Quaranta Anys De Cançons
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Activities of the Institut Ramon Llull in the Con- Text of Multicultural Collaboration Between Spain and Russia
THE ACTIVITIES OF THE INSTITUT RAMON LLULL IN THE CON- TEXT OF MULTICULTURAL COLLABORATION BETWEEN SPAIN AND RUSSIA M. Moseykina, Y. Moseykin, E. Kargovskaia, V. Kuznetsova Peoples' Friendship University of Russia (RUDN University) (RUSSIAN FEDERATION) Abstract Language is the main means of communication between people. It allows us to express thoughts and emotions, helps us learn and teach. Language is a basic way of culture and traditions transmitting, as well as solving many other vital tasks. The official motto of the European Union is "United in diversity". This means that the multitude of cul- tures, traditions and languages in Europe is a positive capital for the continent. Undoubtedly European countries are a prime example of linguistic and cultural diversity. In Spain along with Spanish (Castilian) there are four co-official languages: Catalan, Galician, Basque and Aranese. It has not been an easy task to conserve multilingualism in Spain. This is the result of a complex process of deliberate saving of cultural and linguistic identity both between different regions and peoples of Spain and in the international scene. In the European Union, Catalan is the 14th language by the number of speakers, in the other words, it is spoken much more often than languages such as Slovakian, Lithuanian or Danish. Catalan is co- official language in the Spanish autonomous regions of Catalonia, Valencia and the Balearic Islands. Also, it is the only official language of the independent state of Andorra. Moreover, Catalan is spoken in the French department of Pyrénées Orientales and in the Italian city of Alghero in Sardinia. Today, the main instrument for popularizing Catalan culture and conducting activities to the spread of Catalan language abroad is the Institut Ramon Llull. -
Maria Del Mar Bonet I La Nova Cançó
La veu del mar Maria del Mar Bonet i la Nova Cançó IES Antoni Cumella 2n Batxillerat Granollers 2010/2011 IES Antoni Cumella 2 La veu del mar: Maria del Mar Bonet i la Nova Cançó A ma mare per la seva estima i pel seu suport. A la Maria del Mar per ser l’ànima d’aquest treball, pel seu bon fer en tots aquests anys, per gaudir tant als seus concerts aquí i arreu i per què segueixi molts anys més fent el que li agrada i ens agrada. A la Maria Mercè i en Ramon que són els culpables possiblement, de que hagi fet aquest treball. Pels nostres viatges, les nostres rialles i els quefers de la vida. A Lautaro Rosas, Juan Miguel Morales, i Miguel Gorostiza, per la seva gentilesa, dis- posició i les nostres xerrades a Palma. A Ivette Nadal, Jay Ansill, Biel Mesquida, Toni Catany i Sebastià Alzamora per la seva amabilitat. A la Lola, qui va ser la primera en veure-m’hi espurnes de músic. També als meus professors de música de l’Escola Ponent de Granollers. A tots els meus amics del Conservatori de Granollers i de l’IES Antoni Cumella. A tots els mestres i amics de la Societat Coral Amics de la Unió qui m’han convertit en la persona que sóc avui. En especial als germans Vila. A la meva tutora del treball, per la seva paciència i la seva implicació personal. A totes aquelles persones que d’alguna manera o altre m’han ajudat a que aquest treball anés agafant forma. -
ROCKCOL.20* (Page 1)
