco Tanzer & Stanisław Lem Ein weiteres Jubiläum steht uns mit Sergej Prokof- jews 130. Geburtstag im April 2021 bevor. Wir ver- 14 / 29 binden einen Rückblick auf die spektakuläre Neuin- 10. Todestag von szenierung von Prokofjews Oper „Die Verlobung im Karen Chatschaturjan Kloster” an der Staatsoper Berlin 2019 mit Kurzdar- stellungen ausgewählter Werke. 15 / 29 Edison Denissow Der 25. Todestag des Russen Edison Denissow, aus- 25. Todestag am 24. November 2021 gewählte Gedenktage von Komponisten aus Georgien 18 / 30 und zwei 100. Geburtstage von bedeutenden Text- Jubiläen litauischer dichtern wie Stanisław Lem und Francisco Tanzer Interpreten und Komponisten sind weitere Themen dieser Ausgabe. David Geringas & Bronius Kutavičius Wir wünschen Ihnen eine interessante Lektüre und viele Entdeckungen, 20 / 32 News Winfried Jacobs 19 Geschäftsführer Geburts- und Kennen Sie auch die anderen Gedenktage 2021 Hefte des SIKORSKI Magazins? 21 Vorschau 2022 IMPRESSUM FOTONACHWEISE Titel Sofia Gubaidulina © Priska Ketterer S. -
Group Theoretical Methods in Physics GROUP - 27 Yerevan, Armenia, August 13 - 19, 2008 THIRD BULLETIN
XXVII International Colloquium on Group Theoretical Methods in Physics GROUP - 27 Yerevan, Armenia, August 13 - 19, 2008 THIRD BULLETIN This is a last BULLETIN contains the scientific programme, information concerning the preparation of the Colloquium Proceedings and other useful information of the XXVII In- ternational Colloquium on Group Theoretical Methods in Physics. We also invite you to occasionally visit the Colloquium web page at "http://theor.jinr.ru/∼group27/" for updated information and news concerning the Colloquium. 1 Invited Speakers Allahverdyan, Armen YPhI, Yerevan Belavin, Alexander ITP, Chernogolovka Bieliavsky, Pierre Catholic University of Louvian, Louvain Daskaloyannis, Costantin Aristotel University of Thessaloniki, Thessaloniki Doebner, Heinz-Dietrich ASI, Clausthal Draayer, Jerry Baton Rouge Exner, Pavel Nuclear Physics Institute, Rez Fjelstad, Jens CTQMP, Aarhus Gazeau, Jean-Pierre University of Paris 7, Paris Isaev, Alexey JINR, Dubna Nahm, Werner DIAS, Dublin Sheikh-Jabbari, Mohammad IPM, Tehran van Moerbeke, Pierre Catholic University of Louvian, Louvain Vourdas, A. University of Bradford, Bradford 1 2 The GROUP27 Colloquium is supported by grants from: • International Union of Pure and Applied Physics (IUPAP) • International Association of Mathematical Physics (IAMP) • Joint Institute for Nuclear Research • Infeld - Bogolyubov programme • State Committee of Science of the Republic of Armenia • Yerevan State University 3 Timetable Tuesday, 12 August Arrival and Registration Wednesday, 13 August Talks begin in the morning Tuesday, 19 August Conference ends in the afternoon Wednesday, 20 August Departure 30 November Deadline for submission of manuscripts for the Proceedings 4 Special Events • Tuesday, August 12, Welcome Party will be held in the Ani Plaza Hotel (20.00-22.00). • Friday, August 15, 19.30 Weyl Prize Ceremony in Komitas Chamber Music Hall (Isahakian st. -
Draft List of Terms for Supplemental Unit and Activities Unit
Further Research for Turkish Music The modern Republic of Turkey is in a part of the world that has been home to many groups of people. Coastal Anatolia was home to the ancient city of Troy, the Greek colonies in Ionia, and the Byzantine Empire, also known as the Eastern Roman Empire. At its largest, the Ottoman Empire included parts of North Africa, Eastern Europe, Anatolia, and a large area of the Middle East, including Mecca and Medina in the Arabian Peninsula. Because the Ottomans allowed the different peoples living under the Sultan to keep their culture and Religion, they kept their identities. Because of this, people from all of these areas are still living in modern Turkey. Istanbul, the largest and most cosmopolitan city, has populations of Turks, Greeks, Kurds, Arabs, Armenians, Persians, Roma, and Bulgarians, just to name a few. Music is an excellent window into the culture and society of a particular people, or in this case a particular area. We can use many of the topics that come up in talking about music to expand our knowledge of the people who play the music in addition to the music itself. Here, we will explore some of the important terms that came up when we looked at a few of the instruments in Turkey. Some important questions to ask about music and music making: This list is far from complete. It is a good example of the kinds of questions we can ask about music to learn more about it. What: What is the music for? What does the music sound like? What do the players and audiences find important about the music? Who: -
