The Journal of Bahá'í Studies
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Exploring Aspects of Korean Traditional Music in Young Jo Lee's
EXPLORING ASPECTS OF KOREAN TRADITIONAL MUSIC IN YOUNG JO LEE’S PIANO HONZA NORI Jin Kim, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2013 APPROVED: Adam Wodnicki, Major Professor Elvia Puccinelli, Committee Member Joseph Banowetz, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies John Murphy, Interim Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Kim, Jin. Exploring Aspects of Korean Traditional Music in Young Jo Lee’s Piano Honza Nori. Doctor of Musical Arts (Performance), August 2013, 29 pp., 4 tables, 9 figures, 13 musical examples, bibliography, 32 titles. Since the 1960s, several gifted Korean composers, including perhaps most notably Young Jo Lee (b. 1943), have been internationally acclaimed for their work. In Western countries, however, there has been a scarcity of academic studies examining the artistry of the music of these Korean composers. Nonetheless, as one of today’s most recognized composers in Korea, Young Jo Lee has been invited to numerous international concerts, conferences, and festivals where his works have been played and discussed. A salient feature of his compositions is the fusion of Korean traditional music and the elements of Western compositions, such as in, for one distinctive example, his piano composition, Piano Honza Nori. This musical study describes and analyzes how Lee integrates Korean traditional elements with Western musical ideas in Piano Honza Nori. Results of this study will contribute to the limited literature on the analysis of contemporary piano composition that integrates Korean traditional elements. -
Download Program Notes
Shin Arirang Traditional (arr. D. Kim) rirang is a Korean folk song — and as is the Exposition in Chicago — and were simply A case with many folk songs, its origins are passed on to her. In any case, these record- obscure and its history is meandering. One ings stand as monuments of sonic history. theory traces it to the 19th century, when Whatever its beginnings, the song’s Heungseon Daewongun served as regent to popularity grew organically and it was em- the monarch Gojong (his son), a period that braced and adapted throughout the Korean ran from 1863 to 1873. During that regency, peninsula. The lyrics, tune, and rhythms a large number of Chinese workers were were modified depending on the region and brought to Seoul to construct the Gyeongbok the performer; yet, even when altered, the Palace. They brought with them the ancestor piece is recognized as part of the Arirang of this piece, a Chinese song titled Airang, family. Musicologists and folklorists have which expressed the workers’ sorrow at be- catalogued and classified the variations of ing separated from their wives or lovers. Arirang — about 60 different varieties of the Or perhaps it is much older than that, song, comprising at least 3,600 variants. The with at least its text reaching to the time principal varieties are typically identified of Park Hyeokgeose (69 BCE–4 CE; reigned with a descriptor that connects the version 57 BCE–4 CE), the founding monarch of with a region of the Korean peninsula. The ver- Silla, one of the Three Kingdoms of Ko- sion called Jeongseon Arirang is widely viewed rea. -
WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 As a Masterpiece of Late Gothic Architecture
WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 as a masterpiece of late Gothic architecture. The church’s reputation was strong enough of the time for it to be chosen as the location for a young Louis XIV to receive communion. Mozart also Church of Saint 2 Impasse Saint- chose the sanctuary as the location for his mother’s funeral. Among ** Unknown Eustace Eustache those baptised here as children were Richelieu, Jeanne-Antoinette Poisson, future Madame de Pompadour and Molière, who was also married here in the 17th century. Amazing façade. Mon-Fri (9.30am-7pm), Sat-Sun (9am-7pm) Japanese architect Tadao Ando has revealed his plans to convert Paris' Bourse de Commerce building into a museum that will host one of the world's largest contemporary art collections. Ando was commissioned to