LLUÍS LLACH VIATGE A LA UTOPIA . ] ROCKCOL LECCIÓREVISTA DE BIOGRAFIES IL·LUSTRADES • NÚM. 20 • ANY V • TRIMESTRAL • 2,40 ¤ 20 Lluís Llach en una imatge que va ser portada de la revista ENDERROCK 10, el gener-febrer de l’any 1995. (Foto: Juan Miguel Morales). LLUÍS LLACH LA VEU DEL COMPROMÍS Girona (el Gironès), 1948 necessitats que se li han anat presentant obra transcendís més enllà dels límits La seva infantesa va transcórrer en un a cada moment. Compromès del tot amb naturals de l’idioma, com ho demostren poble del Baix Empordà, Verges, on el les idees nacionalistes i d’esquerres (va les més de cinquanta versions de seu pare feia de metge i del qual va arribar a formar part de les llistes “L’estaca” que s’han realitzat (veure arribar a ser alcalde. El gust per la electorals de Nacionalistes d’Esquerres), EDR 79, maig del 2002), algunes en música li ve de la banda de la seva també s’ha distingit per la seva lluita llengües com ara el polonès, l’occità, mare, i el fet de tenir un piano a casa contra el militarisme, per la insubmissió el basc, l’anglès o el francès. A més va marcar definitivament la seva vida. i a favor dels okupes, entre moltes altres. d’aquesta, altres cançons seves també Amb una extraordinària capacitat per Hi ha qui diu que, si hagués nascut als han estat versionades, en anglès, a la composició, Lluís Llach ha Estats Units, avui Llach seria un dels castellà o portuguès, per exemple. Des sabut ser en cada moment un cantant compositors més il·lustres de Hollywood. -
Al Tall : 35 Anys De Música Mediterrània Des Del País Valencià
MUSEU DE LA UNIVERSITAT D’ALACANT. MUA Rector de la Universitat d’Alacant IGNASI JIMÉNEZ RANEDA Vicerectora d’Extensió Universitària de la Universitat d’Alacant JOSEFINA BUENO ALONSO Director del Museu de la Universitat d’Alacant MAURO HERNÁNDEZ PÉREZ AL TALL, 35 anys IMATGE DE PORTADA Víctor Mansanet Boïgues Manuel Boix Exposició: AL TALL, DVD 35 anys de música mediterrània des del País Valencià Daniel Martín MUA, MUSEU DE LA UNIVERSITAT D’ALACANT Esguards.com octubre 2010 AGRAÏMENTS DISSENY I MAQUETACIÓ Manuel Boix Stefano Beltrán Bonella. MUA Soledad Desfilis COORDINACIÓ CATÀLEG I EXPOSICIÓ ISBN: 978-84-95990-74-7 Josep Forcadell Saport (SPV) Dipòsit legal: A-768-2010 Imprimeix: Quinta Impresión, S.L. ASSESSORAMENT LINGÜÍSTIC Màrius Gomis (SPV) © De l’edició, Museu de la Universitat d’Alacant. MUA © Dels textos, l’autor FOTOS © De les imatges i fotos, l’autor Soledad Desfilis L’Arxiu d’Al Tall Al Tall, contacte: [email protected] AL TALL 35 anys de música mediterrània des del País Valencià 3 Al Tall, una música oberta al món Els darrers 35 anys han canviat moltes coses al País Valencià, a Europa i al món. A Espanya, l’any 75 encara hi havia una dictadura, era un país d’emigració i encara no formàvem part de la Unió Europea. Europa estava dividida en dos blocs i sobre tot el món surava l’amenaça de la guerra freda. Però era també un temps de canvis i d’il·lusions. Era un moment en què eixia al carrer la realitat amagada durant el franquisme, i els pobles de l’estat descobrien que tenien una cultura, una llengua o unes realitats socials i econòmiques pròpies. -
Iutoruj'u H J
UNIVERSITY OF ILLINOIS ... May.....7 ............. 19.8.Z... THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY ....................................................... J.ulie...£aw.c.e.1;:t;........................................................ ENTITLED...HUto9.r....&.0.4..£ex.*^Manifestation3^ IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF..... ................................................................................................................................................ ALbar.t.. .P.oq.ueras mMayc Instructor in Charge A pproved:.. iUtoruJ'U h j HEAD OF DEPARTMENT OF...J.Yft9...?.®.^yi®.?B. 0*1364 HUMOR AND SEX MANIFESTATIONS OF CONFLICT IN THE URBAN WORLD OF QUIM MONZO BY JULIE FAWCETT THESIS for the DEGREE OF BACHELOR OF ARTS IN SPANISH College of Liberal Arts and Sciences University of Illinois Urbana, Illinois 1987 This work is dedicated to Carme Rey-Granger, who first inspired me to learn about her homeland, Catalonia. Moltes Grades! Special thanks to Albert Porqueras-Mayo, for your infinite patience and guidance. J.F. Urbana, April ’87. TABLE OF CONTENTS A brief history of Catalonia and the Catalan language. General information on the writers of Mthe generation of the seventies". Biographical information on Ouim Monzd. An analysis of the role of sex and humor in the short stories of Quim Monzo. 1 Catalonia is a region in northeastern Spain but a traveller in the countr\ must look beyond this area in order to enjoy a taste of Spanish culture because Catalcnia is -
