December 1921) James Francis Cooke
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Saison Du Théâtre De La Licorne Scène Conventionnée D'intérêt National Art, Enfance, Jeunesse
CANNES 2020/21 UNE PROGRAMMATION MAIRIE DE CANNES SAISON DU THÉÂTRE DE LA LICORNE SCÈNE CONVENTIONNÉE D'INTÉRÊT NATIONAL ART, ENFANCE, JEUNESSE cannes.com / 1 ÉDITO LES RENCONTRESDE CANNES 2020 LITTÉRAIRES 19, 20 et 21 novembre CINÉMATOGRAPHIQUES 23 au 29 novembre ARTISTIQUES 2 et 3 décembre DÉBATS 4, 5 et 6 décembre Mairi d Cannes - Communicatio - Août 2020 - Août - Communicatio d Cannes Mairi 15x21 rencontresdecannes.indd 1 19/08/2020 14:57 ÉDITO LES LA LICORNE MET EN SCÈNE LE SPECTACLE VIVANT POUR LES FAMILLES ET FÊTE LA CULTURE DE PROXIMITÉ RENCONTRESDE Le Théâtre municipal de La Licorne ouvre Les spectacles présentés cette saison 2020 ses portes à une nouvelle saison artistique 2020-2021 sont autant d’occasions de et culturelle de proximité, qualitative, rencontres pour les familles et la jeunesse CANNES préparée et proposée par la Mairie de de notre ville qui nous permettent de nous Cannes et ses partenaires. élever au-delà de notre condition, de nous arracher à notre humeur du moment, Aller au théâtre est un acte volontaire, de construire des souvenirs qui nous l’expression d’un désir, d’un esprit curieux marqueront. LITTÉRAIRES de découverte, le choix d’accéder à un univers nouveau. Jules Renard écrivait dans son Journal : 19, 20 et 21 novembre « Nous voulons de la vie au théâtre, et du Au théâtre, comme au cinéma, on rit, on théâtre dans la vie ». C’est cette polarité pleure, on applaudit la performance. C’est que nous vous proposons de partager tout tout un public, porté par la magie de ce qui au long de cette année, en compagnie des CINÉMATOGRAPHIQUES se passe sur scène, qui communie à une artistes professionnels, qui se produiront émotion collective. -
2020-2021 Season Changes
CONTACT Amanda J. Ely FOR IMMEDIATE RELEASE Director of Audience Development [email protected] 757-627-9545 ext. 3322 VIRGINIA OPERA REVISES SCHEDULE OF 2020–2021 SEASON PRODUCTIONS: OPENER RIGOLETTO CANCELLED; REVISED TRIO OF PERFORMANCE OFFERINGS TO BEGIN FEBRUARY 2021 WITH DOUBLE BILL LA VOIX HUMAINE/GIANNI SCHICCHI TO REPLACE COMPANY DEBUT OF COLD MOUNTAIN; MOZART’S THE MARRIAGE OF FIGARO AS SCHEDULED; AND THE PIRATES OF PENZANCE RESCHEDULED TO APRIL 2021 Virginia Opera makes major changes to offerings and events in continuing response to effects of COVID-19 Hampton Roads, Richmond, Fairfax, VA (June 30, 2020)—Today, Virginia Opera, The Official Opera Company of the Commonwealth of Virginia, announces an overhaul of the company’s previously announced main stage opera schedule for the 2020-2021 “Love is a Battlefield” season due to ongoing effects and circumstances surrounding the COVID-19 pandemic. A number of revisions affecting every facet of the company’s operations both on and off stage were required, including debuting the 2020–2021 Season offerings in February 2021, with an attenuated three-production statewide schedule between February 5, and April 25, 2021. Giuseppe Verdi’s Rigoletto, formerly the company’s lead-off October 2020 production, will not be performed; Gilbert and Sullivan’s The Pirates of Penzance will be rescheduled from November 2020 to April 2021; and the VO season will now begin in February 2021 with the change of a double bill featuring Francis Poulenc’s La Voix Humaine and Giacomo Puccini’s Gianni Schicchi performed in place of Jennifer Higdon and Gene Scheer’s Cold Mountain. -
La Voix Humaine: a Technology Time Warp
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
2018 BAM Next Wave Festival #Bamnextwave
2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts. -
Comment Traduire Une Chanson Populaire Française En Néerlandais ?
