Living in Leuven 2018-2019
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Report Best Practices
Report Best Practices – Governance Models June 2021 0 INDEX INTRODUCTION 4 RESEARCH DESIGN 5 MAPPING THE LANDSCAPE: EXISTING LOCAL GOVERNANCE MODELS IN FILMEU 6 Dun Laoghaire Institute of Art, Design and Technology (IADT) 6 General 6 Governance & The Governing Body 7 Academic Council 8 Student involvement & Programme Boards 8 Quality Controls & Framework 9 The Qualifications and Quality Assurance 9 LUCA School of Arts 11 General 11 Governance bodies 12 Participation structure 15 Lusófona University Governance 16 General 16 Governance bodies 19 Participation structure 23 The University of Theatre and Film Arts Hungary (SZFE) 25 1 General 25 Model change 25 Senate 27 Rector 29 Chancellor 29 Faculties and Institute Directors 30 Student Union 30 THEORETICAL FRAMEWORK: “BOARDISM” VS ORGANIZED ANARCHY 33 From the organized anarchy to boardism 33 The characteristics of boardism 34 Contemporary challenges 36 BENCHMARKING EXERCISE – CASE STUDIES ON GOVERNANCE MODELS OF HEI ACROSS EUROPE 38 The European Universities case studies - Existing Models in the Alliances 38 Case Study 1 39 Case Study 2 40 Case Study 3 41 The Swiss case study - Higher Education in Switzerland 42 FILMEU governance: parallel with the Swiss model 44 CONCLUSIONS: DEVISING A FUTURE GOVERNANCE MODEL FOR FILMEU – THE EUROPEAN UNIVERSITY OF FILM AND MEDIA ARTS 46 Obstacles regarding the future governance of FilmEU 46 2 One Scenario - the Association vs the European Agenda 48 A possible combined model 53 REFERENCES 55 3 Introduction FILMEU – The European University for Film and Media Arts, (Project: 101004047, EPP-EUR- UNIV-2020 — European Universities, EPLUS2020 Action Grant), brings together four European Higher Education Institutions: Lusófona University from Lisbon (henceforth, LU), Portugal; SZFE – University of Theatre and Film Arts, from Budapest, Hungary; LUCA School of Arts from Brussels, Belgium; and Dún Laoghaire Institute of Art Design and Technology, from Dublin (henceforth, IADT), Ireland. -
Sources for Plain Chant and Ritual from Ghent and London: a Survey and Comparison
SOURCES FOR PLAIN CHANT AND RITUAL FROM GHENT AND LONDON: A SURVEY AND COMPARISON Barbara HAGGH Introduction The history of chant was shaped not only by authority and tradition, but also by individual initiatives, folklore, error and circumstance, and this is most evident when composers, commissioners, copyists and singers of chant are studied alongside the music. In this respect cities, homes for diverse peoples and religious communities, provide an ideal framework for an investigation: Ghent and London are especially well suited not only because of their rich and relatively unstudied archives but also because they were the two most populous cities north of Paris in the late fifteenth century and represented the lively musical cultures of Flanders and England. As the first stage of a project to study the chant and polyphony of Ghent and London in the later Middle Ages and the musicians shaping that repertory, manuscripts and fragments containing the rituals of the churches and abbeys of both cities were surveyed in order to establish what survives and to record preliminary impressions of the nature of the sources. 1 Early as well as later sources were studied, to permit as accurate a chronology of the introduction of new chant as possible. The later sources are an especially useful resource for the study of later medieval music, since they are more numerous than sources of polyphony, more representative of music in daily life and more revealing than archives in documenting musical practices. They also reflect most clearly the interaction between ecclesiastical authorities, patrons, founders, composers, I am grateful to the Leverhulme foundation for supporting my research within the project, 'Music in the North-European Metropolis: London and Ghent c. -
Folklore in Leuven
