80 De Ani De Muzică În 80 De Ani De Radio
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The Contestants the Contestants
The Contestants The Contestants CYPRUS GREECE Song: Gimme Song: S.A.G.A.P.O (I Love You) Performer: One Performer: Michalis Rakintzis Music: George Theofanous Music: Michalis Rakintzis Lyrics: George Theofanous Lyrics: Michalis Rakintzis One formed in 1999 with songwriter George Michalis Rakintzis is one of the most famous Theofanous, Constantinos Christoforou, male singers in Greece with 16 gold and Dimitris Koutsavlakis, Filippos Constantinos, platinum records to his name. This is his second Argyris Nastopoulos and Panos Tserpes. attempt to represent his country at the Eurovision Song Contest. The group’s first CD, One, went gold in Greece and platinum in Cyprus and their maxi-single, 2001-ONE went platinum. Their second album, SPAIN Moro Mou was also a big hit. Song: Europe’s Living A Celebration Performer: Rosa AUSTRIA Music: Xasqui Ten Lyrics:Toni Ten Song: Say A Word Performer: Manuel Ortega Spain’s song, performed by Rosa López, is a Music:Alexander Kahr celebration of the European Union and single Lyrics: Robert Pfluger currency. Rosa won the hearts of her nation after taking part in the reality TV show Twenty-two-year-old Manuel Ortega is popular Operacion Triunfo. She used to sing at in Austria and his picture adorns the cover of weddings and baptisms in the villages of the many teenage magazines. He was born in Linz Alpujarro region and is now set to become one and, at the age of 10, he became a member of of Spain’s most popular stars. the Florianer Sängerknaben, one of the oldest boys’ choirs in Austria. CROATIA His love for pop music brought him back to Linz where he joined a group named Sbaff and, Song: Everything I Want by the age of 15, he had performed at over 200 Performer:Vesna Pisarovic concerts. -
Pdf Liste Totale Des Chansons
40ú Comórtas Amhrán Eoraifíse 1995 Finale - Le samedi 13 mai 1995 à Dublin - Présenté par : Mary Kennedy Sama (Seule) 1 - Pologne par Justyna Steczkowska 15 points / 18e Auteur : Wojciech Waglewski / Compositeurs : Mateusz Pospiezalski, Wojciech Waglewski Dreamin' (Révant) 2 - Irlande par Eddie Friel 44 points / 14e Auteurs/Compositeurs : Richard Abott, Barry Woods Verliebt in dich (Amoureux de toi) 3 - Allemagne par Stone Und Stone 1 point / 23e Auteur/Compositeur : Cheyenne Stone Dvadeset i prvi vijek (Vingt-et-unième siècle) 4 - Bosnie-Herzégovine par Tavorin Popovic 14 points / 19e Auteurs/Compositeurs : Zlatan Fazlić, Sinan Alimanović Nocturne 5 - Norvège par Secret Garden 148 points / 1er Auteur : Petter Skavlan / Compositeur : Rolf Løvland Колыбельная для вулкана - Kolybelnaya dlya vulkana - (Berceuse pour un volcan) 6 - Russie par Philipp Kirkorov 17 points / 17e Auteur : Igor Bershadsky / Compositeur : Ilya Reznyk Núna (Maintenant) 7 - Islande par Bo Halldarsson 31 points / 15e Auteur : Jón Örn Marinósson / Compositeurs : Ed Welch, Björgvin Halldarsson Die welt dreht sich verkehrt (Le monde tourne sens dessus dessous) 8 - Autriche par Stella Jones 67 points / 13e Auteur/Compositeur : Micha Krausz Vuelve conmigo (Reviens vers moi) 9 - Espagne par Anabel Conde 119 points / 2e Auteur/Compositeur : José Maria Purón Sev ! (Aime !) 10 - Turquie par Arzu Ece 21 points / 16e Auteur : Zenep Talu Kursuncu / Compositeur : Melih Kibar Nostalgija (Nostalgie) 11 - Croatie par Magazin & Lidija Horvat 91 points / 6e Auteur : Vjekoslava Huljić -
Journal of Philology and Intercultural Communication