The Catalan Nova Cançó and Its Social Movement
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2015 Songs with Political Purpose: The Catalan Nova Cançó and its Social Movement Brooke Moschetto Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Fine Arts Commons, Musicology Commons, Performance Studies Commons, Radio Commons, and the Spanish Linguistics Commons Recommended Citation Moschetto, Brooke, "Songs with Political Purpose: The Catalan Nova Cançó and its Social Movement". Senior Theses, Trinity College, Hartford, CT 2015. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/443 Canciones con propósito político: La Nova cançó catalana y su movimiento social Songs with Political Purpose: The Catalan Nova Cançó and its Social Movement Brooke Moschetto Trinity College Clase de 2015 Profesor van Ginhoven Rey y Profesora Lambright Primavera 2015 Moschetto 1 Abstract This thesis is a study of the interaction of music and politics during the social movement in Catalonia, Spain, the nova cançó. This interaction demonstrates the importance of a cultural identity, imagined communities, and cultural planning for a nation. In the case of Catalonia, the nova cançó played an immediate crucial role in the transformation of society during the last years of the extremely repressive dictatorship of Francisco Franco (1939-1975). Franco controlled Spain ideologically through censorships and power over the media in order to spread his values of a unified, homogenous, nationalist fatherland. In this way, he destroyed the Catalan cultural identity to make them vulnerable and their cultural artifacts insignificant. As a result, the youth of Catalonia expressed their frustration through anti-Francoist songs and the revival of everyday use of the Catalan language in music in order to recreate their cultural identity. -
Cuadernos De Etnomusicología Nº2
Cuadernos de Etnomusicología nº2 Cuadernos de Etnomusicología nº2 Abril, 2012 ISSN: 2014-4660 1 Cuadernos de Etnomusicología nº2 © “Poetar cantando nel Mediterráneo ”. Paolo Scarnecchia © “Música Mediterránea. Una realidad imaginada ”. Rubén G ómez Muns © “La Cançó C atalana y el Mare Nostrum . La gran metáfora del mar”. Belén Murillo Martínez © “La uni versalización del flamenco. De M úsica Mediterránea a Música Trasnacional”. Miguel Ángel Berlanga © “Andalusian Music, Cultures of Tolerance and the Negotiation of Collective Memories: Deep Listening in the Mediterranean ”. Jonathan H. Shannon © “La Música andalusí y su destino en Marruecos”. Amin Chaachoo © “La musique kabyle actuelle: entre influ ences orientales et occidentales “. Djamel Benbraham . © “Le chant folklorique au Liban. Composantes et Caractéristiques“. Youssef Tannous © “Los instrumentos en la música de Creta”. Jordi Alsina Iglesias © “ The Musical Role of Turkish Women in Perspectives from t he Mediterranean Music Scene“. Sehvar Besiroglu © “ Anatolian folk songs for soldiers who died in Yemen”. Songü l Karahasano ğlu © Imagen: Juan Eduardo Sara Zaror. Licencia Atribución-NoComercial - SinDerivadas 2.0 Genérica (http://creativecommons.org/licenses/by -nc- sa/2.0/deed.es) © Edición Cuadernos de Etnomusicología . SIBE-Sociedad de Etnomusicología Coordinador Nº2: Rubén Gómez Muns Equipo Editorial Rubén Gómez Muns (Universitat Rovira i Virgili) Teresa Fraile Prieto (Universidad de Extremadura) Maria Salicrú-Maltas (Universitat Autònoma de Barcelona) Eduardo Viñuela Suárez (Universidad de Oviedo) Edita: Este obra está bajo una licencia de Creative Commons Reconocimiento -NoComercial- SinObraDerivada 3.0 Unported . 2 SIBE-Sociedad de Etnomusicología Índice Presentación 4 1. Poetar cantando nel Mediterráneo. Paolo Scarnecchia 5 2. Música Mediterránea. Una realidad imaginada. Rubén Gómez Muns 17 3. -
Hybridization and Its Meanings in the Catalan Musical Tradition