Aeroplane VLAAMSE TECHNISCHE KRING Monthly - Edition 2: December 2014 Useful tips for the exam period Droids for security Pirates & Priests Photo Report Folklore in Leuven Maastricht during Christmas V.U. Manu De Block, Studentenwijk Arenberg 6, bus 1, 3001 Heverlee - Afzender: VTK Ondersteuning vzw - gratis - Afgiftekantoor: Leuven 1 December 2 Fridgewars @ ‘t ElixIr 3 Startup Fair 4 Saint Nicholas Cantus 9 Workshop Open Innovation by Vlerick 10 Christmas Cantus (Dutch) 12 Deloitte Technology Day More info on vtk.be 2 Table of Contents Contents 3 Table of Contents 4 Word from the president 5 Word from the vice-president 6 CityTrip: Maastricht 8 That time of the year: Exam tips 10 Last month in engineering 12 Leuven Secrets: Of monuments and folklore Citytrip to Maastricht 4 14 Photo Report: Priests vs Pirates Cantus Useful exam tips 8 Pirates & Priests 14 3 Word from the president Dear long-term visitors, Yet again I am given the opportunity to address you through this wonderful, brand new interna- tional magazine. Last time, I took the easy way out and wrote an introduction to VTK, this time I need original content, so let’s get serious here. Yesterday, some people at LOKO spoke about the problematic individualization of young people, because of the low amount of students that cared about the higher enrollment fees (you might even disagree, as chances are the enrollment fee is still lower here than it is in your home univer- sity). I don’t think it’s all about that. Analyzing this individualism, which clearly exists, seems hard, so let’s not go that way. -
F422 HISTORY of the FRENCH LANGUAGE Prerequisite: FRENCH 221
F422 HISTORY OF THE FRENCH LANGUAGE prerequisite: FRENCH 221 Catalog Description: "A linguistic study of the phonological, morphological, syntactic and lexical changes which turned the Latin spoken in Gaul into modern standard French. No previous training in linguistics required." (Note also: no previous training in Latin or Old French required.) Language of instruction: English. Instructor: Dr. Nathan L. Love Texts: A History of the French Language Peter RICKARD The French Language: Present and Past Glanville PRICE We will be concerned with external and internal history. External history pertains to the cultural, social, political realities bearing on language change, whereas internal history concerns itself primarily with phonological developments that occur within the language, independent of cultural phenomena. The Rickard text outlines external history, and the Price text catalogues the internal history of the French language. Class instruction will consist of traditional lectures bearing on language structure and internal history. The emergence of Old French from Vulgar Latin will receive emphasis since it is the earlier stages of development which are most remote from us. The readings on external history will be left to the students to complete. Requirements: A research paper, midterm and final exam. This will be a course rich in learning opportunities. It will provide a brief introduction to linguistics (especially historical Romance linguistics), an overview of the structure of Classical Latin, the essential characteristics of the syntax and lexicon of Old French, the standardization of Modern French in the late sixteenth and early seventeenth centuries. Much that is arcane in Modern French grammar and spelling will become clearer, I hope. -
Annual Report 2019
ANNUAL REPORT 2019 The Renaissance started in Italy in the first half The root meaning of ‘renaissance’ sometimes gives of the fourteenth century, and a century later in the idea that it was a unilaterally European and our part of the world. However, the term itself Christian phenomenon. Yet Europe’s Renaissance was first coined in the nineteenth century by the would never have happened without Muslim Swiss art historian Jacob Burckhardt in Die Kultur scholars such as Ibn Rushd (Averroes) who der Renaissance in Italien. The word ‘renaissance’ unlocked the knowledge of antiquity and elevated brings to mind the likes of Da Vinci and Raphael, philosophy and science. And ‘renaissances’ the Flemish