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Michael Rother Flammende Herzen Mp3, Flac, Wma
Michael Rother Flammende Herzen mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Flammende Herzen Country: Germany Released: 1993 Style: Krautrock MP3 version RAR size: 1900 mb FLAC version RAR size: 1768 mb WMA version RAR size: 1726 mb Rating: 4.8 Votes: 662 Other Formats: TTA VOC ASF FLAC AA MP3 VQF Tracklist Hide Credits 1 Flammende Herzen 7:03 2 Zyklodrom 9:36 3 Karussell 5:22 4 Feuerland 7:06 5 Zeni 5:09 Neue Stücke: Flammende Herzen - Film Remix 1993 6 8:32 Drums, Bass, Remix [Co-remixing] – Joachim Rudolph 7 Vorbei (Flammende Herzen - Chill Remix 1993) 8:36 Companies, etc. Phonographic Copyright (p) – Sky Records Phonographic Copyright (p) – Random Records Recorded At – Conny's Studio Mastered At – Chateau Du Pape Distributed By – SPV GmbH Pressed By – BOD Berlin Optical Disc Credits Artwork [Conception] – Ulrich Von Sinnen Artwork [Realisation] – Rike Drums – Jaki Liebezeit Engineer – C. Plank* Mastered By [Digital Mastering] – Achim Kruse Performer, Recorded By, Mixed By – Michael Rother (tracks: 6, 7) Photography By [Front Cover] – Ann* Photography By [Laser, Back] – Christian Rabe Producer – Plank* (tracks: 1 to 5), Rother* Written-By, Guitar, Electric Piano, Guitar [Dehgitarre], Bass, Synthesizer, Organ, Electronic Drums [Electronic Percussion] – Michael Rother Notes Reissue, originally released in 1977. Recorded June-September 1976 in Conny's studio. Digital mastering at Studio Chateau du Pape, Hamburg. Includes bonus tracks 6 & 7. (P) 1-5 1977 Sky Records (P) 6-7 1993 Random Records Distributed by SPV GmbH Made -
Carl Orffs Hesperische Musik
MATTHIAS JOHANNES PERNERSTORFER / WIEN Carl Orffs hesperische Musik Carl Orffs ‚Antigonae‘ (1940–49) und ‚Oedi pus der Tyrann‘ (1951– 58) nach Sophokles in der Übersetzung von Friedrich Hölderlin sowie der aischyleische ‚Prometheus‘ (1963–67) in der Originalsprache gehören zu den bedeutendsten Beiträgen zur musikalischen Rezeption der Antike im 20. Jahrhundert. Ich folge Stefan Kunze im Gebrauch der Bezeichnung Tragödien-Bearbeitungen für die genannten Bühnenwerke, da „kein musi- kalisches Werk (Vertonung) auf der Grundlage eines Tragödientextes … das Ziel [ist] …, sondern die [interpretative, Anm. d. A.1 ] Darstellung der Tragödie mit musikalischen Mitteln“.2 Es handelt sich um eine Form des Musiktheaters ganz eigener Art – „gleich weit entfernt vom Sprechtheater herkömmlicher Prägung wie von der Oper und von der … Bühnenmusik“.3 Auch wenn der Musikhistoriker Werner Schubert vor einigen Jahren dia- gnostizierte: „Daß es [Orff] … nicht um eine Rekonstruktion antiker Aufführungspraxis ging, muß man heute nicht mehr eigens betonen“,4 so möchte ich anmerken, daß die Tragödien-Bearbeitungen Orffs von vielen Philologen wie Theaterwissenschaftlern, die die musikwissenschaftliche Diskussion nicht mitverfolgen, wohl noch immer – sei es zustimmend oder ablehnend – als Rekonstruktionsversuche rezipiert werden. Der Grund dafür liegt in der zum Teil euphorischen Reaktion von zeitgenössischen Philologen, durch die Orffs Werke den Stellenwert von authentischen Wie- dergaben der altgriechischen Tragödien erreichten. Jahrzehntelang widmete sich Carl Orff den Tragödien-Bearbeitungen, wobei nicht von einem Weg des Komponisten in die Geistes- oder Musik- welt der Antike gesprochen werden kann. DieAntike diente ihm in Form —————————— 1 Zum Interpretationscharakter dieser „Darstellung der Tragödie“ s.u. 2 Kunze 1998, 547. 3 Schubert 1998, 405. 4 Schubert 1998, 403. 122 Matthias Johannes Pernerstorfer ihrer Texte als Medium, das er im Sinne von Höl derlins Antikerezeption mit Blick auf eine abendländische Gegenwart – deshalb ‚hesperisch‘ – gestaltete. -
Learning from Paleo-Landscapes Defining the Land-Use Systems of the Ancient Malayo-Polynesian Homeland
