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WMCE Year 2012 Top-150.Pdf (31.5 Kib)
World Music Charts Europe YEAR 2012 Compiled by Johannes Theurer on behalf of the World Music Workshop of the European Broadcasting Union (EBU) copyright by Giftmusic 2012 The top 150 of 1009 nominated records 1 BOUGER LE MONDE Staff Benda Bilili DR Congo Crammed 2 EL AAIUN AGDAT Mariem Hassan Western Sahara/SpainNubenegra 3 BROTHERS IN BAMAKO Habib Koite - Eric Bibb Mali/USA Contre-Jour 4 BBC 3 - WORLD ROUTES: ON THE ROAD Various Artists various Nascente 5 FATOU Fatoumata Diawara Mali World Circuit 6 HORA KOTA Bonga Angola Lusafrica 7 A CURVA DA CINTURA Arnaldo Antunes, Edgar Scandurra & Toumani Diabate Brazil/Mali Mais Um Discos 8 UTU Värttinä Finland Rockadillo Records 9 RADIO SALONE Sierra Leone's Refugee All Stars Sierra Leone Cumbancha 10 GREEKADELIA Kristi Stassinopoulou & Stathis Kalyviotis Greece Riverboat/WMN 11 RISING TIDE Mokoomba Zimbabwe Zigzagworld 12 MAVRA FROUDIA Petrakis, Lopez, Chemirani Greece/Spain/Iran Musiepoca 13 KINSHASA SUCCURSALE Baloji Belgium Crammed Discs 14 JAVA Sambasunda Quintet Indonesia Riverboat/WMN 15 NORD Warsaw Village Band Poland/Sweden JARO/Karrot Komando 16 NO NA ORELHA Criolo Brazil Sterns 17 UNIVERSITY OF GNAWA Aziz Sahmaoui France/Morocco Naive 18 TWINKLINGS OF HOPE Mahsa & Marjan Vahdat Iran Kirkelig Kulturverksted 19 MADREPERLA Riccardo Tesi & Banditaliana Italy Visage 20 CUMBIA CUMBIA 1&2 Various Artists Colombia World Circuit 21 MUSIC OF CENTRAL ASIA #10 Wu Man and Master Musicians from the Silk Route China/Central Asia Smithsonian Folkways 22 THE ORIGINAL SOUND OF CUMBIA Various Artists Colombia Soundway Records 23 LA CANTIGA DEL FUEGO Ana Alcaide Spain ARC 24 ONDATROPICA Ondatropica Colombia Soundway Records 25 SONGS FOR DESERT REFUGEES Various Artists Various Glitterhouse Records 26 THE UNBROKEN SURFACE OF SNOW Andrew Cronshaw UK Cloud Valley 27 O DEUS QUE DEVASTA MAS TAMBEM CURA / THE GOD.. -
Constructing Musical Associations
Constructing Musical Associations through Instruments: The Role of the Instrument Maker in the Maker-Instrument-Player Network within the Neo-Medievalist Gothic Music Scene William Klugh Connor, III Royal Holloway University of London Department of Music This thesis is submitted to partially fulfill the requirements for the degree of Doctorate of Philosophy in Ethnomusicology. 2011 1 Declaration of Authorship I, William Klugh Connor, III, hereby declare that this thesis and the work presented within it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ___________________________________________ Date: _____________________________________________ 2 Abstract Constructing Musical Associations through Instruments: The Role of the Instrument Maker in the Maker-Instrument-Player Network within the Neo-Medievalist Gothic Music Scene Many studies of musical instruments have shown the ways in which instruments embody and negotiate cultural and social significance and meaning, but little of this work has focused on the makers of those instruments. According to Alfred Gell, artisans infuse “intentionalities” into their wares that embody the agency of the artisan. In this thesis, I address the agency of makers of musical instruments to gain a better understanding of the roles they play in defining how instruments acquire their social and cultural meanings. These meanings are constantly in flux and, in turn, inform the maker’s decisions and assist in formulating a maker’s role within a musical community. Makers interact with community members primarily through the construction of their instruments as part of what I have called a Maker-Instrument-Player network. Drawing on Actor-Network Theory, I outline some of the ways in which musical instruments afford associations and engender exchanges within a musical community, and I unpack the complexities of the maker’s role. -
O Cante Alentejano Sónia Isabel Moreira Cabeça E José Rodrigues Dos Santos