Primitives and Franco-Flemish happened globally. The Muslim world underwent polyphonists, Erasmus and Pieter Bruegel. And, a ‘renaissance’ (Al-Nahda) from 1850. ‘The African thanks to the retrospective in BOZAR, hopefully renaissance’ sprouted after the Second World War once more Bernard van Orley, a pivotal figure in and led to decolonisation and the post-apartheid the Brussels Renaissance. Van Orley and Bruegel agenda. We are far from finished with the were not quite contemporaries. Their interaction decolonisation of the spirits; nor is a cultural house was mostly through Van Orley’s tapestries. There’s like BOZAR ever finished with its transformation. a significant difference. Bruegel shone a light Inclusion is a long-term process of change. on the world of the people: village squares and peasant weddings, rather than Van Orley’s closed, In 2019 the BOZAR programme ‘European house elevated circles. He was right at home in the court for culture’ opened the doors at Ravensteinstraat of Mary of Hungary, Regent of the Low Countries, 23. -
Shaw-Rebecca-MA-MUSIC-June
Differentiae in the Cantus Manuscript Database: A Cross-Manuscript Analysis by Rebecca Shaw Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia June 2019 © Copyright by Rebecca Shaw, 2019 Table of Contents List of Tables ....................................................................................................................... iv List of Figures ..................................................................................................................... vii Abstract……………………………………………………………………………………………………………………….viii List of Abbreviations Used .................................................................................................. ix Acknowledgements .............................................................................................................. x Chapter 1: Introduction and Differentia Standardization ................................................... 1 1.1 Overview of the Differentia Standardization Project ..................................... 9 1.2 Analysis enabled by the Differentia Standardization Project ....................... 11 Chapter 2: Differentiae and Mode in Theory and Practise ................................................ 14 2.1 Theorists’ Explanation of Differentia and Mode .......................................... 16 2.2 Elements of Unity and Disparity Within and Between Modes ..................... 19 2.3 Multi-Modal Saeculorum Openings ............................................................. -
Alternatim Practice in France
ALTERNATIM PRACTICE IN FRANCE ROOTS, DEVELOPEMENT, PERFORMANCE PRACTICE IN CLASSICAL ORGAN PERIOD Performance Practice – spring – semester paper Piotr Rachon (DMA studies) PART ONE – TRADITION AND DEVELOPEMENT In this paper one can find information about the “phenomena” of the alternatim practice, which was important for the development of the organ music between fourteenth and twentieth century, specifically in France. This manner influenced all possible elements of the instrumental music and performance practice, such as the development of music forms and their great variety, coloristic innovations, and new ideas of the organ builders; this helped increase the manual skill of performers and development of the technique of the organ improvisation. This practice was popular that it spread in many countries such as France, Italy, Netherlands. It was also used for one of the most important human activities: religious experience. The role of organ and alternatim practice has proven to be extremely vital ever since thirteenth century that music for this instrument was treated as a contr - partner for the liturgical text. The great number of the pieces were written in this manner for such liturgical services as Masses, Magnificats, Hymns, and Hour`s liturgy. Their beauty and flamboyance encouraged the author of this paper to write about this performance practice. It is a difficult task to write a short paper about performance practice that has been in use for over five hundred years. A great number of compositions, documents, national traditions -