790 Current Anthropology Volume 59, Number 6, December 2018 Learning from Paleo-Landscapes Defining the Land-Use Systems of the Ancient Malayo-Polynesian Homeland by Mike T. Carson and Hsiao-chun Hung Paleo-landscape investigations contextualize how people have inhabited and coevolved dynamically with their land- forms, resource zones, and social-ecological niches during measured time intervals and through extended chrono- logical sequences. Toward illustrating this research potential, changing paleo-landscapes 2500–1500 BC reveal the ancient conditions of the places where people lived in both Taiwan and the northern Philippines, in this case exploring what transpired there during a critical time period that heralded deep transformation of the language history, cultural heritage, economic production, and population demography of Island Southeast Asia as known today. During the time range of interest, the region’s coastlines and habitat configurations were substantially different from today’s circum- stances, prior to change in sea level, accelerated slope erosion, lowland sedimentary buildup, and some of the world’s most rapid recorded tectonic uplift. The results show that people in eastern Taiwan at 2200–2000 BC faced a crisis of limited suitable landforms for their particular mode of subsistence economy, thus instigating overseas migration to the northern Philippines as a means to expand into other territories, with continued effects through 1500 BC and thereafter. Paleo-landscape research aims to learn about the place of hu- they used their available zones, and how they adapted to their man societies in the ever-changing world that we have inhabited changing conditions. In one such documented example, the in the past and present. -
Download Press File
Ruin Porn (2016) by Guillaume Marie, Igor Dobricic & KK Null Conception, direction, choreography: Guillaume Marie Conception, direction, dramaturgy: Igor Dobričić Original soundtrack: Kazuyuki Kishino aka KK Null Created in collaboration with and performed by: Els Deceukelier, Guillaume Marie, Roger Sala Reyner & Suet Wan Tsang Costumes: Cédrick Debeuf Make-up: Rebecca Florès Light Designer: Abigail Fowler MIDI programming : Abigail Fowler & Stéphane Monteiro Technical direction and sound enginner: Stéphane Monteiro Management France: Guillaume Bordier - [email protected] - +33 664 810 798 Booking: Erwan Coëdelo - [email protected] - +33 689 857 175 International creative producer: Steve Slater - [email protected] - +44 7791 314650 Graphism: Grégoire Gitton Production: TAZCORP/ Co-productions: Ménagerie de Verre (F), le CND - un centre d’art pour la danse (F) - résidence augmentée, CCN Roubaix/Ballet du Nord (F) - accueil studio, Hostellerie de Pontempeyrat (F) - accueil studio. With the support of French Ministry of Culture and Communication (F), DICREAM and ADAMI. Our deep gratitude to: l'Atelier Bas & Hauts/Laura Ragno, Anna Le Houerf, Stéphanie Méméteau-Gitton, Arnaud Delacelle & Frédérique Marciniak. www.tazcorp.org Created in Festival Etrange Cargo at la Ménagerie de Verre, Paris (F) on the 29th and 30th of March 2016. Video link: https://vimeo.com/166030181 Ruin Porn is an intense sensorial journey into the future past of a dance as a ritual and of a theatre as a site. Four personas that are gradually materializing out of the cloud of light and sound, are both pathetic ruins of what was before and a never fulfilled promise of what is yet to come. They are creatures forever caught in between departing and arriving into the present moment of the performance. -
More Is More Brochure Cropped
forEword What is the difference between a graphic designer and a “fine artist,” between he who gives highway signs their typeface and she whose canvasses and sculptures live in museums where admission must be paid? In terms of talent, possibly none. The difference is one of intimacy. We gaze up at our favorite paintings, gingerly circumnavigate the greatest sculptures—we literally put them on pedestals. But we hug our favorite books and records, and kiss their covers, and a particular typeface will forever conjure the road-sign at the turnoff to the summer lodge, that last turn that led to nirvana, the last week of August, the summer after tenth grade. I don’t want to meet the artist (the painter, the sculptor, the violin prodigy, the rock star), for if I did, she’d probably disappoint, and if she didn’t, I’d be tongue-tied. But the graphic designer? I want to clasp him to me, and ask how he did it, and say Thank you. No need to invite George Corsillo into your living room and offer him a nip or a puff—he’s been there all along. He’s been in your album crate since the early 1980s, showcasing John and Olivia at their Grease-iest, Luther Vandross at his sultriest, Benatar, Mellencamp, Yoko. In his toolbox, George always brings his analog chops, learned with the legendary book-jacket designer Paul Bacon; nobody has that facility with typeface or silkscreening who grew up only on computers. He brings, too, a party- down fierceness, a willingness to get his hands dirty (on the Grease jacket, those are George’s teeth marks on the pencil), a scavenger’s resourcefulness (the legs on the Tilt cover? his wife, Susan’s), and a tactful deference to the artist, masking, as needed, Vandross’s girth or Benatar’s pregnancy. -