Comment traduire une chanson populaire française en néerlandais ? Mémoire de bachelor dans le cadre des études de la Langue et la Culture française , Université d’Utrecht. Michelle Hugens 4212088 Avril 2016 Sous la direction de dr. J. Berns 1 Table des matières 1. Introduction ..................................................................................................................................... 4 2. Théories de traduction de chansons ............................................................................................... 5 2.1. Le pionnier ............................................................................................................................... 5 2.2. Le principe de ´respect´ d´Andrew Kelly ................................................................................. 5 2.2.1. Respectez les rythmes ..................................................................................................... 6 2.2.2. Trouvez et respectez le sens ........................................................................................... 6 2.2.3. Respectez le style ............................................................................................................ 7 2.2.4. Respectez les rimes ......................................................................................................... 7 2.2.5. Respectez le son .............................................................................................................. 7 2.2.6. Respectez le public visé .................................................................................................. -
IN PRACTICE Transport/Tape, and These Are Luxuries Few of Us Can Afford with PCM-1610S and PCM- 1630S
something we do not really need. Tandy make some inexpensive moulded 2 -way headphone splitter leads which can be rewired with a couple of XLRs to make reliable headphone socket -to -line driver leads -I have not always had the best of luck with home-made headphone -to- two-XLR leads, they seem to fall apart at the jack end after a couple of months. The best setting corresponding to our normal headroom practice was with the headphone output level set to around 3 o'clock (ie slightly below maximum) and the input levels to give unity gain overall in-to out. In the fullness of time I shall probably change a feedback resistor in the headphone output amplifier to reduce the gain, so we can operate the line -out with the headphone volume control set to maximum, which is easier to set consistently. These interfacing details will be nothing new to those experienced with the Sony PCM-Fl or 701, and although unbalanced, they cause few troubles. Metering is via horizontal fluorescent bargraphs, with 0 dB on the display corresponding to 2 dB below peak-bits (digital end-stop). A red over light tells you when you have gone over the top, and the 2 dB 'overlap' is very helpful in optimising peak recording level. Having the audio processing and tape transport in one box about the same size as a sophisticated R-DAT domestic video cassette deck (it weighs just under 12 kg) is much more convenient than lugging around a PCM-1630 and U- matic. With two DATs on a session one has automatically a full backup of A/D and D/A circuitry as well as tape - IN PRACTICE transport/tape, and these are luxuries few of us can afford with PCM-1610s and PCM- 1630s. -
Record Dedicated to Serving the Needs of the Music & Record Worldindustry
record Dedicated To Serving The Needs Of The Music & Record worldIndustry May 11, 1969 60c In the opinion of the editors, this week the following records are the WHO IN SINGLE PICKS OF THE WEEK THE WORLD -.A.11111111." LOVE MI TONIGHT TON TOWS Tom Jones, clicking on Young -HoltUnlimited have JerryButlerhas a spicy Bob Dylan sings his pretty stateside TV these days, a new and funky ditty and moodyfollow-up in "I Threw ftAll Away" (Big shouldscoreveryheavily called "Young and Holtful" "Moody Woman" (Gold Sky, ASCAP), which has with"Love Me Tonight" (Dakar - BRC, BMI), which Forever-Parabut, BMI(,pro- caused muchtalkinthe (Duchess, BMI)(Parrot hassomejazzandLatin duced by Gamble -Huff (Mer- "NashvilleSkyline"elpee 40038(. init (Brunswick 755410). cury 72929). (Columbia 4-448261. SLEEPER PICKS OF THE WEEK TELLING ALRIGHT AM JOE COCKER COLOR HIM FATHER THE WINSTONS Joe Cocker sings the nifty The Winstons are new and Roy Clark recalls his youth TheFive Americans geta Traffic ditty that Dave will make quite a name for on the wistful Charles Az- lot funkier and funnier with Mason wrote, "FeelingAl- themselveswith"Color navour - Herbert Kretzmer, "IgnertWoman" (Jetstar, right" (Almo, ASCAP). Denny Him Father"(Holly Bee, "Yesterday,When I Was BMI(, which the five guys Cordell produced (A&M BMI), A DonCarrollPra- Young"(TRO - Dartmouth, wrote (Abnak 137(. 