create the gallery within the heritage-listed building by French Bourse de Commerce ***** Tadao Ando businessman François Pinault, who will use the space to host his / Collection Pinault collection of contemporary artworks known as the Pinault Collection. A new 300-seat auditorium and foyer will be set beneath the main gallery. The entire cylinder will be encased by nine-metre-tall concrete walls and will span 30 metres in diameter. Opening soon The Jardin du Palais Royal is a perfect spot to sit, contemplate and picnic between boxed hedges, or shop in the trio of beautiful arcades that frame the garden: the Galerie de Valois (east), Galerie de Montpensier (west) and Galerie Beaujolais (north). However, it's the southern end of the complex, polka-dotted with sculptor Daniel Buren's Domaine National du ***** 8 Rue de Montpensier 260 black-and-white striped columns, that has become the garden's Palais-Royal signature feature. -
Table of Contents
TABLE OF CONTENTS Introduction ........................................................................................................................................ 1 Overview Strategic Funding .................................................................................................................. 2 Arts Discipline Funding ......................................................................................................... 3 Loan Fund ............................................................................................................................. 4 Operations ............................................................................................................................. 5 Preliminary Results of Increased Grants Funding ............................................................................. 6 2013 Allocations Summary ................................................................................................................ 7 Income Statement & Program Balances for the quarter ended December 31, 2013 ........................ 8 Strategic Funding 2013 Partnership Programs .......................................................................................................... 9 Strategic Partnerships ........................................................................................................... 10 Strategic Allocations .............................................................................................................. 11 Recipient Details .................................................................................................................. -
The Importance of Deepening Our Knowledge and Understanding Of
The Importance of Deepening our Knowledge and Understanding of the Faith The Importance of Deepening our Knowledge and Understanding of the Faith A compilation of extracts from the Bahá'í Writings Prepared by the Research Department of the Universal House of Justice Bahá'í World Centre Baha'i Publishing Trust, Wilmette, Illinois 60091 Copyright by the National Spiritual Assembly of the Baha'is of Canada 1983 Also in the Compilation of Compilations Vol. I, pp. 187-234 CONTENTS Extracts from the Writings of Bahá'u'lláh Extracts from the Writings of `Abdu'l-Bahá Extracts from the Utterances of `Abdu'l-Bahá Extracts from Letters written by Shoghi Effendi Extracts from Letters written on behalf of Shoghi Effendi Extracts from the Writings of Bahá'u'lláh 1. Recite ye the verses of God every morn and eventide. Whoso faileth to recite them hath not been faithful to the Covenant of God and His Testament, and whoso turneth away from these holy verses in this Day is of those who throughout eternity have turned away from God. Fear ye God, O My servants, one and all. Bahá'u'lláh, The Kitab-i-Aqdas, p. 73 2. Were any man to taste the sweetness of the words which the lips of the All-Merciful have willed to utter, he would, though the treasures of the earth be in his possession, renounce them one and all, that he might vindicate the truth of even one of His commandments, shining above the Dayspring of His bountiful care and loving-kindness. Bahá'u'lláh, A Synopsis and Codification of the Laws and Ordinances of Kitab-i-Aqdas, p. -
Some Aspects of Bahá'í Ethics