Kk Null & the Noiser
KK NULL & THE NOISER Aurkezpena - Zuzenekoa KK NULL (jp) & THE NOISER (fr) Martxoaren 11a ostirala 19:00 / Arteleku Antolatzailea: Audiolab Kazuyuki Kishino Japoniako noise musikaren mugimenduko izen nabarmenenetakoa da. 80ko harmakadatik gaurdaino, bere musika abenturek, bereziki ZENI GEVA bezalako rock taldeetan parte hartuz edo bere bakarkakSo proposamen elektronikoen bidez, nazioarteko musika esperimentalaren zirkuituan ohiko bihurtu dute bere izena. Bide luze hortan Kishinok Min Tanaka Butoh dantzaria, Merzbow, Seijiro Murayama (Fushitsuha), Tatshuya Yoshida (Ruins), Eye Yamatsuka (Boredoms, Naked City), Chris Watson (Cabaret Voltaire), Keiji Haino edo Fred Frith izan ditu lagun, eta nazioarteko jaialdi esaguratsuenetan aurkeztu zan du bere lana. Hogei urteren ondotik gitarra musika tresan nagusi bezala izan ondotik, KK Null-ek elektronikarentzarako joera hartu zuen, zarata elektronikoa,. ambient elektroakustikoa, erritmo puskatuak eta drone pisutsuak erabiliz minimalismoaren eta maximalismoaren artean kokatzen den musika gihartsua osatuz. The noiser (zaratazalea) izenaren azpian Julien Ottavi media-aktibista, artista, ikerlari, konposatzailea gordetzen da. Nantes hiriko Apo33 plataformako sortzaile ta kideak, soinu artea, bideoa, teknologia berriak eta gorputz performance-a nahasten dituen sorkuntza lana jorratzen du. Azken hamarkadan bereziki ahotsa eta honen ordenagailu bidezko eraldaketa izan du ikergai Ottavik, software librea erabiliz eta bere gailu eletronikoak (irrati transmisoreak, osziladoreak, mixerrak...) sortuz. Horren haritik APODIO izeneko linux distribuzioaren sortzaile nagusia da. Musikaren alorrean Formanex bezalako taldetan hartu du parte eta Jenny Pickett, Brandon Labelle, Keith Rowe, Kasper T. Toeplitz, Christian Galarreta, Zbigniew Karkowski, Randy Yau, Dion Workman edo Phill Niblock bezalako artistekin egin du lan. Loturak: http://www.kknull.com/ http://www.noiser.org http://www.apo33.org http://www.a10lab.info http://fibrr.apo33.org http://ecos.crealab.info. -
Brecht's Antigone in Performance
PERFORMANCE PHILOSOPHY RHYTHM AND STRUCTURE: BRECHT’S ANTIGONE IN PERFORMANCE BRUNO C. DUARTE FCSH UNIVERSIDADE NOVA DE LISBOA Brecht’s adaptation of Sophocles’ Antigone in 1948 was openly a political gesture that aspired to the complete rationalization of Greek Tragedy. From the beginning, Brecht made it his task to wrench ancient tragic poetry out of its ‘ideological haze’, and proceeded to dismantle and eliminate what he named the ‘element of fate’, the crucial substance of tragic myth itself. However, his encounter with Hölderlin's unorthodox translation of Antigone, the main source for his appropriation and rewriting of the play, led him to engage in a radical experiment in theatrical practice. From the isolated first performance of Antigone, a model was created—the Antigonemodell —that demanded a direct confrontation with the many obstacles brought about by the foreign structure of Greek tragedy as a whole. In turn, such difficulties brought to light the problem of rhythm in its relation to Brecht’s own ideas of how to perform ancient poetry in a modern setting, as exemplified by the originally alienating figure of the tragic chorus. More importantly, such obstacles put into question his ideas of performance in general, as well as the way they can still resonate in our own understanding of what performance is or might be in a broader sense. 1947–1948: Swabian inflections It is known that upon returning from his American exile, at the end of 1947, Bertolt Brecht began to work on Antigone, the tragic poem by Sophocles. Brecht’s own Antigone premiered in the Swiss city of Chur on February 1948. -
Of Titles (PDF)
