USA Symphony Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

USA Symphony Orchestra Robert J. Seebacher, conductor ________________________________ Overture to “The Bartered Bride” Bedrich Smetana (1824-1884) String Sinfonia No. 1 in C Major, MWV No. 1 Felix Mendelssohn I. Allegro (1809-47) II. Andante III. Allegro Brief Intermission Pictures at an Exhibition Modest Mussorgsky (1839-81) Promenade orchestrated by Maurice Ravel (1875-1937) 1. Gnomus Promenade 2. The Old Castle Promenade 3. Tuileries 4. Bydlo Promenade 5. Ballet of Chicks in Their Shells 6. Samuel Goldenberg and Schmuÿle Promenade 7. Limoges 8. Catacombs 9. The Hut on Fowl’s Legs 10. The Great Gate at Kiev _______________________________________________________________ LAIDLAW PERFORMING ARTS CENTER RECITAL HALL Wednesday, April 2, 2014 – 7:30 p.m. PERSONNEL Flute/Piccolo Violin I Rachel Moody (principal) Gosia Leska (concertmaster) Nicole Carrion Jiwon Hwang Brianna Smith Rebecca Mitchell (concertmaster) Esther Borlovan Oboe Elizabeth French Madi Kreamer (principal) Erica Burleson Kaitlyn Poiroux Sophie McVicar Todd Stehr Hannah Dunnam English Horn Hemming Bai Kaitlyn Poiroux (principal) Nathalie Blackburn Clarinet Violin II Emily Allen (principal) Leila Hobbs (principal) Derek McDougal Tessa Flescher Brian Orr (principal) Bass Clarinet Victoria Bishop Stephanie Diaz (principal) Susi Manning Bassoon Gabbie Bowden Jake Cannon (principal) Patricia Dunmore Lauren Burch Alice Vogtner Kathleen Orange Alto Saxophone Andrew Cox (principal) Viola Matthew Watts (principal) Horn Candice Frazier Morgan Wilkins (principal) Jim Lichtenberger Chris Gaal Nathalie McCarty Lauren Morrison Shawn Wright Cello José Sunderland (principal) Trumpet Juan José Gutierrez Drew Pritchard (principal) Plia Dees Preston (principal) Dennis Parker Sue Howe Paige Nelson Guo-Sheng Huang Trombone Justin Way Edward Doyle (principal) Bass Chase West John Palensky (principal) Will Rosati Lance Wilkinson (principal) Euphonium Josh Titford Chase West (principal) Veronica Palensky Rod Newsome Tuba Matt Selete (principal) The string sections are composed of Timpani/Percussion USA students and faculty as well as Ryan Boehme (principal) musicians from the Mobile Symphony Ben Ivey Orchestra, the Mobile Symphony Luke Smith Youth Orchestra, and the Bay Area Ian Jones Strings Community Orchestra (a Soren Odom partnership between the University of Bryant Ramey South Alabama and the Mobile Symphony Orchestra). Harp Michelle Tucker (principal) Celeste Joshua Vaughan (principal) .

Copy Link

Recommended publications

Page 1 (1/31/20) Waltz in E-Flat Major, Op. 19 FRÉDÉRIC CHOPIN
Page 1 (1/31/20) Waltz in E-flat major, Op. 19 FRÉDÉRIC CHOPIN (1810-1849) Composed in 1831. Chopin’s Waltz in E-flat major, Op. 18, his first published specimen of the genre and one of his most beloved, was composed in 1831, when he was living anxiously in Vienna, almost unknown as a composer and only slightly appreciated as a pianist. In 1834, he sold it to the Parisian publisher Pleyel to finance his trip with Ferdinand Hiller to the Lower Rhineland Music Festival at Aachen, where Hiller introduced him to his long-time friend Felix Mendelssohn. The piece was dedicated upon its publication to Mlle. Laura Horsford, one of two sisters Chopin then counted among his aristocratic pupils. (Sister Emma had received the dedication of the Variations on “Je vends des scapulaires” from Hérold’s Ludovic, Op. 12 the year before.) The Waltz in E-flat follows the characteristic Viennese form of a continuous series of sixteen- measure strains filled with both new and repeated melodies that are capped by a vigorous coda. Ballade No. 1 in G minor, Op. 23 FRÉDÉRIC CHOPIN Composed 1831. In the Ballades, “Chopin reaches his full stature as the unapproachable genius of the pianoforte,” according to Arthur Hedley, “a master of rich and subtle harmony and, above all, a poet — one of those whose vision transcends the confines of nation and epoch, and whose mission it is to share with the world some of the beauty that is revealed to them alone.” Though the Ballades came to form a nicely cohesive set unified by their temporal scale, structural fluidity and supranational idiom, Chopin composed them over a period of more than a decade.