094-Au91431 1956 31
BRAHMS: Viola Sonatas, Op. 120 A These are the "clarinet" sonatas, so called because Brahms composed them for a clarinetist friend. They Paul Doktor, violist. Nadia Reisenberg, A were published alternately for the viola, however, and the rich, mellow tones of this instrument are perfectly pianist A suited to them. Doktor's superb musicianship weaves a mood all its own, but Miss Reisenberg's sensitive Westminster WN- or SWN-18114 12" pianism is complementary in the extreme. The sound is unusually lifelike. RP GINASTERA: Quartet No. 1 B-B Ginastera's slow movement has a certain atmospheric beauty; its mingling of impressionism and jungle LAJHTA: Quartet No. 7, Op. 49 A-A evocations recalls early Villa-Lobos. His fast movements, however, are built on rhythmic ostinati that become Paganini Quartet B-B tiresome. La¡hta is a kind of Hungarian Virgil Thomson. His language is diatonic, spiced with dissonance and Decca DL-9823 12" Magyar tunes. His Opus 49 is attractive but inconsequential. Earnest performances. AS LECLAIR: 6 Violin Sonatas • Leclair's music does not stray far from the idiom of his time (when polyphony was "old fashioned" but George Alès, violinist; Isabelle Nef, harp- • melodic writing had not yet found its strength). These sonatas are thoroughly violinistic, and if the listener sichordist • can occasionally predict the next passage of sequential modulation there are compensating moments of London L'Oiseau -Lyre OL-50087 8 2-12" lovely invention. Playing is vigorous, musical, sometimes rough in tone. SF PROKOFIEV: Violin Sonata, op. 94 A-B The transcribed flute sonata of Prokofiev has enjoyed a succession of variously KAREN KHACHATURIAN: Violin A-A superb performances on LP. -
A Russian Eschatology: Theological Reflections on the Music of Dmitri Shostakovich
A Russian Eschatology: Theological Reflections on the Music of Dmitri Shostakovich Submitted by Anna Megan Davis to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Theology in December 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 2 3 Abstract Theological reflection on music commonly adopts a metaphysical approach, according to which the proportions of musical harmony are interpreted as ontologies of divine order, mirrored in the created world. Attempts to engage theologically with music’s expressivity have been largely rejected on the grounds of a distrust of sensuality, accusations that they endorse a ‘religion of aestheticism’ and concern that they prioritise human emotion at the expense of the divine. This thesis, however, argues that understanding music as expressive is both essential to a proper appreciation of the art form and of value to the theological task, and aims to defend and substantiate this claim in relation to the music of twentieth-century Russian composer Dmitri Shostakovich. Analysing a selection of his works with reference to culture, iconography, interiority and comedy, it seeks both to address the theological criticisms of musical expressivism and to carve out a positive theological engagement with the subject, arguing that the distinctive contribution of Shostakovich’s music to theological endeavour lies in relation to a theology of hope, articulated through the possibilities of the creative act. -
Press-Kit.Pdf
