Here Silence Is Nonexistent Hinkik & a Himitsu - Realms a Himitsu - Adventures
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June 2015 Broadside
T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff. -
La Recepción Del Liber Primus Missarum (1602) De Alonso Lobo En La Catedral De Jaén*
E ELUCIDARIO. Nº 5 (Marzo 2008). págs. 97 a 136 Seminario Bio-bibliográfico Manuel Caballero Venzalá «Era justo començar por la de Jaén»: la recepción del Liber Primus Missarum (1602) de Alonso Lobo en la Catedral de Jaén* JAVIER MARÍN LÓPEZ Doctor en Historia y Ciencias de la Música R E S U M E N Este artículo presenta la descripción detallada y el inventario con concordancias e íncipits musicales de un libro de música impreso recientemente descubierto en la Catedral de Jaén: el Liber Primus Missarum (Madrid, 1602) de Alonso Lobo (1555-1617), maestro de capilla de las catedrales de Toledo y Sevilla. Aunque se conservan varios ejemplares de este libro impreso en distintos archivos y bibliotecas, el de Jaén había pasado desapercibido hasta ahora. El inventario propiamente dicho va precedido de un estudio de la recepción e historia de este libro en la Catedral de Jaén, que fue una de las primeras instituciones españolas que recibió y compró el volumen. A B S T R A C T This article presents a detailed description and inventory with concordances and musical incipits of a recently discovered printed music book at Jaen Cathedral: the Liber Primus Missarum (Madrid, 1602) of Alo- nso Lobo (1555-1617), chapelmaster at Toledo and Seville cathedrals. Although several copies of this book still survive in some libraries and archives, the one of Jaén has gone unnoticed up-to-now. The inventory is preceded of a study of the reception and history of this book in the Cathedral of Jaen, which was one of the first Spanish institutions that received and bought the book. -
Answers to the Top 50 Questions About Genesis, Creation, and Noah's Flood
ANSWERS TO THE TOP 50 QUESTIONS ABOUT GENESIS, CREATION, AND NOAH’S FLOOD Daniel A. Biddle, Ph.D. Copyright © 2018 by Genesis Apologetics, Inc. E-mail: [email protected] www.genesisapologetics.com A 501(c)(3) ministry equipping youth pastors, parents, and students with Biblical answers for evolutionary teaching in public schools. The entire contents of this book (including videos) are available online: www.genesisapologetics.com/faqs Answers to the Top 50 Questions about Genesis, Creation, and Noah’s Flood by Daniel A. Biddle, Ph.D. Printed in the United States of America ISBN-13: 978-1727870305 ISBN-10: 1727870301 All rights reserved solely by the author. The author guarantees all contents are original and do not infringe upon the legal rights of any other person or work. No part of this book may be reproduced in any form without the permission of the author. The views expressed in this book are not necessarily those of the publisher. Scripture taken from the New King James Version®. Copyright © 1982 by Thomas Nelson. Used by permission. All rights reserved. Print Version November 2019 Dedication To my wife, Jenny, who supports me in this work. To my children Makaela, Alyssa, Matthew, and Amanda, and to your children and your children’s children for a hundred generations—this book is for all of you. We would like to acknowledge Answers in Genesis (www.answersingenesis.org), the Institute for Creation Research (www.icr.org), and Creation Ministries International (www.creation.com). Much of the content herein has been drawn from (and is meant to be in alignment with) these Biblical Creation ministries. -
THE GOLDEN AGE - Siglo De Oro