[Show full text]
MODEST MUSSORGSKY Born March 21, 1839 in Karevo, Pskov District, Russia; Died March 28, 1881 in St
MODEST MUSSORGSKY Born March 21, 1839 in Karevo, Pskov District, Russia; died March 28, 1881 in St. Petersburg A Night on Bald Mountain (1867; arranged in 1886) Arranged by Nikolai Rimsky-Korsakov (1844-1908) PREMIERE OF WORK: St. Petersburg, October 15, 1886 Russian Symphony Orchestra Nikolai Rimsky-Korsakov, conductor APPROXIMATE DURATION: 12 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings In the 1860s, Russian music was just beginning to find its distinctive voice. A number of composers — Balakirev, Cui, Borodin, Rimsky-Korsakov and Mussorgsky — explored native musical and folkloric sources as the basis of a national art, and became loosely confederated into a group known as “The Mighty Handful” in Russia and “The Five” in the West. Since their works took their inspiration largely from indigenous legends and folk music, Mussorgsky considered himself lucky to receive a commission in 1861 (when he was just 21) for a dramatic musical composition based on a specifically Russian subject. On January 7th, he wrote to his mentor, Balakirev, “I have received an extremely interesting commission [for music for a drama titled The Witch by his friend Baron Georgy Fyodorovitch Mengden], which I must prepare for next summer. It is this: a whole act to take place on Bald Mountain … a Witches’ Sabbath, separate episodes of sorcerers, a solemn march for all this nastiness, a finale — the glorification of the Sabbath into which is introduced the commander of the whole festival on the Bald Mountain. The libretto is very good. I already have some material for it; it may turn out to be a very good thing.” The mountain to which Mussorgsky referred, well known in Russian legend, is Mount Triglav, near Kiev, reputed to be the site of the annual witches’ sabbath that occurs on St.
[Show full text]
Unit 7 Romantic Era Notes.Pdf
The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music.
[Show full text]
Gnomes” from Pictures at an Exhibition
“Gnomes” from Pictures at an Exhibition Modest Mussorgsky Born: March 21, 1839 In addition to his instrumental Died: March 28, 1881 music, Mussorgsky wrote songs, and several operas. His operatic Modest Mussorgsky was born in masterpiece is Boris Godunov, the Russian village of Karevo. about a Russian Tsar who lived His mother gave him his first in the 1500’s. piano lessons, and it was clear early on that Mussorgsky was a Mussorgsky wrote Pictures at very good pianist. an Exhibition to honor his friend Victor Hartman, an artist and Modest went to military architect who died at the age of boarding school, and when he 39. After viewing a memorial graduated, he joined the army exhibition of Hartman’s work, as an officer. Then, Mussorgsky Mussorgsky decided to create his started studying music with own tribute - music depicting ten Russian composer Mily pieces of art in the show. Pictures Balakirev, and left the army to at an Exhibition was originally become a composer. He was written for piano, but there have part of a group of five Russian been many orchestrations of the composers known as “The Five,” piece. The most famous is by or the “Mighty Handful.” Maurice Ravel. Mussorgsky had a hard time The first picture in Mussorgsky’s making a living as a composer, musical exhbition is a sketch especially after his family lost all for a nutcracker shaped like a its money; so he found a gnome. government job, and continued to spend all his spare time composing. Picture This Modest Mussorgsky We can not see the painting of the “Gnomes” Mussorsky saw.