1 Hybridization and Its Meanings in the Catalan Musical Tradition By Josep Martí (Milà i Fontanals Institution, CSIC, Barcelona) Abstract One of the most interesting subjects related to research on hybridization in music is the study of its semantic implications in a given socio-cultural context. It is clear that hybridization, in one way or another, is an inherent process in all kinds of music. For this reason it is important not only to observe the origins and development of this phenomenon, but also to pay due attention to what hybridization refers to on the emic level, i.e. hybridization as a bearer of meanings, elucidating which meanings are associated by social agents to these kinds of processes. This article focuses on this important question and presents some general reflections on the meanings of hybridization through concrete examples from the Catalan musical tradition. Discussion will be restricted to the ethnicity-semantics axis. For this reason, the examples of the Catalan musical tradition that are taken into account belong to those musical streams that have explicitly conferred ethnic value to it. 1 Introduction Udoubtedly hybridization constitutes an inherent process musical creation. It would be very difficult to understand the dynamics of musical manifestations without taking into account the processes of adoption of musical elements belonging to different stylistic origins. After all, as Eliane Daphy wrote, the intrinsic value of music "lies in its capacity for blending, for mixing different elements which are taken from here and there"1. 1 "réside dans sa capacité à mixer, à mélanger différents éléments empruntés ici et là." 2 In the most general sense of the term, hybridization refers to the adoption by one concrete musical stream of musical elements that come from other streams. -
Use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982) Wenceslao Gil Florida International University, [email protected]
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 2011 The A( b)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982) Wenceslao Gil Florida International University, [email protected] DOI: 10.25148/etd.FI11120207 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Recommended Citation Gil, Wenceslao, "The A( b)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982)" (2011). FIU Electronic Theses and Dissertations. 477. https://digitalcommons.fiu.edu/etd/477 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida THE (AB)USE OF POLITICS AND EROTICISM IN THE CULTURE OF THE SPANISH TRANSITION TO DEMOCRACY (1975-1982) A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in SPANISH by Wenceslao Gil 2011 To: Dean Kenneth Furton choose the name of dean of your college/school College of Arts and Sciences choose the name of your college/school This dissertation, written by Wenceslao Gil, and entitled The (Ab)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982), having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. -
Catalan Sounds CATALAN SOUNDS CATALAN SOUNDS
CATALAN SOUNDS CATALAN SOUNDS CATALAN SOUNDS Catalonia has close historical links with the finest music Catalunya tiene un vínculo histórico con la música being made today. This relationship is apparent in the vigente en la actualidad. Esta relación se da en la majority of musical genres. It is no exaggeration to say mayoría de los géneros musicales. Podemos decir sin that the level of creativity and production and of regular equivocarnos que el nivel de creatividad, producción y live venues all over the Catalan territory is of the very exhibición estable por todo el territorio catalán es de highest quality; indeed, in folk and classical music the una altísima calidad siendo nuestro país, además, un country is an international point of reference. There is no referente internacional en la música folclórica y clásica. doubt that the variety of festivals, concert seasons and Podemos