1063). duction (Metromedia117). ASCAP) (Dot 17246). ALBUM PICKS OF THE WEEK ONUTISNINF lUICICCIENS GOLD "Don Kirshner Cuts 'Hair' " RogerWilliams plays "MacKenna's Gold," one of Larry Santos is a newcomer is just what the title says "HappyHeart" andalso the big summer movies, has with a big,huskyvoice I hree Records from 'Hair' withHerbBernsteinsup- getsmuchivorymileage a scorebyQuincy Jones and a good way with tune- plying arrangements and from "Those Were the and singing byJoseFeli- smithing. -
La Traviata Stagione D’Opera 2013 / 2014 Giuseppe Verdi La Traviata
G L a i 1 u t r s a e v p i p a e t a V e r d i S t a g i o n e d ’ O p e r a LaGiutsrepapevVeiradi ta 2 0 1 3 / 2 0 1 4 Stagione d’Opera 2013 / 2014 La traviata Melodramma in tre atti Libretto di Francesco Maria Piave Musica di Giuseppe Verdi Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Sabato 7 dicembre 2013, ore 18 REPLICHE dicembre Giovedì 12 Ore 20 - Turno D Domenica 15 Ore 20 - Turno B Mercoledì 18 Ore 20 - Turno A Domenica 22 Ore 15 - Turno C Sabato 28 Ore 20 - Turno E Martedì 31 Ore 18 - Fuori abbonamento gennaio Venerdì 3 Ore 20 - Turno N Anteprima dedicata ai Giovani LaScalaUNDER30 Mercoledì 4 dicembre 2013, ore 18 In copertina: La traviata di Giuseppe Verdi. Regia e scene di Dmitri Tcherniakov, costumi di Yelena Zaytseva, luci di Gleb Filshtinsky. Allestimento realizzato per l'inaugurazione della stagione scaligera 2013-14, rendering di una delle scene ideate da Dmitri Tcherniakov. SOMMARIO 5 La traviata. Il libretto 34 Il soggetto Emilio Sala Argument – Synopsis – Die Handlung ––࠶ࡽࡍࡌ Сюжет 46 L’opera in breve Emilio Sala 48 ...la musica Claudio Toscani 53 Splendeurs et misères des courtisanes in terra italina Antonio Rostagno 71 Fisiologia della Traviata Emilio Sala 93 Eros e charitas nella Traviata Paolo Gallarati 131 Un mondo a parte Benedetta Craveri 147 Nota sull’edizione della Traviata Daniele Gatti 149 “Di quell’amor...” (Note di regia) Dmitri Tcherniakov 154 La traviata alla Scala dal 1859 al 2008 Andrea Vitalini 203 Daniele Gatti 205 Dmitri Tcherniakov 206 Gleb Filshtinsky 207 Yelena Zaytseva 208 La traviata. -
High-Fidelity-1955-J
www.americanradiohistory.com the flPJ that's 7 -WAYS BETTER than ever! IMPROVED BALANCE between high and low Audio Devices now offers you a new and frequencies without sacrificing low- frequency output. vastly superior professional sound recording tape, at NO INCREASE IN PRICE NEW MOISTURE- REPELLENT BINDER with lower coefficient of friction. Absolutely eliminates tape squeal under hot, humid conditions. Runs Here's a radically improved sound recording tape, per- well even on machines badly out of tension ad- fected after long research in Audio Devices laboratories - justment. a tape that sets completely new standards of performance. NEW ANTI -TACK AGENT virtually eliminates Any one of the seven new and improved features listed po<sihility of sticking on hot erase and record here would be important news to the tape recordist. Col heads. Especially important to owners of older lectively, they spell a degree of perfection heretofore un- type machines. attainable in any magnetic recording tape! NEW DRIER -TYPE FORMULA greatly reduces Such a premium quality product could easily justify a l danger of oxide rub -off, even on dirty heads. premium price. But it has been made standard for all i Keeps clean heads clean. Audiotape, on plastic base or Mylar* polyester film -and j is available at previous standard prices. * IMPROVED HOT SLITTING of standard plastic hase. Edges of tape cleaner and smoother than Try the new Audiotape -test it- compare it with any other ever, danger of tear or breakage greatly reduced. product on the market. It will speak for itself! NEW LOW BACKGROUND NOISE through DuPont Trade Mara better dispersion of finer oxide particles. -
Digital Audio Systems