[Show full text]
Musically Russian: Nationalism in the Nineteenth Century Joshua J
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:40 PM - 4:00 PM Musically Russian: Nationalism in the Nineteenth Century Joshua J. Taylor Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons Taylor, Joshua J., "Musically Russian: Nationalism in the Nineteenth Century" (2016). The Research and Scholarship Symposium. 4. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/4 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Musically Russian: Nationalism in the Nineteenth Century What does it mean to be Russian? In the eighteenth and early nineteenth centuries, Russian nobility was engrossed with French culture. According to Dr. Marina Soraka and Dr. Charles Ruud, “Russian nobility [had a] weakness for the fruits of French civilization.”1 When Peter the Great came into power in 1682-1725, he forced Western ideals and culture into the very way of life of the aristocracy. “He wanted to Westernize and modernize all of the Russian government, society, life, and culture… .Countries of the West served as the emperor’s model; but the Russian ruler also tried to adapt a variety of Western institutions to Russian needs and possibilities.”2 However, when Napoleon Bonaparte invaded Russia in 1812, he threw the pro- French aristocracy in Russia into an identity crisis.
[Show full text]
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
[Show full text]
Sholund Scholarship Concert Chapman Symphony Orchestra
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 5-5-2002 Sholund Scholarship Concert Chapman Symphony Orchestra Chapman University Choir Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Chapman Symphony Orchestra and Chapman University Choir, "Sholund Scholarship Concert" (2002). Printed Performance Programs (PDF Format). Paper 1067. http://digitalcommons.chapman.edu/music_programs/1067 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. 1· l\. r > CJ ..·IAP M....A ···. 1\1l' l..... 1·~ 1··y·1. ..•, ·· f.,,) ('I '.. .....I 'Y . Sc:H<)OL 01; MtJsrc: presents the a C.<Mfl pnn;id(~s.financia[support a1u{assista1z,ce to tlie Scfioo[ of· Music i11 tfie.f(Jll(J·uJinf:J 'U)(1ys: J;"~ <F11-nd1:118 <For .<Master Cliisses ··-"' 4 ·t·... ('"'""'"' "'""). <;" ·1··~1 .. ··1 r·1 1·.. <.......) 1·..1 .. ~r~ ;4nnualSclioo[ of Music ;4·u)ards <l)inner G·-· 1"(' .. ... " ... ]\;,;:,, ... \.)." . .J~~ <l?J;ceptions J )_ 1 .1 Cruest, c·l"'onauctor C7. Al· ,un znus l?f .tne YC~tir J"' T)sfiersf()r .:A1usic <E·vents .S~ <Fundi'ntJ_f(Jr Cfiora[ Q?.Jsers CllAPMAN SYMI>lJ()NY ()R.("'.'.1Il1:S'['RA John Koshak, Music L>irector ctnd (::·onductor ("~ C: 1-IAP MA"N lJ. N . .lVT; , ·1>,,~ c·1 '... l ..... ,.. y··. •... f 1•······1·( ..... ) 1··.... ·1) \.
[Show full text]
Music Appreciation Study Sheet – Romantic Period
Music Appreciation Study Sheet – Romantic Period Characteristics of the Romantic Period: Rhythm: Wealth of Rhythmic Patterns Dynamics: Extreme Use Texture: Homophonic Composers and what they are known for: (Italics = name of composition) Franz Schubert: wrote about 600 Art Songs / Unfinished Symphony Robert Schumann: wrote Art Songs & Incidental Piano Pieces / injured left hand with device Clara Wieck-Schumann: wife of famous composer / wrote for piano and small ensembles Frederic Chopin: wrote mostly piano works / The Minute Waltz Franz Liszt: piano virtuoso / created the Tone Poem Felix Mendelssohn: revived the music of Bach / The Wedding March from Midsummer Night’s Dream Hector Berlioz: created the Symphonic Poem / Symphony Fantastique Bedrich Smetana: Czech Nationalistic Composer / The Moldau (Vltava) Antonin Dvorak: Inspired by Erie’s Harry T. Burleigh / The New World Symphony Peter Illyich Tchaikovsky: Russian Nationalistic Composer / The 1812 Overture Johannes Brahms: used the Classical Period Forms / The Lullaby Edvard Grieg: Norwegian Nationalistic Composer / In the Hall of the Mountain King Jean Sibelius: Finnish Nationalistic Composer / Finlandia Modest Mussorgsky: Russian Nationalistic Composer / Pictures at an Exhibition Nikolai Rimsky-Korsakov: Russian Nationalistic Composer / The Flight of the Bumblebee Johann Strauss II: The “Waltz King” / The Blue Danube Waltz Edward Elgar: English Nationalistic Composer / Pomp and Circumstance Carl Orff: German Nationalistic Composer / Carmina Burana Aaron Copeland: American Nationalistic Composer / Rodeo (Ballet) Giacchino Rossini: Italian Opera composer / The Barber of Seville Giuseppe Verdi: Italian Nationalistic Opera Composer / Aida Giacomo Puccini: wrote Through-composed Italian Operas / La Boheme Richard Wagner: wrote Through-composed German Operas / The Ride of the Valkyries .