The Gurdjieff Ensemble “Delicate, haunting and atmospheric selection of instrumental pieces… they range from drifting, mesmeric arrangements for the duduk Armenian woodwind to subtle, sparse passages, or more sturdy dance pieces played on the zither-like kanon, the oud or the santur dulcimer. An intriguing, often gently exquisite set.” - Robin Denselow, “The Guardian” “Sie präsentieren sich mit berückenden, sehnsuchtsvollen, tief beseelten Klängen, die auf musikalische Rit-uale des täglichen Lebens zurückgehen, auf Kirchen-, Liebes- und Tanzlieder, Hirtenmelodien und rituelle Musik. Das ist wie eine akustische Brücke über die Jahrhunderte und ein Toleranzprogramm der Weltgegenden.” - Ulrich Steinmetzger, Mitteldeutsche Zeitung “The combination of instrumental voices, and the otherness of the voices themselves creates deep, mysterious yet marvelously relaxing soundscapes to sit awhile in.” - Phil Johnson, “The Independent” "The undisputed star of the ensemble, though, is the duduk, a reed instrument with a malleable sound that can be porous and fragile or full-throated and uncannily human-sounding. In his transcriptions Mr. Eskenian uses it for mystical chants" - New York Times Concerts Highlights Edison Award-Winning, ECM Records' recording artists who comprise The Gurdjieff Ensemble have successfully collaborated with many prestigious festivals and concert venues, touring in nearly 150 cities in 26 countries in Europe, Australia, Russia, the Middle East, North, and South America, among which are sold-out performances at the -
Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
Sharing Christmas Joy in Armenia and Artsakh
AMYRIGA#I HA# AVYDARAN{AGAN UNGYRAGXOV:IVN ARMENIAN MISSIONARY ASSOCIATION OF AMERICA AMAA NEWS LI 1 Sharing Christmas Joy in Jan-Feb-March 2017 Armenia and Artsakh P. 11 CONTENTS January•February•March 2017 /// LI1 3 Editorial Against the Tide By Zaven Khanjian 4 Inspirational Corner A Resurrection Reflection By Rev. Haig Kherlopian 1918 2018 5 Around the Globe Armenian Evangelical Church of New York By Peter Kougasian, Esq. 6 Almost a Hundred Years Later By Heather Ohaneson, Ph.D. 7 In Memoriam: Samuel Chekijian 8 Meet Our Veteran Pastors Rev. Dr. Joseph Alexanian AMAA NEWS 9 Remembering Hrant Dink By Zaven Khanjian is a publication of 10 Stitched With Love By Betty Cherkezian The Armenian Missionary Association of America 11 AMAA Shares Christmas Joy with Children in Armenia and Karabagh 31 West Century Road, Paramus, NJ 07652 Tel: (201) 265-2607; Fax: (201) 265-6015 12 AMAA's Humanitarian Aid to the Armenian Army E-mail: [email protected] 13 Armenian Children's Milk Fund Website: www.amaa.org (ISSN 1097-0924) 14 A Time of Ending and Sending By Jeannette Keshishian 15 New Missionaries Go Into the World to Preach, To Serve By Zaven Khanjian The AMAA is a tax-exempt, not for profit 17 God's Faithfulness By Nanor Kelenjian Akbasharian organization under IRS Code Section 501(c)(3) 18 Relief is Still Needed in Syria Zaven Khanjian, Executive Director/CEO 19 AMAA's Syria LifeLine Relocates 113 Families to the Homeland Levon Filian, West Coast Executive Director David Aynejian, Director of Finance 20 First Armenian Evangelical Church of Montreal -
Hybrid Winds
Hybrid Winds Linsey Pollak When I was about fifteen I had a dream that featured a wind instrument lives on the Sunshine Coast in whose sound I remembered clearly on Queensland and is a renowned waking. It reminded me of a somewhat community music facilitator, mellow crumhorn (Renaissance wind- composer and musical director who capped double reed pipe) or a sort of has built instruments for over 20 high-pitched baritone sax. That sound Figure 1: Gaidanet. years, specialising in aerophones eludes me now, for I have always been chasing that elusive, dreamt, wind- a semitone when it is opened. In fact it from Eastern Europe. He has a instrument sound. only works for the top half of the octave reputation for making and playing I started my instrument making in Macedonian gaidas, but for the full instruments made from rubber journey 25 years ago making bamboo range in Bulgarian gaidas which have a gloves, carrots, watering cans, flutes. That quickly led to a longer stint more conical bore. This enables a unique chairs, brooms, bins and other found of making wooden renaissance flutes, style of playing and ornamentation. objects. His ongoing obsession and an interest in other Renaissance and What I wanted to do was to have combines much of this: making medieval winds. But the real love affair access to the gaida style of playing and ornamentation while playing a lip-blown music more accessible to began 20 years ago with the Macedonian instrument like a clarinet. I experimented communities through instrument gaida (bagpipes), and so I travelled to Macedonia for eight months over three first with a clarinet mouthpiece and a building and playing workshops. -