THE GOLDEN AGE - Siglo de oro 1. Crux fidelis King John IV of Portugal (1604-56) [9.51] 2. Kyrie (Mass Mille Regretz) Cristóbal de Morales (ca.1500-53) [4.51] 3. Versa est in luctum Tomás Luis de Victoria (1548-1611) [3.33] 4. In ieiunio et fletu Diogo Dias Melgas (1638-1700) [2.51] 5. Versa est in luctum Sebastián de Vivanco (ca.1550-1622) [5.26] 6. Lamentations Alonso Lobo (1555-1617) [18.17] 7. Versa est in luctum Juan Gutiérrez de Padilla (ca.1590-1664) [3.24] 8. Pia et dolorosa mater Diogo Dias Melgas [2.23] 9. Versa est in luctum Alonso Lobo [5.03] 10. Libera me Alonso Lobo [8.44] Total Timings [64.31] THE KING’s singers DAVID HURLEY • ROBIN TYSON • PAUL PHOENIX • PHILIP LAWSON CHRISTOPHER GABBITAS • STEPHEN CONNOLLY www.signumrecords.com www.kingssingers.com For a group like ours the choice of repertoire for of weeping undoubtedly endeared it to composers, T recording often seems bewilderingly large. So why and we chose three more to accompany Lobo’s. did we choose Portugese, Spanish and Mexican You will be able to hear a bajón - the precursor to music from the period known as the Siglo de Oro - the bassoon - playing in these settings and in the Golden Age? other pieces besides. It provides an authentic sound, giving a special quality that immeasurably The idea came from our church concert enhances the performances. We are very grateful programmes, where acoustics, space and that Keith McGowan was able to join us to play in atmosphere allow great scope for drama. -
The Tallis Scholars First Congregational Church Peter Phillips, Director the Tallis Scholars Peter Phillips, Director Music for Double Choir
Cal Performances Presents Program Saturday, March 28, 2009, 8pm The Tallis Scholars First Congregational Church Peter Phillips, director The Tallis Scholars Peter Phillips, director Music for Double Choir PROGRAM Giovanni Pierluigi da Palestrina (c.1525–1594) Surge, illuminare (part 1) Peter Philips (c.1560–1628) Ecce vicit Leo Philips Ave Jesu Christe Orlande de Lassus (c.1532–1594) Missa Bel’ Amfitrit’ altera INTERMISSION Orlando Gibbons (1583–1625) O clap your hands Dominique Phinot (c.1510– c.1556) Lamentations R. Haughton Sopranos Alonso Lobo (c.1555–1617) Ave Maria Janet Coxwell, Amy Haworth, Cecilia Osmond, Amy Wood Altos Jean Mouton (c.1459–1522) Nesciens Mater Patrick Craig, Caroline Trevor Tenors Hieronymus Praetorius (1560–1629) Magnificat IV Mark Dobell, Simon Wall Basses Donald Greig, Robert Macdonald In North America, The Tallis Scholars are managed by International Arts Foundation, Inc., 121 West 27th Street, Suite 703, New York, New York 10001-6262, [email protected]. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. Please visit The Tallis Scholars’ newly designed website at www.gimell.com. For additional information, please visit thetallisscholars.co.uk. 10 CAL PERFORMANCES CAL PERFORMANCES 11 Program Notes Program Notes Arise and Shine, O Jerusalem the two men, however, can be seen in the wider Orlando Gibbons shows us a more sophisticated, time, and slowly increase the intensity of the music range of rhythmic gestures used by Philips, and the later example of double-choir writing. -
September 2016 Volume 58, Number 1 Chicago Chapter News After Being Denied Admission As Refugees in France
Recorder Reporter Newsletter of two chapters of the American Recorder Society (ARS), Chicago Chapter & the West Suburban Early Music Society September 2016 Volume 58, Number 1 Chicago Chapter News after being denied admission as refugees in France. We open our 2016-2017 season on Sunday, September 18 Paloma and her mother sewed and embroidered clothing at 2 PM at Covenant Presbyterian Church. Lisette Kielson in order to make money to buy food, but there was rarely returns for her fourth season as our music director. This enough. Still, Paloma would tell her daughters and year’s theme: pasticcio, which means, “a work or style grandchildren of her happy memories from those days, produced by borrowing fragments, ingredients, or motifs stories of her brothers’ resourcefulness and affection, and from various sources.” later, of her father reading Spanish and French poetry to her during the difficult days after the war ended. We need volunteers to bring food and drinks for our upcoming meetings. Our meetings will be on October 16, November 20, January 15, February 19, March 19, and April 23, with the Yuletide Concert on December 18 and the Spring Concert on May 21. Andrew Schultze directs on November 20, Mirja Lorenz on February 19, and Gail Gillispie on March 19. Paloma Larramendi, 1929-2016 She married a young doctor, Luis Manuel Larramendi, in June of 1953 and moved with him to Montreal so he could finish his education at McGill University. From there the family moved to New York City, and then to Chicago, and settled in Evanston. Paloma ultimately became an electron microscope technician at Rush Medical College in Chicago, where she met a colleague, Esther Schecter, who needed some help imaging a virus. -
Tenebrae Nigel Short Director Normas De Seguridad E Higiene
69 Festival de Granada 25 de junio | 26 de julio 2020 Conciertos matinales Sábado 11 de julio, 12.00 h Monasterio de San Jerónimo Tenebrae Nigel Short director Normas de seguridad e higiene ___ Acuda con una antelación mínima de 1 hora a los espectáculos. ___ Es obligatorio el uso de mascarilla durante todo el concierto. ___ Mantenga la distancia de seguridad interpersonal de un metro. ___ Siga en todo momento las indicaciones del personal de la organización. ___ Manténgase informado sobre cualquier novedad en nuestra página web www.granadafestival.org Safety and hygiene specifications ___ Please be at the entrance of the performances at least one hour before the beginning. ___ Use of face masks is compulsory during the whole performance. ___ Keep one meter safe distance between you and the rest of the people in the venue. ___ Please follow the instructions from our staff. ___ Latest news on our website www.granadafestival.org Tenebrae Hannah King, Victoria Meteyard, Bethany Partridge, Rosanna Wicks sopranos Hannah Cooke, Martha McLorinan altos Jeremy Budd, Nicholas Madden tenores Jimmy Holliday, Owain Park bajos Nigel Short director Glorias del Renacimiento Alonso Lobo (ca. 1555-1617) Versa est in luctum Canto llano De Lamentatione Gregorio Allegri (1582-1652) Miserere Tomás Luis de Victoria (ca. 1548-1611) Officium defunctorum (Misa de Réquiem, 1605) Lectio: Taedet animam meam Missa pro defunctis Introitus: Requiem aeternam Kyrie Graduale: Requiem aeternam Offertorium: Domine lesu Christe Sanctus et Benedictus Agnus Dei Communio: Lux aeterna Motectum: Versa est in luctum Responsorium: Libera me, Domine Colaborador Principal «Si alguien buscara utilidad, nada es más útil que la música, que penetrando con suavidad en los corazones a través del mensaje de los oídos, parece servir de provecho, no sólo al alma sino también al cuerpo». -
Alonso Lobo Sacred Vocal Music
95789 ALONSO LOBO SACRED VOCAL MUSIC Coro Victoria Ana Fernández-Vega Alonso Lobo (1555-1617) Sacred Vocal Music 1. Ave Regina Caelorum a 5 3’00 7. Regina Caeli Laetare 2’30 From Missa Simile est regnum caelorum 14. Ego Flos Campi 2’07 13. Agnus Dei 4’10 From Missa O Rex Gloriae 8. Credo Romano 6’45 Agnus Dei II a 6: Élia Casanova · Manon 15. O quam suavis est Domine 2. Kyrie 2’40 Incipit: Jagoba Fadrique baritone Chauvin sopranos Bonus Track 3’53 Christe: Èlia Casanova soprano Hugo Bolívar countertenor Élia Casanova soprano Julieta Viñas mezzo soprano 9. Cum audisset Ioannes Francisco Braojos tenor Manuel Minguillón vihuela Francisco Braojos tenor in vinculis 2’31 Jagoba Fadrique · Oriol Mallart baritones Jagoba Fadrique baritone 3. Gloria 3’51 From Missa Petre ego pro te rogavi Incipit: Jagoba Fadrique baritone 10. Sanctus-Benedictus 4’24 Benedictus: Élia Casanova · Manon 4. Ave Maria a 