Alphabetical index of titles in the John Larpent Plays The Huntington Library, San Marino, California This alphabetical list covers LA 1-2399; the unidentified items, LA 2400-2502, are arranged alphabetically in the finding aid itself. Title Play number Abou Hassan 1637 Aboard and at Home. See King's Bench, The 1143 Absent Apothecary, The 1758 Absent Man, The (Bickerstaffe's) 280 Absent Man, The (Hull's) 239 Abudah 2087 Accomplish'd Maid, The 256 Account of the Wonders of Derbyshire, An. See Wonders of Derbyshire, The 465 Accusation 1905 Aci e Galatea 1059 Acting Mad 2184 Actor of All Work, The 1983 Actress of All Work, The 2002, 2070 Address. Anxious to pay my heartfelt homage here, 1439 Address. by Mr. Quick Riding on an Elephant 652 Address. Deserted Daughters, are but rarely found, 1290 Address. Farewell [for Mrs. H. Johnston] 1454 Address. Farewell, Spoken by Mrs. Bannister 957 Address. for Opening the New Theatre, Drury Lane 2309 Address. for the Theatre Royal Drury Lane 1358 Address. Impatient for renoun-all hope and fear, 1428 Address. Introductory 911 Address. Occasional, for the Opening of Drury Lane Theatre 1827 Address. Occasional, for the Opening of the Hay Market Theatre 2234 Address. Occasional. In early days, by fond ambition led, 1296 Address. Occasional. In this bright Court is merit fairly tried, 740 Address. Occasional, Intended to Be Spoken on Thursday, March 16th 1572 Address. Occasional. On Opening the Hay Marker Theatre 873 Address. Occasional. On Opening the New Theatre Royal 1590 Address. Occasional. So oft has Pegasus been doom'd to trial, 806 Address. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Post-Glacial Fire History of Horsetail Fen and Human-Environment Interactions in the Teanaway Area of the Eastern Cascades, Washington
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Winter 2019 Post-Glacial Fire History of Horsetail Fen and Human-Environment Interactions in the Teanaway Area of the Eastern Cascades, Washington Serafina erriF Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Environmental Education Commons, Environmental Monitoring Commons, Natural Resources and Conservation Commons, Other Environmental Sciences Commons, and the Sustainability Commons Recommended Citation Ferri, Serafina, "Post-Glacial Fire History of Horsetail Fen and Human-Environment Interactions in the Teanaway Area of the Eastern Cascades, Washington" (2019). All Master's Theses. 1124. https://digitalcommons.cwu.edu/etd/1124 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. POST-GLACIAL FIRE HISTORY OF HORSETAIL FEN AND HUMAN-ENVIRONMENT INTERACTIONS IN THE TEANAWAY AREA OF THE EASTERN CASCADES, WASHINGTON __________________________________ A Thesis Presented to The Graduate Faculty Central Washington University ___________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Science Resource Management ___________________________________ by Serafina Ann Ferri February 2019 CENTRAL WASHINGTON UNIVERSITY Graduate Studies -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind. -
Pageant Chooses To^ 10 Semi-Finalists 1
Jacksonville State University JSU Digital Commons Chanticleer Historical Newspapers 1998-10-08 Chanticleer | Vol 47, Issue 5 Jacksonville State University Follow this and additional works at: https://digitalcommons.jsu.edu/lib_ac_chanty Recommended Citation Jacksonville State University, "Chanticleer | Vol 47, Issue 5" (1998). Chanticleer. 1234. https://digitalcommons.jsu.edu/lib_ac_chanty/1234 This Book is brought to you for free and open access by the Historical Newspapers at JSU Digital Commons. It has been accepted for inclusion in Chanticleer by an authorized administrator of JSU Digital Commons. For more information, please contact [email protected]. Philip Attinner Kelli Johnson Editor in Chief Staff Writer Two men were arrested in a JSU Parking is never easy on campus, building and charged with rape last but it is extremely difficult for JSU Wednesday. art department students and faculty. A white female, 19, reported Hammond Hall is located directly being sexually assaulted in a resi- behind the TMB and beside Bibb dence on university property, Graves Hall. The art department according to the incident record at has three faculty parking spaces the University Police Department. even though there are more than The two alleged assailants were three faculty members. There are arrested last Thursday morning. now eight art department faculty According to the UPD arrest members who must share those report the men, ages 18 and 19, spaces. were sober, unarmed, did not resist It has also come to the faculties' arrest and had no prior arrest attention that one of the Bibb record. Also, according to the Graves faculty members is taking arrest record, both men were one of these three parking spaces charged with one count of rape and designated for art department facul- one count of sodomy, each.