Digital Audio Systems While analog audio produces a constantly varying voltage or current, digital audio produces a non-continuous list of numbers. The maximum size of the numbers will determine the dynamic range of the system, since the smallest signal possible will result from the lowest order bit (LSB or least significant bit) changing from 0 to 1. The D/A converter will decode this change as a small voltage shift, which will be the smallest change the system can produce. The difference between this voltage and the voltage encoded by the largest number possible (all bits 1’s) will become the dynamic range. This leads to one of the major differences between analog and digital audio: as the signal level increases, an analog system tends to produce more distortion as overload is approached. A digital system will introduce no distortion until its dynamic range is exceeded, at which point it produces prodigious distortion. As the signal becomes smaller, an analog system produces less distortion until the noise floor begins to mask the signal, at which point the signal-to-noise ratio is low, but harmonic distortion of the signal does not increase. With low amplitude signals, a digital system produces increasing distortion because there are insufficient bits available to accurately measure the small signal changes. There is a difference in the type of interference at low signal levels between analog and digital audio systems. Analog systems suffer from thermal noise generated by electronic circuitry. This noise is white noise: that is, it has equal power at every frequency. It is the “hiss” like a constant ocean roar with which we are so familiar. -
March 1923) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1923 Volume 41, Number 03 (March 1923) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 41, Number 03 (March 1923)." , (1923). https://digitalcommons.gardner-webb.edu/etude/699 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ETU D E ,MUS I C MAGAZINE ! MARCH 19 23 25 cents a Copy Theodore Presser Co. $2.00 a Year Philadelphia, Pa. PRESSER’S MUSICAL MAGAZINE New Music Book Publications Presenting Exceptional New Material For l MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT,^ AND ALL MUSIC LOVERS. Teachers, Students, Performers and Music Lovers 2gS3H&'S£SKt EntCrephUadc,Cp°hnia/P:.S, “ieA«6if &3. UtC' °’ * Copyright, 1922, by Theodore Presser Co., for U. S. A. and Great Britain 1712 Chestnut Street, Philadelphia, Pa. Printed in the United States of America FROM THE FAR EAST PLAYER’S BOOK EIGHT SONGS FROM GREEN TIMBER Lyrics by Charles O. Roos The World of Music U\tr& iHflWwt WOODSY CORNER TALES AND TUNES sssssm £L For Little Piano Players ISSEIS mmst mmm ALBUM OF TRANSCRIPTIONS BILBRO’S KINDERGARTEN JUNIOR COLLECTION of ANTHEMS BOOK By H. -
SAA Early Born Digital Formats
Early born-digital audio formats (Slide Notes) Compiled by George Blood SLIDE 1 GBA logo SLIDE 2 GBA logo audio SLIDE 3 GBA audio video SLIDE 4 SSA logo SLIDE 5 SSA presents SLIDE 6 Title Slide Early born-digital audio formats SLIDE 7 First Commercially Available Formats: PCM-1 PCM-10 PCM-F1 PCM1600/1610/1630 ...DAT As a practical matter, I'll be speaking about the last three of these early formats. Unless you work for a record label, it is highly unlikely you'll see PCM-1 or PCM-10 tapes. In 25 years I've only seen one PCM-10. (Hint, it plays like a PCM1600, but uses a PCM-F1 decoder). SLIDE 8 citation: "The Dawn of Commercial Digital Recording" ARSC Journal, Tom Fine There are earlier formats, mostly based on data recorders or custom hardware. For an excellent introduction to this Jurassic period of digital recording, see Tom Fine's article in the Spring 2008 issue of the Journal of the Association for Recorded Sound Collections. SLIDE 8b Principles of Digital Audio, Ken Pohlman As with most materials we face in preservation, it helps to understand the properties of our quarry. I'm going to do a very brief introduction to digital audio. For anyone who wishes to dig deeper, I highly recommend this book. Ken's writing his extremely clear. You can look up individual topics, or read entire chapters. It is a standard desk reference at my facility. SLIDE 9a Quantization "The process of converting analog signals to digital." syn: digitization For our purposes, in preservation, we are talking about Pulse Code Modulation: PCM.