8 4’01 Chauvin sopranos Élia Casanova · Manon Chauvin Julieta Viñas mezzo soprano sopranos Francisco Braojos tenor Julieta Viñas · Beverley Green mezzo Élia Casanova · Manon Chauvin & Cristina Teijeiro sopranos Julieta Viñas · Beverley Green mezzo sopranos sopranos 11. Versa est in luctum a 6 4’25 Hugo Bolívar countertenor Hugo Bolívar countertenor Élia Casanova · Manon Chauvin Francisco Braojos · Emiliano Cano tenors sopranos Francisco Braojos · Emiliano Cano & Jesús Navarro tenors Pablo Acosta bass Hugo Bolívar countertenor Jagoba Fadrique · Oriol Mallart baritones Francisco Braojos · Emiliano Cano tenors Pablo Acosta bass 5. Vivo Ego, dicit Dominus 2’32 Jagoba Fadrique baritone Ana Fernández-Vega conductor 6. Erunt signa in sole 3’13 12. -
Download Booklet
CORO CORO “…wonderful music, wonderfully performed… sit back and let these glorious sounds fill your ears and lift your spirits.” gramophone Compilation by: Robin Tyson – podiummusic.co.uk Re-mastering: Tom Mungall (Floating Earth) Cover image: Basílica i Temple Expiatori de la Sagrada Família, Barcelona, Spain Design: Andrew Giles – [email protected] For further information about recordings on CORO or live performances and tours by The Sixteen, call +44 (0) 20 7936 3420 or email [email protected] the voi ces of 2019 The Sixteen Productions Ltd. © 2019 The Sixteen Productions Ltd. Made in Great Britain To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16172 th Anniversary Collection The Sixteen | HARRY CHRISTOPHERS CD1 CD2 1 G.F. Handel How excellent thy name (from Saul HWV 53) 2.45 1 Igor Stravinsky Exaudi orationem meam Domine (from Symphony of Psalms) 3.02 2 James MacMillan O Radiant Dawn (From The Strathclyde Motets) 3.18 2 Frank Martin Sanctus and Benedictus (from Mass for double choir) 4.29 3 G.P. da Palestrina Surge amica mea 2.34 3 J.S. Bach Kyrie eleison II (from Mass in B minor BWV 232) 3.34 4 Tomás Luis de Victoria O Domine Jesu Christe 3.39 4 G.P. da Palestrina Ave Maria 4.26 5 Henry Purcell Remember not, Lord, our offences (Z 50) 3.00 5 Thomas Tallis Miserere nostri 2.59 6 Gregorio Allegri Miserere (Evolution version) 11.28 6 Henry Purcell Symphony / O sing unto the Lord (from O sing unto the Lord Z 44) 3.32 7 Claudio Monteverdi Deus in adiutorium meum intende (from Vespers of 1610 SV 206) 1.59 7 G.F. -
“The Social Cut of Black and Yellow Female Hip Hop” Erick Raven
“The Social Cut of Black and Yellow Female Hip Hop” Erick Raven University of Texas at Arlington May 2020 Abstract Korean female hip hop artists are expanding the definition of femininity in South Korea through hip hop. In doing so, they are following a tradition first established by Black female musical performers in a new context. Korean artists are conceiving and expressing, through rap and dance, alternative versions of a “Korean woman,” thus challenging and attempting to add to the dominant conceptions of “woman.” This Thesis seeks to point out the ways female Korean hip hop artists are engaging dominant discourse regarding skin tone, body type, and expression of female sexuality, and creating spaces for the development of new discourses about gender in South Korean society. Contents Introduction – Into the Cut ................................................ 1 Chapter I – Yoon Mi-rae and Negotiating the West and East of Colorism ............................................................. 12 Chapter II – The Performing Black and Yellow Female Body ................................................................................ 31 Chapter III – Performing Sexuality ................................. 47 Chapter IV – Dis-Orientation .......................................... 59 Conclusion .................................................................... 67 Works Cited .................................................................... 