[Show full text]
Boris Godunov
Modest Mussorgsky Boris Godunov CONDUCTOR Opera in a prologue and four acts Valery Gergiev Libretto by the composer, based on the play by PRODUCTION Alexander Pushkin (1875 version, with additions Stephen Wadsworth from the 1869 version) SET DESIGNER Ferdinand Wögerbauer Saturday, October 23, 2010, 12:00–4:15 pm COSTUME DESIGNER Moidele Bickel New Production LIGHTING DESIGNER Duane Schuler CHOREOGRAPHER Apostolia Tsolaki This production of Boris Godunov was made possible by generous gifts from Karen and Kevin Kennedy, Mr. and Mrs. Howard Solomon, and Mr. and Mrs. Wilmer J. Thomas, Jr. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2010–11 Season The 268th Metropolitan Opera performance of Modest Mussorgsky’s Boris Godunov Conductor Valery Gergiev in o r d e r o f v o c a l a p p e a r a n c e Nikitich, a police officer Xenia, daughter of Boris Valerian Ruminski Jennifer Zetlan Mitiukha, a peasant Feodor, son of Boris Mikhail Svetlov Jonathan A. Makepeace Shchelkalov, a boyar Nurse, nanny to Boris’s Alexey Markov children Larisa Shevchenko Prince Shuisky, a boyar Oleg Balashov Boyar in Attendance Brian Frutiger Boris Godunov René Pape Marina Ekaterina Semenchuk Pimen, a monk Mikhail Petrenko Rangoni, a Jesuit priest Evgeny Nikitin Grigory, a monk, later pretender to the Russian throne Holy Fool Aleksandrs Antonenko Andrey Popov Hostess of the Inn Chernikovsky, a Jesuit Olga Savova Mark Schowalter Missail Lavitsky, a Jesuit Nikolai Gassiev Andrew Oakden Varlaam Khrushchov, a boyar Vladimir Ognovenko Dennis Petersen Police Officer Gennady Bezzubenkov Saturday, October 23, 2010, 12:00–4:15 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
[Show full text]
Understanding the Cultural and Nationalistic Impacts of the Moguchaya Kuchka
Musical Offerings Volume 10 Number 2 Fall 2019 Article 1 10-7-2019 Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Diplomatic History Commons, Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, Music Performance Commons, Music Theory Commons, and the Russian Literature Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Doub, Austin M. (2019) "Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka," Musical Offerings: Vol. 10 : No. 2 , Article 1. DOI: 10.15385/jmo.2019.10.2.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol10/iss2/1 Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka Document Type Article Abstract This paper explores Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the moguchaya kuchka, or The Mighty Five, sought to influence Russian culture and develop a "pure" school of Russian music amid rampant westernization. Comprised of César Cui, Alexander Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimsky-Korsakov, this group of inspired musicians opposed westernization and supported Official Nationalismy b the incorporation of folklore, local village traditions, and promotion of their Tsar as a supreme political leader.