JOURNAL OF PHILOLOGY AND INTERCULTURAL COMMUNICATION REVUE DE PHILOLOGIE ET DE COMMUNICATION INTERCULTURELLE Vol. II, No. 1 (IM)POSSIBLE WORLDS MONDES (IM)POSSIBLES coordinated by / sous la direction de Daniela MIREA and / et Adela-Livia CATANĂ © Military Technical Academy Publishing House Bucharest, Romania, January 2018 Scientific committee / Comité scientifique Prof. Iulian BOLDEA – University of Tîrgu Mureş Prof. Monica BOTTEZ – University of Bucharest Prof. Adrian LESENCIUC – “Henri Coandă” Air Force Academy of Braşov Prof. Ramona MALIȚA – West University of Timișoara Prof. Emilia PARPALĂ-AFANĂ – University of Craiova Prof. Mariselda TESSAROLO – University of Padova Prof. Mihai ZAMFIR – University of Bucharest Assoc. Prof. Sonia BERBINSCHI – University of Bucharest Assoc. Prof. Elena BUJA – Transilvania University of Braşov Assoc. Prof. Diana IONIŢĂ – University of Bucharest Assoc. Prof. Julio JENSEN – University of Copenhagen Assoc. Prof. Elena NEGOIŢĂ-SOARE – Paris 8 Assoc. Prof. Mireille RUPPLI – University of Reims Champagne Ardenne Assoc. Prof. Ana-Karina SCHNEIDER – “Lucian Blaga” University of Sibiu Assoc. Prof. Petra SLEEMAN – University of Amsterdam Assoc. Prof. Radu VANCU – “Lucian Blaga” University of Sibiu Editorial Staff / Rédaction Adriana-Carolina BULZ Adela-Livia CATANĂ Elena-Raluca CONSTANTIN Daniela MIREA Daniela MOLDOVEANU Andreea-Maria PREDA Maria STOICOVICI Editorial Office: “ JOURNAL OF PHILOLOGY AND INTERCULTURAL COMMUNICATION REVUE DE PHILOLOGIE ET DE COMMUNICATION INTERCULTURELLE” 39-49 George Cosbuc Ave., Sector 5, 050141 Bucharest, ROMANIA Tel.: +4021 335 46 64 / 212, Fax: +4021 335 57 63 http://www.llcs.journal.mta.ro ISSN 2558-8478 ISSN-L 2558-8478 JOURNAL OF PHILOLOGY AND INTERCULTURAL COMMUNICATION REVUE DE PHILOLOGIE ET DE COMMUNICATION INTERCULTURELLE Vol. II, No. 1, Jan. 2018 Contents /Sommaire Literature / Littérature Daniel Larangé, Science sans conscience. -
Eurovisie Top1000
Eurovisie 2017 Statistieken 0 x Afrikaans (0%) 4 x Easylistening (0.4%) 0 x Soul (0%) 0 x Aziatisch (0%) 0 x Electronisch (0%) 3 x Rock (0.3%) 0 x Avantgarde (0%) 2 x Folk (0.2%) 0 x Tunes (0%) 0 x Blues (0%) 0 x Hiphop (0%) 0 x Ballroom (0%) 0 x Caribisch (0%) 0 x Jazz (0%) 0 x Religieus (0%) 0 x Comedie (0%) 5 x Latin (0.5%) 0 x Gelegenheid (0%) 1 x Country (0.1%) 985 x Pop (98.5%) 0 x Klassiek (0%) © Edward Pieper - Eurovisie Top 1000 van 2017 - http://www.top10000.nl 1 Waterloo 1974 Pop ABBA Engels Sweden 2 Euphoria 2012 Pop Loreen Engels Sweden 3 Poupee De Cire, Poupee De Son 1965 Pop France Gall Frans Luxembourg 4 Calm After The Storm 2014 Country The Common Linnets Engels The Netherlands 5 J'aime La Vie 1986 Pop Sandra Kim Frans Belgium 6 Birds 2013 Rock Anouk Engels The Netherlands 7 Hold Me Now 1987 Pop Johnny Logan Engels Ireland 8 Making Your Mind Up 1981 Pop Bucks Fizz Engels United Kingdom 9 Fairytale (Norway) 2009 Pop Alexander Rybak Engels Norway 10 Ein Bisschen Frieden 1982 Pop Nicole Duits Germany 11 Save Your Kisses For Me 1976 Pop Brotherhood Of Man Engels United Kingdom 12 Vrede 1993 Pop Ruth Jacott Nederlands The Netherlands 13 Puppet On A String 1967 Pop Sandie Shaw Engels United Kingdom 14 Apres toi 1972 Pop Vicky Leandros Frans Luxembourg 15 Power To All Our Friends 1973 Pop Cliff Richard Engels United Kingdom 16 Als het om de liefde gaat 1972 Pop Sandra & Andres Nederlands The Netherlands 17 Eres Tu 1973 Latin Mocedades Spaans Spain 18 Love Shine A Light 1997 Pop Katrina & The Waves Engels United Kingdom 19 Only -
Musicology Today Journal of the National University of Music Bucharest
Musicology Today Journal of the National University of Music Bucharest Issue 2 (34) April-June 2018 Title: Artistic Management on Your Own: A How-To Guide of Reliable Solutions. Case Study: Bucharest Symphonic Orchestra (OSB) Author: Cătălin Oprițoiu E-mail: Source: Musicology Today: Journal of the National University of Music Bucharest / Volume 9 / Issue 2 (34) / April-June 2018, pp 117-120 Link to this article: musicologytoday.ro/34/MT34thoughtsOpritoiu.pdf How to cite this article: Cătălin Oprițoiu, “Artistic Management on Your Own: A How-To Guide of Reliable Solutions. Case Study: Bucharest Symphonic Orchestra (OSB)”, Musicology Today: Journal of the National University of Music Bucharest 9/2 (34) (2018), 117-120. Published by: Editura Universității Naționale de Muzică București Musicology Today: Journal of the National University of Music Bucharest is indexed by EBSCO, RILM, and ERIH PLUS Thoughts Cătălin Oprițoiu National University of Music Bucharest Artistic Management on Your Own: A How-To Guide of Reliable Solutions. Case Study: Bucharest Symphonic Orchestra (OSB) t all started with an idea – that of creating a private symphony orchestra, such as exist, in significant numbers, in the world’s greatest music cen- Itres, joined with the strong, sincere, impetuous wish to add, on one’s own, something substantial, something different, to the musical and cultural life of today’s Romania. There was also a firm, unabated will to attract, to mobilize artistic forces which would answer to the requirement of the highest professional standards, would wager on the same goal – not an easy one at all, would share the same extraordinary stake – of truly, freely affirming and expressing oneself while sharing common values, of individuals uniting in a self-contained ensem- ble, forming a spiritual family and efficiently working together, an ensem- ble which would prove its value on a competitive European and international music market. -
BB-1995-07-22.Pdf
$5.50 (U.S.), $6.50 (CAN.), £4.50 (U.K.) IN MUSIC NEWS *BXNCCVR ******** 3 -DIGIT 908 MCA Primes tGEE4EM740M099074$ 002 0663 000 BI MAR 2396 1 03 MONTY GREENLY Fans For 3740 ELM AVE APT A LONG BEACH, CA 90807 -3402 Buffett's `Barometer Soup' SEE PAGE 10 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT JULY 22, 1995 ADVERTISEMENTS TICKETMASTER RIVALS SEEK NEW BIZ Sony's `Spirit BY ERIC BOEHLERT competition. That's because a handful More than 20 years ago, while sitting of challengers covering a patchwork of in the stands at an Arizona State Uni- Of '73' Rocks NEW YORK -Ever since it pur- regions are bidding and occasionally versity football game, computer pro- chased assets from once -mighty com- winning contracts to provide the same grammer Dorothy McLaughlin joined petitor Ticketron in 1991, critics have types of services that Ticketmaster of- her sister and brother-in -law, Margie For Pro -Choice charged that Ticketmaster faces no ri- fers: box -office support, phone rooms, and Bill Bliss, in a brain teaser: Why val and has cornered itself a lucrative a network of satellite outlets, and pro- couldn't tickets be sold electronically BY CHRIS MORRIS market. motional dollars. from various remote outlets, allowing congratulates The accusation, with which the Jus- Despite Ticketmaster selling 55 mil- all customers the same seat selection? LOS ANGELES -Sony 550 Music will mate activist zeal with a sense of nostalgic fun on Aug. 8, when it Carl P. Mayfield, Tele- charge Systemsó SONY Loscalzo & PROTIX. Dil1an1's lion tickets last year and its regional the staffs of competitors moving just a fraction of tice Department's recent investigation that number, the seemingly mis- At the time, companies bicycled did not concur, stems not only from the matched duels continue to unfold. -
Actualitatea Muzicală
Serie nouă ACTUALITATEA MAI5 2020 (CCXXVI) 48 pagini MUZICAL~ ISSN MUZICAL~ 1220-742X REVISTĂ LUNARĂ A UNIUNII COMPOZITORILOR ŞI MUZICOLOGILOR DIN ROMÂNIA D i n s u m a r: “Actualitatea Muzicală” - 30 de ani Comemorare: Enescu 65 Muzica în pandemie (II) În imagine: Fuego, pop-simfonic la Chişinău George ENESCU Editorial Opera din Cluj – 100 De aceeaşi vârstă cu Uniunea noastră, Opera Română din Cluj îşi serbează în 25 mai Centenarul. O dată care va rămâne în istorie, pe 25 mai 1920 având loc primul spectacol liric românesc din cel mai mare oraş al Ardealului, titlul ales fiind capodopera verdiană Aida. Era un început de drum, dar şi un final de drum, pentru că acest moment sărbătoresc a fost rezultatul care a adus împlinirea unor eforturi, unor iniţiative şi unor demersuri administrative, juridice şi artistice complexe, chiar complicate – unele având de înfruntat oprelişti şi opoziţii. La scurt timp de la sfârşitul războiului a fost înfiinţat Consiliul Naţional Român din Ardeal, cu sediul întâi la Arad; apoi la Cluj a funcţionat Senatul Naţional Român. La doar o zi după intrarea Armatei române în oraş a fost deja lansat ziarul Clujul, un prim gest naţional şi cultural. Organul puterii centrale, cu misiune legislativă (prezidat de Iuliu Maniu), a fost Consiliul Dirigent, care a avut şi rol executiv, pandemiei, inimile clujenilor tresaltă de emoţie, lucru înfiinţând Universitatea, Conservatorul, Teatrul vizibil şi în mediile de socializare care abundă în Naţional şi Opera Română (ca să menţionez doar mesaje de felicitare. Din partea publicului, care la Cluj instituţiile de cultură şi educaţie superioară). întotdeauna a apreciat spectacolele de operă (existând După câteva luni de administraţie românească chiar o falangă a doctorilor şi a altor intelectuali deja lua fiinţă Opera, în 18 septembrie 1919, rod al clujeni nelipsiţi de la evenimente), dar şi din partea eforturilor lui Tiberiu Brediceanu, Dimitrie Popovici- colaboratorilor şi prietenilor din ţară şi din străinătate Bayreuth şi Constantin Pavel. -
Baronul, Oric\T De Mic, Se Cere Sp`Lat Un Pic
Lista lui Secu: Dosarul Bra[ov 1987 (II) Anul XIV nr. 12 (641) 23-29 martie 2004 28 + 4 pagini – 15.000 lei s`pt`m\nal de moravuri grele Dup` ce bunicul i-a trimis pe proprietari la Canal, iar Bunicu]a la Strasbourg, Nepoata lui Gheorghiu-Dej |n vecii viciilor, st` \n cas` Amin! cademia Ca]avencu a avut \nc` o dat` dreptate! A la burgheji Aap`rut ALMANAHUL ACADEMIEI CA}AVENCU 2004 – VICIILE {I ROMÅNII! Alcoolul, ]ig`rile, femeile, a orice nomenclaturist care se respect`, [i Gheorghe Gheorghiu- minciuna, lenea sau furatul la romåni – ei bine, dac` C Dej a vrut o cas` frumoas` de chiabur pe care s` nu dea bani. ]i-era dor de ele [i de ni[te texte de[tepte de Ple[u, Azi, \n acea cas` tr`ie[te, locuie[te [i nu pl`te[te chirie nepoata Patapievici, Tism`neanu, Cosa[u, Morar, Mihaiu, lui Dej, care, ca orice rud` de nomenclaturist care se respect`, Gro[an, Ivanciuc, Toma, Cioroianu, Goace, Mo]oc, ignor` legea [i le arat` cotul proprietarilor. Vorba aia: „Ce, noi am Vasile, Drogeanu, T`nase, V`rzaru, atunci caut`-le \n omor\t la Canal degeaba?!“. ALMANAHUL ACADEMIEI CA}AVENCU 2004 – VICI- Pagina 13 ILE {I ROMÅNII! Viciile noastre s\nt mai inteligente dec\t ale lor! Tot agonisind prin ape tulburi, pesedi[tii au descoperit lupta de plas`: Baronul, oric\t de mic, se cere sp`lat un pic Haide, Adriene, nu te l`sa, c` Aoleo, te-ntrece na[u’ Mitrea [efu’, pe Vanghelie A[a, la o lungime ca de de-abia \l mai ]in! Da’ nu-i peri- Rodico, aga]`-te cal! col: \i dau drumul pu]in \n ap` [i nu bine de mine, c` mai p`]e[te nimic, fiindc` e plin` de rechini am pu]in [i te trec [i de-ai no[tri. -
FHT-6-240713-2.Pdf
At the Nexus of Fear, Horror and Terror At the Interface Series Editors Dr Robert Fisher Lisa Howard Dr Ken Monteith Advisory Board James Arvanitakis Simon Bacon Katarzyna Bronk Stephen Morris Jo Chipperfield John Parry Ann-Marie Cook Karl Spracklen Peter Mario Kreuter Peter Twohig S Ram Vemuri Kenneth Wilson An At the Interface research and publications project. http://www.inter-disciplinary.net/at-the-interface/ The Evil Hub ‘Fear, Horror and Terror’ 2013 At the Nexus of Fear, Horror and Terror: Contemporary Readings Edited by Joseph H. Campos II and Catalin Ghita Inter-Disciplinary Press Oxford, United Kingdom © Inter-Disciplinary Press 2013 http://www.inter-disciplinary.net/publishing/id-press/ The Inter-Disciplinary Press is part of Inter-Disciplinary.Net – a global network for research and publishing. The Inter-Disciplinary Press aims to promote and encourage the kind of work which is collaborative, innovative, imaginative, and which provides an exemplar for inter-disciplinary and multi-disciplinary publishing. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of Inter-Disciplinary Press. Inter-Disciplinary Press, Priory House, 149B Wroslyn Road, Freeland, Oxfordshire. OX29 8HR, United Kingdom. +44 (0)1993 882087 ISBN: 978-1-84888-200-3 First published in the United Kingdom in eBook format in 2013. First Edition. Table of Contents Introduction At the Nexus of Fear, Horror and Terror: Contemporary Readings vii Joseph H. Campos II and Catalin Ghita Part 1 Opening Fear, Horror and Terror Still Scary after All These Years: Gothic Tropes in Stephen Mallatratt’s The Woman in Black 3 Beth A. -
La Grande Festa Europea Della Musica
Guida all'EUROVISION SONG CONTEST 2012 a cura di Emanuele Lombardini e Alessandro Pigliavento LA GRANDE FESTA EUROPEA DELLA MUSICA Immaginatevi una grande festa, dove ognuno porta la propria musica per condividerla con gli altri. Oppure, per fare un paragone calcistico, immaginatevi la squadra campione nazionale (in questo caso l’artista) che viene invitata a prendere parte alla Champions League. L’Eurovision Song Contest (questa la sua denominazione ufficiale: noi italiani l’abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson) in fondo è un po’ questo: il campionato d’Europa della musica. Oggi più che mai una rassegna globale, che vede protagonisti 42 paesi aderenti all’ente organizzatore, la Ebu (European Broadcasting Union), cioè il consorzio che riunisce le televisioni pubbliche d’Europa, ma anche alcune del bacino del Mediterraneo fuori dal nostro Continente. L’idea venne nel 1956 a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio: un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv. E oltre a questo, molto più prosaicamente, anche sperimentare una diretta in simultanea in più paesi e promuovere il mezzo televisivo nel vecchio continente. Da allora, nel corso degli anni, la manifestazione è cresciuta in maniera costante, passando da evento da teatri e auditorium per un ristretto numero di spettatori a festa popolare. Dalla metà degli anni 90, quando la manifestazione comincia ad approdare nei palasport, negli stadi e nelle arene, l’Eurovision Song Contest è diventato un vero e proprio kolossal paneuropeo. -
“Să Cânți Fără Pasiune, Este De Neiertat”
“Să cânți fără pasiune, este de neiertat”. BUCUREȘTI 2016 Sarah Chang prezintă la București prima sa dragoste, dirijor Jose Luis Gomez and Orchestra Simfonică București. BUCUREȘTI 2015 BUCUREȘTI 2018 Orchestra Simfonică București Nicolae Moldoveanu dirijeazp Orchestra Simfonică București. Bucharest Music Film Festival BIOS Fondată în anul 2007, Orchestra Simfonică București este un ansamblu muzical românesc de prim rang. A fost înființată de trei tineri muzicieni ambițioși, reunind în componența sa cei mai valoroși artiști instrumentiști din România. Din dorinţa de a oferi iubitorilor de muzică posibilitatea de a intra în contact cu muzica de calitate, Orchestra Simfonică Bucureşti a dezvoltat concepte muzicale originale și novatoare, transpuse pe scena stagiunii anuale Salut CULTURA!. Notorietatea şi recunoaşterea valorii au venit în urma impresionantei serii de concerte și evenimente susținute atât în săli tradiţionale de concert, în aer liber cât și în locuri mai puţin convenţionale. Orchestra Simfonică București abordează o paletă variată de repertoriu, de la muzica clasică până la stiluri mai puţin convenţionale, precum muzică de film, pop/rock și crossover. Misiunea Orchestrei Simfonice Bucureşti este promovarea excelenţei în muzică și atragerea tinerilor către sălile de concert. În calitate de Ambasador Cultural oficial al României, Orchestra Simfonică București a fost prima orchestră română invitată în 2013 și a doua oară în 2017 alături de dirijorul francez Benoît Fromanger, să concerteze în premieră în săli celebre din America de Sud, precum: Teatro Colón, Teatro Coliseo din Buenos Aires și Teatro El Circulo din Rosario/Argentina, Sala São Paulo din São Paulo și Trancoso din Brazilia, Centrul Cultural Corpartes 660 din Santiago de Chile/Chile și Gran Teatro Nacional din Lima/ Peru, Teatro Solís din Montevideo/Uruguay. -
Brussels, March 22, 2021 Dear Mr. Franceschini, We
Brussels, March 22, 2021 Dear Mr. Franceschini, We, performers from across Europe, stand in unity calling on all Member States to ensure the proper and effective implementation of the 2019 European Copyright Directive in Europe, and in particular its Article 18 which provides performers with a right to appropriate and proportionate remuneration! Streaming and downloading platforms are no longer part of an emerging market. It is how most people now enJoy listening to music or watching films or series. Yet despite revenues from digital overtaking all other forms of exploitation, we, the musicians, singers, actors and other performing artists, are not receiving a fair share, and in most cases indeed nothing at all. Whilst legislation is protecting us for non-interactive uses like broadcasting, guaranteeing that we are paid fairly through our Collective Management Organisations, it does not when the same music recording, series or film is streamed or downloaded. The current system is totally inefficient to protect performers and needs to be addressed urgently through the meaningful implementation of Article 18. We believe the best solution to this issue is for Member States to implement an unwaivable remuneration right that is enforceable even after the transfer/licensing of the exclusive right and is managed by our Collective Management Organisations (CMOs). Such a system would unlock a new revenue channel for us and ensure that we will be paid for our work played. It is the system that performers want because we know that this system guarantees payment independent from our weak bargaining positions and already works for us for other modes of exploitation and does already work in some countries, such as Spain, for streaming and downloading.