Historic Organs of Belgium May 15-26, 2018 12 Days with J
historic organs of BELGIUM May 15-26, 2018 12 Days with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from Mr. & Mrs. Wesley C. Dudley, grants from Walter McCarthy, Clara Ueland, and the Greystone Foundation, the Art and Martha Kaemmer Fund of the HRK Foundation, and Jan Kirchner on behalf of her family foun- dation, by the contributions of listeners to American Public Media stations nationwide, and by the thirty member organizations of the Associated Pipe Organ Builders of America, APOBA, represent- ing the designers and creators of pipe organs heard throughout the country and around the world, with information at www.apoba.com. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Bios of Hosts and Organists Page 3-6 A History of Organs in Belgium Page 7-12 Alphabetical List of Organ Builders Page 13-17 Organ Observations Page 18-21 Tour Itinerary Page 22-25 Playing the Organs Page 26 Organ Sites Page 27-124 Rooming List Page 125 Traveler Profiles Page 126-139 Hotel List Page 130-131 Map Inside Back Cover Thanks to the following people for their valuable assistance in creating this tour: Rachel Perfecto and Paul De Maeyer Valerie Bartl, Cynthia Jorgenson, Kristin Sullivan, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts in Minneapolis. In addition to site specific websites, we gratefully acknowledge the following source for this booklet: http://www.orgbase.nl PAGE 22 HISTORICALORGANTOUR OBSERVATIONS DISCOGRAPHYBACKGROUNDWELCOME ITINERARYHOSTS Welcome Letter from Michael.. -
Faculty of Architecture Erasmus Information Sheet 2021-2022
FACULTY OF ARCHITECTURE Sint-Lucas Campus Paleizenstraat 65-67 B-1030 BRUSSELS, BELGIUM tel. + 32 2 447 19 00 www.arch.kuleuven.be FACULTY OF ARCHITECTURE ERASMUS INFORMATION SHEET 2021-2022 NAME OF THE KU Leuven - Faculty of Architecture INSTITUTION ERASMUS CODE B LEUVEN 01 WEBSITE www.arch.kuleuven.be HEAD OF Prof. Dag Boutsen, dean INSTITUTION INTERNATIONAL mrs. Nele DE MEYERE OFFICE Tel: +32 2 447 19 47 mrs. Sandra PIERPONT Tel: +32 9 398 64 67 E-mail: [email protected] Website: https://arch.kuleuven.be/english/international 2 CAMPUSES Campus Sint-Lucas Brussels • Paleizenstraat 65/67, 1030 Brussels (main building) • Paleizenstraat 70, 1030 Brussels (LUCA School of Arts) Campus Sint-Lucas Ghent • Hoogstraat 51, 9000 Ghent (main building) • Alexianenplein 1-2, 9000 Ghent (LUCA School of Arts) • Sint-Niklaasstraat 27, 9000 Ghent PROGRAMMES FOR ARCHITECTURE (master level) EXCHANGE Exchange students are welcomed in the first and/or second semester of our English STUDENTS taught Master of Architecture (eq. to 4th year level). Currently we are implementing a change to the content and structure of the master programme. On our webpage you can find the most recent information: https://arch.kuleuven.be/english/education/masterofarchitecture/programme- information-2020-2021/. The design studio landscape is constructed out of 4 engagements: urban cultures, craftsmanship, legacies and mediating tactics. These engagements are organized across our two campuses: http://architecturemasterstudios.be (max 1 studio per semester, upon availability). You can also check: https://arch.kuleuven.be/english/education/electives (max 1 elective per semester, upon availability). You can select the design studio and elective of your choice in your learning agreement but know that these are subject to change based on the availability upon arrival. -
Jaarverslag 2015