afirmar también que la variedad de oferta de original productions featuring Catalan orchestras, soloists, festivales, ciclos y producciones propias con orquestas, groups and ensembles is among the richest in Europe. solistas, grupos y ensambles es de primer nivel europeo. At the same time, Catalonia can boast a jazz scene that is one Igualmente, Catalunya cuenta actualmente con una of the most vibrant in Europe today, thanks to the intense escena del jazz, que es de las más ricas de Europa activity of the country’s clubs and established promoters; in gracias a la ebullición de sus clubes y programaciones the towns and cities, urban fusions, new languages, cross- -
La Idea De La Necessitat D'una Renovació En La Cançó Catalana S
La idea de la necessitat d’una renovació en la cançó catalana s’havia gestat a casa de Miquel Porter i Moix, a Sarrià, entre els anys 1958 i 1959, en el decurs d’unes vetllades amb Lluís Serrahima i altres amics, enmig de cançons que sorgien espontàniament i reflexions sobre el panorama musical cultural i polític del moment. Inspirat per Josep Benet, i fruit també de les reunions musicals a casa d’en Miquel Porter, Serrahima va publicar el gener de 1959 l’article «Ens calen cançons d’ara» a la revista Germinabit , que es considera una mena de manifest programàtic que animà la creació del grup de cantautors anomenat Els Setze Jutges. Emmirallats en la cançó francesa, autors com Georges Brassens, Jacques Brel, Édith Piaf o Léo Ferré van inspirar cançons d’aquest embrió format per Porter i Serrahima com a impulsors, al qual aviat s’afegiren Remei Margarit, Josep Maria Espinàs, Delfí Abella i Francesc Pi de la Serra. De mica en mica el grup s’anà consolidant amb els noms d’Enric Barbat, Xavier Elies, Guillermina Motta, Maria del Carme Guirau, Martí Llauradó, Joan Ramon Bonet, Maria Aurèlia Pedrerol, Joan Manuel Serrat, Maria del Mar Bonet, Rafael Subirachs i Lluís Llach, que s’hi incorporaren més tard. Després de les primeres sessions en cases particulars com la del mateix Miquel Porter, la primera actuació pública tingué lloc el dia 19 de desembre de 1961 al Centro de Influencia Católica Femenina (CICF) de Barcelona, i ja es va anunciar com a recital de Nova Cançó. A partir del 1962, Els Setze Jutges començaren a fer enregistraments discogràfics de 45 rpm, sempre individuals però on apareixia el nom d’Els Setze Jutges. -
Grants Awarded for Translation
Institut Institut Ramon Ramon Llull Llull Yearbook Yearbook 2016 2016 Contents Introduction ........................................................... 5 Major Projects 2016 .............................................. 6 Ramon Llull Prizes 2016 ...................................... 10 Literature and the Humanities ........................... 12 Performing Arts ................................................... .18 Film ....................................................................... 24 Music ..................................................................... 30 Visual Arts, Architecture and Design ................. 34 Language and Universities ................................ 40 Press and Communications ................................ 54 Budget 2016 ......................................................... 62 Managing Board Manuel Forcano, director Josep Marcé, general manager Marta Oliveres, head of the Department of Visual and Performing Arts Izaskun Arretxe, head of the Department of Literature and the Humanities Josep-Anton Fernàndez, head of the Department of Language and Universities Introduction In 2016, the Institut Ramon Llull carried on its task of promoting and broadening awareness of, and contact with, the Catalan language and culture abroad, but in addition to that it was a year of changes: the new management team made the decision to begin placing greater focus on the Mediterranean region and carry out some of its activities in countries that hitherto have had little or no contact with Catalan culture. Thus,