Grand Piano Catalogue
GRAND PIANO CATALOGUE GRAND PIANO CATALOGUE 2014 1 GRAND PIANO CATALOGUE GRAND PIANO The 2014 Grand Piano Catalogue marks the second year of this exciting label’s mission to source and record keyboard music that has previously remained generally undetected and undervalued, either through the promotion of works by unknown composers or little- known works by familiar ones. The last 12 months have seen a doubling in size of the label’s discography and a strengthening of its growing international reputation. The 48 discs to date have proved to be an authoritative foundation for Grand Piano’s future development and elicited an impressive cache of critical acclaim. “Anyone who is seriously interested in piano music should check out Grand Piano.” (The Listener) Collectors will appreciate the compendiums of keyboard works by individual composers: among those already available are the complete piano works of Mieczysław Weinberg, the complete piano sonatas of Christian Gottlob Neefe and Beethoven’s complete piano duets. Included in the ongoing series are the complete piano works of Camille Saint-Saëns and Alexander Tcherepnin, plus the complete piano sonatas of Nicolas Medtner. A number of composers are new to the catalogue this year, representing countries from the full breadth of Europe, and beyond. These include Arno Harutyuni Babadjanian (Armenia), Edwin York Bowen (England), Ferrucio Busoni (Italy), Dimitar Nenov (Bulgaria), Manuel María Ponce (Mexico) and Teresa Carreño (Venezuela). “The Grand Piano label continues to uncover gems of the piano repertoire.” (Fanfare) Exploring the Grand Piano label constantly throws up intriguing musical surprises, plus the visual delight of the discs’ attractive cover images, which feature either figurines by the award-winning Norwegian artist Gro Thorsen or one of Tony Price’s attractive studies in the play of light on water. -
Circus Arts at O.Z.O.R.A
THE DAILY NEWSPAPER OF THE OZORIAN TRIBE FREE * 4 PAGES SUNDAY AUGUST, 2012 ozorafestival.eu spiced with some dark humor in vaudeville style. The spectacu- lar juggling, acrobatic, trapeze and burlesque dance performers Circus Arts at O.Z.O.R.A. are the s-cream of the international underground circus life.The characters of the performance keep their masks on even after AT THIS YEAR’S FESTIVAL THE their show, mingling with the MODERN CIRCUS ARTS GOT A SPE- audience and further building CIAL SPACE. INTERNATIONALLY the atmosphere, so anything FAMOUS AND PROFESSIONAL CIR- can happen anywhere at any CUS AND JUGGLING GROUPS ARE time! PERFORMING AT THE OPENING CEREMONY AND ON DIFFERENT A new stage at the festival is the STAGES OF THE FESTIVAL. Firespace, this is a project from Germany essentially an open space for fire dancers and fire On the main stage legendary fire jugglers, supports a diversity of artists, like Magma Fire Theather, fire arts. Moreover, we regard Flame Flowers, Firebirds, Freak Fu- Fire Space as a cultural space, sion Cabaret, Anamintas Fire The- allowing for inspiration and in- ather, Mietar, Spark Firedance, Los teraction seeks the best condi- Del Fuego and Firesthetic are pre- tions for audience and artists, senting their new and special proj- as well as for environment and ects. It is also an important mission material. The space is open for us to teach the flow arts. We from dusk till dawn, come by hold and held workshops, where with your fire gear and spin people can try out all kinds of body with us or just sit down around manipulation, circus, juggling and the circle and enjoy the show! acrobatic arts with experienced trainers and safe equipments.