Vlaams Fonds Jaarverslag2015 de Letteren INHOUDSTAFEL 2 WOORD VOORAF 9 INLEIDING 11 1 Organisatie 15 1.1 VFL-BESTUUR 15 1.2 DAGELIJKS BESTUUR 16 1.3 ADVIESCOMMISSIES 16 1.4 BESLISSINGSCOLLEGE 17 1.5 BEROEPSCOMMISSIE 17 1.6 VFL-TEAM 17 2 Subsidies en projecten 19 2.1 BINNENLAND 19 2.1.1 Binnenland subsidies 19 2.1.1.1 Auteurs 19 Werkbeurzen literaire auteurs 19 Stimuleringsbeurzen literaire auteurs 21 2.1.1.2 Strips 22 Werkbeurzen voor stripauteurs 22 Stripmanifestaties 23 Striptijdschriften 23 2.1.1.3 Vertalers in het Nederlands 23 Projectbeurzen literaire vertalers 23 Stimuleringssubsidies literaire vertalers 25 2.1.1.4 Literaire tijdschriften 25 2.1.1.5 Productiesubsidies voor (strip)uitgevers 26 2.1.1.6 Literaire manifestaties en organisaties 27 Literaire organisaties 27 Auteursgenootschappen 28 Literaire manifestaties 28 2 — 3 2.1.1.7 Leesbevordering 29 Projecten leesbevordering 29 Iedereen Leest en Leesweb 31 2.1.1.8 Auteurslezingen 31 Subsidies auteurslezingen 31 Nieuwe auteurs op de auteurslijst 32 2.1.2 Binnenland projecten 34 2.1.2.1. Poëziepromotie 34 Gedichtendagessay 34 Poëzieplatform 34 Poëzietafel 34 2.1.2.2 Literaire vertalers 34 Literaire Vertaaldagen 34 2.1.2.3 Literair middenveld 35 2.1.2.4 Staat van het Boek 35 2.1.2.5 Scholenproject Boekenbeurs 35 2.1.2.6 Archivering theaterteksten 36 2.1.2.7 Dynamische canon 36 2.1.2.8 Slam poetry 37 Slam ’t stad - videoproject 37 Slamlezingen 37 2.2 BUITENLAND 37 2.2.1 Buitenland subsidies 37 2.2.1.1 Vertaalsubsidies 39 2.2.1.2 Productiesubsidies 43 2.2.1.3 Vertalingen van poëzie -
Matthaeus Pipelare's "Fors Seulement Chanson (II)" and Its Related Motet and Mass Performance Editions and Commentary George H
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Matthaeus Pipelare's "Fors seulement chanson (II)" and its related motet and mass performance editions and commentary George H. Black, Jr. Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Black, Jr., George H., "Matthaeus Pipelare's "Fors seulement chanson (II)" and its related motet and mass performance editions and commentary" (2003). LSU Doctoral Dissertations. 1444. https://digitalcommons.lsu.edu/gradschool_dissertations/1444 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. MATTHAEUS PIPELARE’S FORS SEULEMENT (II) CHANSON AND ITS RELATED MOTET AND MASS PERFORMANCE EDITIONS AND COMMENTARY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music By George H. Black, Jr. B.M.E., Mississippi State University M.S.M., Southern Methodist University December 2003 ©Copyright 2003 George Herman Black, Jr. All rights reserved ii ACKNOWLEDGMENTS Thanks and appreciation are gratefully expressed to those who have assisted me in the completion of this project: To Dr. Kenneth Fulton and Dr. Sara Lynn Baird who have provided such knowledge and assistance throughout my studies; To Dr. William Grimes and Dr. -
Western Culture Has Roots in Ancient
15 10. (170) What are the principal types of polyphony written by Dunstable? What's the total? Chapter 8 Isorhhythmic motets, Mass Ordinary settings, settings of England and Burgundy in the Fifteenth Century chant, free settings of liturgical texts, secular songs; 60 1. [165] Two ___________ composers, _________ and 11. How do the antiphons and hymns fit into your list (see ___________, were praised for imitating the SR)? ______________________ of John _____________. It I guess the "20 other Latin sacred works." was seconded a generation later by _________________. 12. The chant is in the ________ voice. When it isn't, the French; Du Fay; Binchois; countenance angloise (English technique is called _____________ because: guise or quality); Dunstable; Johannes Tinctoris Tenor; if in the upper voice it's called paraphrase, because 2. What two styles are "indebted to English influence"? extra notes are added as embellishments and the chant New style of polyphony; polyphonic mass cycle has an active rhythm 3. (167) How did two French composers come in contact 13. (171) SR: Make a list of Dunstable's works. with English music? John Dunstable (c. 1390-1453); 60 works; 3 Mass cycles; 2 England owned northern and southwestern France until 1453. Gloria-Credo pairs; 15 other Mass Ordinary mvts.; 12 isorhythmic motets; 6 plainchant settings; 20 other Latin 4. What are the characteristics of the English quality? sacred works; 5 secular songs. 3ds and 6ths in parallel motion; simple melodies; regular phrasing; syllabic; homorhythmic 14. (172) Why could Quam pulchra es be called a cantilena? Why also a motet? 5.