Proceedings of the International Conference on Oral Tradition Orality and Cultural Heritage Direction - Coordination / Dirección - Coordinación Santiago Prado Conde Actas da Conferencia Internacional da Tradición Oral Oralidade e Patrimonio Cultural Proceedings of the International Conference on Oral Tradition Orality and Cultural Heritage Ourense, November 11th, 12th, 13th, 2010 Actas da Conferencia Internacional da Tradición Oral Oralidade e Patrimonio Cultural Ourense, 11, 12 e 13 de novembro de 2010 VOLUME II Direction - Coordination / Dirección - Coordinación Santiago Prado Conde Secretary / Secretaría Mónica Fernández Valencia Editing / Edición: Deseño e Realización: Visualq. Printing / Imprenta: CA Gráfica All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Todos os dereitos de reprodución, adaptación, tradución ou representación dos textos, ilustracións e fotografías están reservados, e só poderán ser exercidos por terceiros previa solicitude e correspondente permiso dos editores ou dos autores. © Papers and Photographies / Textos e fotografías: os autores. © Editing / Edición: Concello de Ourense Dep. Legal: OU 179-2010 PROCEEDINGS OF THE INTERNATIONAL CONFERENCE ON ORAL TRADITION ORALITY AND CULTURAL HERITAGE Ourense, November 11th, 12th, 13th, 2010 ACTAS DA CONFERENCIA -
Orquestra Sinfónica Do Porto-Casa Da Música
DESFRUTE. A MAGIA DA MÚSICA CLÁSSICA NUM CENÁRIO DE SONHO. ENJOY. MAGICAL CLASSICAL MUSIC IN A DREAMLIKE SCENARIO. FESTIVAL INTERNACIONAL DE MÚSICA DE MARVÃO MARVÃO INTERNATIONAL MUSIC FESTIVAL Desde o primeiro momento, venho tentando contribuir para que Marvão se torne um lugar em que a música possa efectivamente unir as pessoas: os artistas ao público, os habitantes locais aos visitantes, os portugueses aos espanhóis e a outros povos europeus, e os europeus aos povos de outros continentes. Um lugar onde a música ajude a forjar novas amizades e a promover a paz. Neste nosso mundo tão acelerado, encontrar um refúgio onde possamos redescobrir e partilhar silêncio e espiritualidade, bem longe daquilo que diariamente nos agita, torna-se um bem sempre mais precioso. Deixa-me muito feliz que tantos corações batam em uníssono por Marvão e por um maravilhoso Festival que somente existe porque um largo número de idealistas, voluntários e apoiantes, em Marvão e no resto do mundo, vêm investindo nele um tempo infindo e uma imensa energia ao longo de todo o ano. Estamos profundamente gratos à Câmara Municipal de Marvão, à Entidade Regional de Turismo (ERT) e à Agência Regional de Promoção Turística do Alentejo (ARPTA) pelo seu crescente envolvimento com o Festival, assim como agradecemos sinceramente o apoio financeiro de um número sempre crescente de parceiros e patrocinadores nacionais e internacionais, quer institucionais/privados, quer simples particulares. Espero que o elevado nível artístico da programação deste Festival vos restitua bem mais do que tudo quanto investiram! Por fim, a nossa gratidão mais sentida vai para os tantos artistas maravilhosos que vêm de todos os pontos do mundo até Marvão por pura paixão e nas condições mais comedidas. -
Julho 2017 Tese De Doutoramento Em Ciências Musicais
Spatializing Galician Music at the International Festival of the Celtic World of Ortigueira Ana-María Alarcón-Jiménez Tese de Doutoramento em Ciências Musicais (Etnomusicologia) Julho 2017 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Ciências Musicais (Etnomusicologia), realizada sob a orientação científica das professoras Doutoras Salwa El-Shawan Castelo-Branco e Cristina Sánchez-Carretero Aos meus pais, Hernando e Pilar, meus irmãos, Andrés e Camilo, meu sobrinho, Dante, e ao meu companheiro de viagem, Luis 2 ACKNOWLEDGEMENTS I would like to thank, first and foremost, my dissertation advisors Dr. Salwa El Shawan Castelo-Branco and Dr. Cristina Sánchez-Carretero. I am especially grateful for their continuous support and their intellectual and moral encouragement, sent tirelessly from and to different points of the Iberian Peninsula. In addition to the travels related to my field research in Galicia (Spain) and to the completion of my Ph.D. courses in Lisbon (Portugal), the writing of this dissertation took place on the move, as I came to a new continent, got a new nationality, and changed my city of residence three different times. Dr. Castelo-Branco and Dr. Sánchez-Carretero have been moving with me as advisors, by making use of the latest communication technologies as well as of online and off-line academic resources. This dissertation is one of the results of the research project entitled Celticism and its Musical Repercussions in Galicia and Northern Portugal, supported by the Fundação para a Ciência e a Tecnologia, coordinated by Professor Salwa El-Shawan Castelo-Branco and based at the Instituto de Etnomusicologia-Centro de Estudos em Música e Dança (INET M-D), of the Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa.