Catalogo Editoriale Gruppo Bixio
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
![[Data] JOHN HENRY RYAN](https://docslib.b-cdn.net/cover/2783/data-john-henry-ryan-62783.webp)
[Data] JOHN HENRY RYAN
JOHN HENRY RYAN III Freelance Sound Engineer Curriculum Vitae A dual citizen of Italy and the United States Of America, dual passport holder, fluent in English and Italian. Presently residing in Italy, but available to relocate temporarily or permanently if required. John’s interest in music started during his early childhood, listening and learning to appreciate music in every form and style. A self-taught guitar and electric bass player with an extraordinary musical ear, he soon found that the technical aspect of music reproduction was what would have led him to the present successful career, first by mixing for local bands in clubs, followed by 9 years in one of Southern Italy's busiest recording studios. After a long time sitting behind the studio mixer, John was missing some excitement, so he naturally went back to his initial interest; live sound mixing. After graduating at Forrest Sherman High School in Naples Italy in 1975, he worked in father's editorial distribution company, mainly involved with the US Military bases in Italy and part of the Mediterranean. In 1977, John happened to jump into the consumer audio world, hired by Germany based H.E.A.T. (Harman Europe Audio Team), as sales representative for 5 leading Hi-Fi brands, at the NATO audio retail store in Naples Italy, where he operated until 1979. In 1979, John was offered to go on tour with two of Italy's leading and top selling artists to this day; as FOH engineer for Italian pop star Pino Daniele (R.I.P.), followed by a tour in 1980 with Edoardo Bennato as monitor engineer. -
Pictorial Imagery, Camerawork and Soundtrack in Dario Argento's Deep
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 11 (2015) 159–179 DOI: 10.1515/ausfm-2015-0021 Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red Giulio L. Giusti 3HEFlELD(ALLAM5NIVERSITY5+ E-mail: [email protected] Abstract. This article re-engages with existing scholarship identifying Deep Red (Profondo rosso, 1975) as a typical example within Dario Argento’s body of work, in which the Italian horror-meister fully explores a distinguishing pairing of the acoustic and the iconic through an effective combination of ELABORATECAMERAWORKANDDISJUNCTIVEMUSICANDSOUND3PECIlCALLY THIS article seeks to complement these studies by arguing that such a stylistic and technical achievementINTHElLMISALSORENDEREDBY!RGENTOSUSEOFASPECIlC art-historical repertoire, which not only reiterates the Gesamtkunstwerk- like complexity of the director’s audiovisual spectacle, but also serves to TRANSPOSETHElLMSNARRATIVEOVERAMETANARRATIVEPLANETHROUGHPICTORIAL techniques and their possible interpretations. The purpose of this article is, thus, twofold. Firstly, I shall discuss how Argento’s references to American hyperrealism in painting are integrated into Deep Red’s spectacles of death through colour, framing, and lighting, as well as the extent to which such references allow us to undertake a more in-depth analysis of the director’s style in terms of referentiality and cinematic intermediality. Secondly, I WILLDEMONSTRATEHOWANDTOWHATEXTENTINTHElLM!RGENTOMANAGESTO break down the epistemological system of knowledge and to disrupt the reasonable -
The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
CAPRICCIO Songbook
CAPRICCIO KARAOKE SongBOOK ITALIA – ENGLAND – SPANIEN DEUTSCHLAND – SCHWEIZ – PORTUGAL – FRANCE - BALKAN KARAOKE ItaliA www.capricciomusic.ch [email protected] Aktualisiert am: 01. Februar 2013 Artist Title 2 Black e Berte' Waves of Love (in alto Mare) 360 Gradi Baba bye 360 Gradi Sandra 360 Gradi & Fiorello E poi non ti ho vista piu 360 Gradi e Fiorello E poi non ti ho vista più (K5) 400 colpi Prendi una matita 400 Colpi Se puoi uscire una domenica 78 Bit Fotografia 883 Pezzali Max Aereoplano 883 Pezzali Max Bella vera 883 Pezzali Max Bella Vera (K5) 883 Pezzali Max Chiuditi nel cesso 883 Pezzali Max Ci sono anch'io 883 Pezzali Max Come deve andare 883 Pezzali Max Come mai 883 Pezzali Max Come mai (K5) 883 Pezzali Max Come mai_(bachata) 883 Pezzali Max Come maiBachata (K5i) 883 Pezzali Max Con dentro me 883 Pezzali Max Credi 883 Pezzali Max Cumuli 883 Pezzali Max Dimmi perche' 883 Pezzali Max Eccoti 883 Pezzali Max Fai come ti pare 883 Pezzali Max Fai come ti pare 883 Pezzali Max Favola semplice 883 Pezzali Max Gli anni 883 Pezzali Max Grazie Mille (K5) 883 Pezzali Max Grazie mille 1 883 Pezzali Max Grazie mille 2 883 Pezzali Max Hanno Ucciso L'Uomo Ragno (K5) 883 Pezzali Max Hanno ucciso l'uomo ragno 1 883 Pezzali Max hanno ucciso l'uomo ragno 2 883 Pezzali Max Il meglio deve ancora arrivare 883 Pezzali Max Il mio secondo tempo 883 Pezzali Max Il mondo insieme a te 883 Pezzali Max Il mondo Insieme a Te (K5) 883 Pezzali Max Innamorare tanto 883 Pezzali Max Io ci saro' 883 Pezzali Max Jolly blue 883 Pezzali Max La dura legge del -
ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship -
Do Board Gender Quotas Matter? Selection, Performance and Stock
Do Board Gender Quotas Matter? Selection, Performance and Stock Market Effects∗ Giulia Ferrari1, Valeria Ferraro2, Paola Profeta3, and Chiara Pronzato4 1INED 2Boston College 3Bocconi University and Dondena 4University of Turin Abstract From business to politics and academia, the economic effects of gender quotas are under scrutiny. We provide new evidence based on the introduction of mandatory gender quotas for boards of directors of Italian listed companies: quotas are associated with positive selection (higher education and lower age of board members), a lower variability of stock market prices, no significant impact on firms’ performance and a positive effect on stock market returns at the date of the board’s election. Overall, our results are consistent with gender quotas giving rise to a beneficial restructuring of the board positively received by the market. JEL Codes: J20, J48, J78. Keywords: education, age, financial markets. ∗A previous version of this paper circulated as working paper IZA 10239 (2016), Dondena 92 (2016), CHILD 43 (2016) under the title "Gender quotas: Challenging the boards, performance and the stock market". We thank Luca Bagnato, Vittoria Dicandia and Paolo Longo for excellent research assistance. We thank the Department of Equal Opportunities of the Italian Presidency of Council of Ministries for the partnership in the project “Women mean business and economic growth” financed by the European Commission, DG Justice, which provided financial support for a part of the data collection. We thank J. Ignacio Conde-Ruiz for data on the Spanish companies. We thank Stefania Albanesi, Mario Amore, Massimo Anelli, Marianne Bertrand, Paolo Colla, Raquel Fernàndez, Luca Flabbi, Vincenzo Galasso, Sissel Jensen, Barbara Petrongolo, Debraj Ray, Fabiano Schivardi and Lise Vesterlund for useful comments. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Name C:\ \ C:\ \4 NON BLONDES\ WHAT's up C:\ \883 MAX PEZZALI
Name C:\ \ C:\ \4 NON BLONDES\ WHAT'S UP C:\ \883 MAX PEZZALI\ 883 MIX AEROPLANO ANDRÀ TUTTO BENE BELLA VERA CHE GIORNO SARÀ CHIUDITI NEL CESSO CI SONO ANCH'IO COME DENTRO UN FILM COME DEVE ANDARE COME MAI CON DENTRO ME CON UN DECA CREDI CUMULI DIMMI PERCHE' DURI DA BATTERE E' VENERDI ECCOTI FAI COME TI PARE FAVOLA SEMPLICE FINALMENTE TU GLI ANNI GRAZIE MILLE HANNO UCCISO L'UOMO RAGNO HANNO UCCISO L'UOMO RAGNO IL MEGLIO DEVE ANCORA ARRIVARE IL MIO SECONDO TEMPO IL MONDO INSIEME A TE IN QUESTA CITTA' INNAMORARE TANTO IO CI SARÒ JOLLY BLUE LA DURA LEGGE DEL GOL LA LUNGA ESTATE CALDISSIMA LA MIA BANDA SUONA IL RAP LA RADIO A 1000 WATT LA REGINA DEL CELEBRITA' LA REGOLA DELL'AMICO LA STRADA LA VITA E' UN PARADISO DI BUGIE LASCIATI TOCCARE LE CANZONI ALLA RADIO LE LUCI DI NATALE LO STRANO PERCORSO L'ULTIMO BICCHIERE MAI UGUALI ME LA CAVERO' MEZZO PIENO O MEZZO VUOTO NELLA NOTTE NESSUN RIMPIANTO NIENT'ALTRO CHE NOI NOI NON MI ARRENDO NON PENSAVI NON TI PASSA PIÙ NORD SUD OVEST EST QUALCOSA DI NUOVO QUELLO CHE CAPITA RITORNERO' ROTTA PER CASA DI DIO SE TI MUOVI COSI' SE TORNERAI SE UNA REGOLA C'E' SEI FANTASTICA SEI UN MITO SEI UNO SFIGATO SEMBRO MATTO SENZA AVERTI QUÌ SIAMO AL CENTRO DEL MONDO SIAMO QUEL CHE SIAMO SOLITA ITALIA TENENDOMI TI SENTO VIVERE TIENI IL TEMPO TORNO SUBITO TUTTO CIO' CHE HO TUTTO CIÒ CHE HO UN GIORNO COSI UN GIORNO COSI' UNA CANZONE D'AMORE UNA LUNGA ESTATE CALDISSIMA UN'ESTATE CI SALVERA' UNO IN PIÙ UNO SFIGATO VIAGGIO AL CENTRO DEL MONDO WEEKEND WELCOME TO MIAMI YOU NEEDED ME C:\ \A HA\ ANALOGUE COSY PRISONS DREAM -
Narcocorridos As a Symptomatic Lens for Modern Mexico
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Vol. 1, No. 2 “Grave-Digging Crate Diggers: Retro “The Narcocorrido as an Ethnographic Fetishism and Fan Engagement with and Anthropological Lens to the War Horror Scores” on Drugs in Mexico” Spencer Slayton Samantha Cabral “Callowness of Youth: Finding Film’s “This Is Our Story: The Fight for Queer Extremity in Thomas Adès’s The Acceptance in Shrek the Musical” Exterminating Angel” Clarina Dimayuga Lori McMahan “Cats: Culturally Significant Cinema” Liv Slaby Spring 2020 Editor-in-Chief J.W. Clark Managing Editor Liv Slaby Review Editor Gabriel Deibel Technical Editors Torrey Bubien Alana Chester Matthew Gilbert Karen Thantrakul Graphic Designer Alexa Baruch Faculty Advisor Dr. Elisabeth Le Guin 1 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 2 Spring 2020 Contents Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement 2 with Horror Scores Spencer Slayton Callowness of Youth: Finding Film’s Extremity in Thomas Adès’s 10 The Exterminating Angel Lori McMahan The Narcocorrido as an Ethnographic and Anthropological Lens to 18 the War on Drugs in Mexico Samantha Cabral This Is Our Story: The Fight for Queer Acceptance in Shrek the 28 Musical Clarina Dimayuga Cats: Culturally Significant Cinema 38 Liv Slaby Contributors 50 Closing notes 51 2 Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement with Horror Scores Spencer Slayton he horror genre is in the midst of a renaissance. The slasher craze of the late 70s and early 80s, revitalized in the mid-90s, is once again a popular genre for Treinterpretation by today’s filmmakers and film composers. -
I Negramaro Vincono Il Premio Amnesty Per La Miglior Canzone Sui Diritti Umani
I Negramaro vincono il Premio Amnesty per la miglior canzone sui diritti umani AI NEGRAMARO IL PREMIO AMNESTY PER LA MIGLIOR CANZONE SUI DIRITTI UMANI: “DALLE MIE PARTI” VINCE NELLA SEZIONE ‘BIG’ LA PREMIAZIONE DURANTE IL FESTIVAL “VOCI PER LA LIBERTÀ” IN PROGRAMMA DAL 23 AL 25 LUGLIO A ROSOLINA MARE (ROVIGO) IN SCADENZA IL BANDO PER LA SEZIONE EMERGENTI DEL PREMIO “Dalle mie parti” dei Negramaro è la canzone vincitrice per il 2021 del Premio Amnesty International Italia nella sezione riservata ai big della canzone italiana, sezione creata nel 2003 da Amnesty International Italia e dall’associazione Voci per la Libertà per premiare il migliore brano sui diritti umani pubblicato nel corso dell’anno precedente. La canzone, scritta da Giuliano Sangiorgi, parla di immigrazione ed è all’interno dell’album “Contatto”, pubblicato a novembre 2020 da Sugar. La premiazione avverrà il 25 luglio durante la serata finale della 24a edizione di “Voci per la Libertà – Una canzone per Amnesty”, quest’anno legata al 60° anniversario di Amnesty International. Il festival si terrà dal 23 al 25 luglio a Rosolina Mare (Rovigo) con vari ospiti musicali, che saranno annunciati prossimamente, e con le semifinali e finali della sezione emergenti del Premio Amnesty, il cui bando rimane aperto fino al 3 maggio ed è reperibile sul sito www.vociperlaliberta.it. Nel frattempo è già stato annunciato il primo semifinalista: è la band napoletana degli Aftersat che con il brano “Sanpapiè” si è aggiudicata il Premio Web 2021 di Voci per la Libertà, assegnato tra i 64 artisti che si sono iscritti entro il 15 marzo. -
Aiutateci a Combattere La Pedofilia
27COM01A2710 ZALLCALL 11 21:20:43 10/26/97 Lunedì 27 ottobre 1997 12 l’Unità LE LETTERE UN’IMMAGINE DA... INIZIATIVA VERDE lo di professionalità di questo di guerra, fame e sofferenze, di in Italia viene molto spesso tra- ufficio, sta consentendo ad un privazioni di libertà positive e scurato. Le scrivo questa mia Una moratoria fronte sempre più ampio di poli- negative. Al di là dunque delle lettera nella speranza che que- tici di riprendere gli attacchi situazioni pensionistiche «pato- sta posa servirLe per attuare ri- per gli ipermercati contro una magistratura colpe- logiche» non mi sembra il caso medi per una località che si sta Non pochi commercianti della vole soltanto di indagare senza di infierire sui pensionati: gene- letteralmente sfaldando. Nella zona sud di Firenze si sono mo- fare sconti a nessuno.Una nuo- ralizzare vuol dire fare in modo provincia di Messina vi è la fa- bilitati, di recente, contro il pro- va normativa sui pentiti è certa- che i «piglianiente» di ieri di- mosa località di Taormina la getto di un ipermercato nell’aria mente necessaria, ed i primi ad vengano oggi «piglianiente al quale è, per l’appunto, caratte- «ex Longinotti». Da anni, infat- ammetterlo sono proprio i giu- quadrato». S’accorgerà che di- rizzata dalla presenza di una ti, proprio in quell’aria, in viale dici delle procure, ma dai recen- scettare sullo stato sociale è cosa spettacolare isoletta incastona- Giannotti, il Cpa «Firenze sud» ti fatti di cronaca che hanno molto diversa che partire da pur ta in un golfo che regala un rappresenta un punto di riferi- avuto come protagonisti alcuni nobili enunciazioni teoriche, paesaggio che, come già diceva mento per molti cittadini; la sua cosiddetti pentiti, non si può ri- peraltro assecondando un vezzo Guy de Maupassant nel 1889, intensa attività culturale non cavare l’azzeramento del contri- molto comune a certa destra po- «Seduce gli occhi, la mente e la conosce soste: incontri, concer- buto fondamentale offerto da litica nell’epoca della «parlata» e fantasia». -
Tuesday, December 12Th
Tuesday, December 12th Session: Advanced Instrumentation I Chair: U. Kaiser 8:00 - 8:05 am Ute Kaiser Ulm University, Germany Opening of the SALVE Symposium 8:05 - 8:35 am Harald Rose Ulm University, Germany Correction of aberrations – past – present –future Heiko Müller 8:35 – 8:55 am CEOS GmbH, Heidelberg, Germany Optical design of the SALVE Cc/Cs corrector and its benefits for low-kV TEM and EFTEM 8:55 – 9:15 am Felix Börrnert Ulm University, Germany Contrast transfer in the SALVE instrument 9:15 – 9:30 am Johannes Biskupek University of Ulm, Germany Energy-filtered TEM in the SALVE instrument 9:30 – 10:00 am Joachim Mayer Central Facility for Electron Microscopy, RWTH Aachen, Germany; Ernst Ruska-Centre for Microscopy and Spectroscopy with Electrons, Research Centre Juelich, Germany Chromatic aberration correction: new methods and applications developed on the PICO instrument 10:00 – 10:30 am Coffee Break Session: Advanced Instrumentation II Chair: M. Haider 10:30 – 11:00 am Bert Freitag ThermoFisher Scientific, Eindhoven, The Netherlands New capabilities on the Themis Z platform: iDPC imaging, 4D STEM for diffractive imaging and ultra-high resolution EELS 11:00 – 11:30 am Hidetaka Sawada JEOL Ltd., Tokyo, Japan High resolution electron microscope developed under Triple C Project, and aberration measurement 11:30 – 12:00 am Ondrej L. Krivanek Nion R&D, Kirkland, WA, USA Ultra-high spatial and energy resolution STEM/EELS 12:00 – 12:30 pm Paolo Longo Gatan, Inc. Pleasanton, CA USA Latest advances in energy loss spectroscopy detectors: extremely low energy and direct detection 12:30 – 2:00 pm Lunch and SALVE visit I Session: Low-Dimensional Materials: Preparation, Characterization, Theory I Chair: E.