[Show full text]
Pragadigitals English 03-2018
catalogue Praga Digitals PRAGA DIGITALS CATALOGUE 03-2018 http://www.pragadigitals.com ISAAC ALBENIZ (1860-1909) CD1 : IBERIA, 12 “Impressions”, for piano (1905-1908) / Book I, dedicated to Madame Ernest Chausson (1906) /Book II, dedicated to Blanche Selva (1906) / Book III, dedicated to Marguerite Hasselmans (1907) / Book IV, dedicated to Madame Pierre Lalo (1908) PRD/DSD 350 075 CD2 : IBERIA Suite (transcriptions for orchestra by E.Fernández Arbós, 1909-1927) / CANTOS DE ESPAÑA, Op.232, for piano / ESPAÑA, “Souvenirs” for piano (1897) / MALLORCA, barcarola Op.202 (1891) / RECUERDOS DE VIAJE, Op.71 (1887) 3,149,028,025,927 SACD Alicia de LARROCHA, p (CD1) - Orchestre du Théâtre National de l’Opéra de Paris, Manuel ROSENTHAL - Jean-Joël BARBIER, p JOHANN SEBASTIAN BACH (1685-1750) PRD 250 103 SONATAS BWV 1020,1022,1027-1029, WRITTEN FOR HARPSICHORD & VIOLA 794,881,396,023 Zuzana Řů žicková (harpsichord), Josef Suk (viola) Mily BALAKIREV (1837-1910) Russian Symphonies (I) : PRD 250 363 SYMPHONY No.1 in C major (1866-99) SYMPHONY No.2 in D minor (1900-8) 3,149,028,102,024 Genuine Stereo The Philharmonia, London - Herbert von KARAJAN - Moscow Radio Symphony Gennadi ROZHDESTVENSKY BÉLA BARTÓK (1881-1945) PRD 250 135 VIOLIN SONATAS No 1 Sz.75 (1921) & No. 2 Sz.76 794,881,602,124 Peter Csaba (violin), Jean-François Heisser (piano) SONATAS FOR TWO PIANOS AND PERCUSSION Sz. 110. THE MIRACULOUS MANDARIN (written by Bartok for two pianos) . TWO PRD/DSD 250 184 PICTURES (written by Z.Kocsis for two pianos) 794,881,680,924 SACD Jean-François Heisser, Marie-Josèphe Jude (pianos), Florent Jodelet, Michel Cerutti (percussions) RHAPSODY Nos 1, 2 FOR VIOLIN and PIANO Sz.86 & Sz 89 (first release of the original Friss ), HUNGARIAN FOLK SONGS (26) (from PRD/DSD 250 190 FOR THE CHILDREN), RUMANIAN FOLK DANCES, SONATINA Sz 56 794,881,681,525 SACD Peter Csaba (violin), Peter Frankl (piano) STRING QUARTET No 1 SZ 40 PRD/DSD 250 235 STRING QUARTET No 2 SZ 67 794,881,822,423 SACD Parkanyi Quartet Page 1 de 58 catalogue Praga Digitals STRING QUARTET No.
[Show full text]
Rūta Stanevičiūtė Nick Zangwill Rima Povilionienė Editors Between Music
Numanities - Arts and Humanities in Progress 7 Rūta Stanevičiūtė Nick Zangwill Rima Povilionienė Editors Of Essence and Context Between Music and Philosophy Numanities - Arts and Humanities in Progress Volume 7 Series Editor Dario Martinelli, Faculty of Creative Industries, Vilnius Gediminas Technical University, Vilnius, Lithuania [email protected] The series originates from the need to create a more proactive platform in the form of monographs and edited volumes in thematic collections, to discuss the current crisis of the humanities and its possible solutions, in a spirit that should be both critical and self-critical. “Numanities” (New Humanities) aim to unify the various approaches and potentials of the humanities in the context, dynamics and problems of current societies, and in the attempt to overcome the crisis. The series is intended to target an academic audience interested in the following areas: – Traditional fields of humanities whose research paths are focused on issues of current concern; – New fields of humanities emerged to meet the demands of societal changes; – Multi/Inter/Cross/Transdisciplinary dialogues between humanities and social and/or natural sciences; – Humanities “in disguise”, that is, those fields (currently belonging to other spheres), that remain rooted in a humanistic vision of the world; – Forms of investigations and reflections, in which the humanities monitor and critically assess their scientific status and social condition; – Forms of research animated by creative and innovative humanities-based
[Show full text]