70 Introduction – Into the Cut Identities are performed discourse; they are formed when those who identify as a particular personality perform and establish a discourse in a particular social context. As George Lipsitz states, “improvisation is a site of encounter” (61). In South Korea, female Korean hip hop is the site of a social cut in dominant culture and has become a space of improvisation where new, counter-hegemonic identities are constructed and performed. In this Thesis, I argue that Korean female hip hop artists are enacting a social rupture by performing improvised identities. -
Finding Song Melody Similarities Using a Dna String Matching Algorithm
FINDING SONG MELODY SIMILARITIES USING A DNA STRING MATCHING ALGORITHM A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Science by Jeffrey Daniel Frey May, 2008 Thesis written by Jeffrey Daniel Frey B.S., Kent State University, USA, 1998 M.S., Kent State University, USA, 2008 Approved by ___________________________________ Dr. Johnnie Baker Advisor ___________________________________ Dr. Robert Walker Chair, Department of Computer Science ___________________________________ Dr. Jerry Feezel Dean, College of Arts and Sciences i i TABLE OF CONTENTS Acknowledgements......................................................................................................vii CHAPTER 1 Introduction............................................................................................1 1.1 The Problem...........................................................................................................1 1.2 Solution Concept....................................................................................................1 1.3 Approach................................................................................................................2 1.4 Document Organization..........................................................................................3 CHAPTER 2 The Need for a Solution..........................................................................4 2.1 Copyright Infringement ..........................................................................................4 -
112 It's Over Now 112 Only You 311 All Mixed up 311 Down
112 It's Over Now 112 Only You 311 All Mixed Up 311 Down 702 Where My Girls At 911 How Do You Want Me To Love You 911 Little Bit More, A 911 More Than A Woman 911 Party People (Friday Night) 911 Private Number 10,000 Maniacs More Than This 10,000 Maniacs These Are The Days 10CC Donna 10CC Dreadlock Holiday 10CC I'm Mandy 10CC I'm Not In Love 10CC Rubber Bullets 10CC Things We Do For Love, The 10CC Wall Street Shuffle 112 & Ludacris Hot & Wet 1910 Fruitgum Co. Simon Says 2 Evisa Oh La La La 2 Pac California Love 2 Pac Thugz Mansion 2 Unlimited No Limits 20 Fingers Short Dick Man 21st Century Girls 21st Century Girls 3 Doors Down Duck & Run 3 Doors Down Here Without You 3 Doors Down Its not my time 3 Doors Down Kryptonite 3 Doors Down Loser 3 Doors Down Road I'm On, The 3 Doors Down When I'm Gone 38 Special If I'd Been The One 38 Special Second Chance 3LW I Do (Wanna Get Close To You) 3LW No More 3LW No More (Baby I'm A Do Right) 3LW Playas Gon' Play 3rd Strike Redemption 3SL Take It Easy 3T Anything 3T Tease Me 3T & Michael Jackson Why 4 Non Blondes What's Up 5 Stairsteps Ooh Child 50 Cent Disco Inferno 50 Cent If I Can't 50 Cent In Da Club 50 Cent In Da Club 50 Cent P.I.M.P. (Radio Version) 50 Cent Wanksta 50 Cent & Eminem Patiently Waiting 50 Cent & Nate Dogg 21 Questions 5th Dimension Aquarius_Let the sunshine inB 5th Dimension One less Bell to answer 5th Dimension Stoned Soul Picnic 5th Dimension Up Up & Away 5th Dimension Wedding Blue Bells 5th Dimension, The Last Night I Didn't Get To Sleep At All 69 Boys Tootsie Roll 8 Stops 7 Question