The 20th Hasan M. Balyuzi Memorial Lecture Some Aspects of Bahá’í Ethics UDO SCHAEFER I am really overwhelmed and deeply touched by your warm-hearted wel- come and introduction. It is an unexpected, great honor to have been cho- sen by the Association to present the Hasan M. Balyuzi Memorial Lecture. I would like to express my sincerest gratitude and that of my wife for this invitation. The material that I am presenting—some aspects of Bahá’í ethics—is taken from the draft of a forthcoming book, Bahá’í Ethics in Light of Scripture.1 A systematic presentation of the new standard of values is, as I feel, not only timely, it is rather a matter of urgency in the face of the increasing disintegration of traditional morality and the truly apocalyp- tic dimension of spreading immorality all over the world. When choosing my topic for this conference I had to decide between an outline of the new morality which, in the given time frame, could not have been more than a general survey, or some few central issues that can be dealt with more in depth. I chose the latter option, inasmuch as I can refer to my article pub- lished in the Bahá’í Studies Review, “The New Morality: An Outline.” Let me start with a few general remarks on ethics: The term derives from the Greek ethikos which pertains to ethos (character). Ethics as part of practical philosophy is also called “moral philosophy,”2 and, if it is a religious ethics based on revelation (a revelatory ethics like Bahá’í ethics), one can call it “moral theology,” as it is termed in Catholicism. -
Souvenir of Paris Uniform with This Volume Is Also Issued the Souvenir of London
I CO PAR I DC to of tf|e of The Estate of the late Effie M. K. Glass SOUVENIR OF PARIS UNIFORM WITH THIS VOLUME IS ALSO ISSUED THE SOUVENIR OF LONDON The photographs in this volume are by Messrs. Valentine &; Sons, Ltd., Dundee, and M. Nuerdein, Paris SOUVENIR OF PA R IS BY S. L. BENSUSAN LONDON: T. C. & E. C. JACK 16 HENRIETTA STREET, W.G. 12081 CONTENTS CHAP. PAGE I. A GREAT CITY 1 II. THE RIVER SEINE 8 III. ON THE RIGHT BANK OF THE RIVER FROM THE PLACE DE LA CONCORDE TO THE PLACE DE LA NATION . 10 IV. ON THE LEFT BANK OF THE SEINE FROM THE QUAI D'ORSAY TO THE PLACE D'lTALIE . 18 V. THE ISLANDS OF THE CITY AND ST. LOUIS . 29 VI. THE HEART OF PARIS 36 VII. THE MONTMARTRE QUARTER 47 VIII. THE THEATRES, MUSIC HALLS, AND CONCERT HALLS OF PARIS 54 IX. THE BOIS DE BOULOGNE AND THE PARKS. 62 .X. GREAT BUILDINGS OFF THE MAIN ROUTES . 77 XI. BEYOND PARIS 85 INDEX . 100 LIST OF ILLUSTRATIONS THE AVENUE DE L'OPEKA .... On Cover NOTRE DAME . Frontispiece THE PARK OP ST. CLOUD .... Facing p. 8 ' ' ' THE ARC DE TRIOMPHE . .' . 10 ' J PANORAMA OF PARIS FROM THE LOUVRE , 12 THE PLACE DE LA CONCORDE 14 THE HOTEL DE VILLE 16 THE MINISTRY OF FOREIGN AFFAIRS 18 THE EIFFEL TOWER 20 THE HOTEL DBS INVALIDES .... 22 THE CLUNY MUSEUM . .''". 24 THE PALACE OF THE SENATE 26 THE CHURCH OF ST. GERMAIN DBS PRES 28 ^ THE CHURCH OF ST. -
Riccardo Muti Conductor Mathieu Dufour
Program ONe huNDReD TWeNTy-FiRST SeASON Chicago symphony orchestra riccardo muti Music Director Pierre Boulez helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 23, 2011, at 1:30 Tuesday, September 27, 2011, at 7:30 riccardo muti conductor mathieu Dufour flute rota Music from Il Gattopardo (The Leopard) Title Music Journey to Donnafugata Angelica and Tancredi 1 Angelica and Tancredi 2 The Prince’s Dreams Tancredi’s Departure Love and Ambition The Rigged Vote Finale First Chicago Symphony Orchestra performances Ibert Flute Concerto, Op. 37 Allegro Andante Allegro scherzando Mathieu DufouR IntermIssIon tchaikovsky Symphony No. 5 in e Minor, Op. 64 Andante—Allegro con anima Andante cantabile con alcuna licenza Waltz: Allegro moderato Finale: Andante maestoso—Allegro vivace This concert series is generously sponsored by Alexandra and John Nichols. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. 31 CSO_Subscription_1_w1_11-12.indd 31 9/13/11 1:17 PM This concert series is generously sponsored by alexanDra anD John nIChols. 31A CSO_Subscription_1_w1_11-12.indd 1 9/13/11 1:17 PM Comments by PhiLLiP huSCheR nino rota Born December 3, 1911, Milan, Italy. Died April 10, 1979, Rome, Italy. music from Il Gattopardo (the leopard) hen Giuseppe di Lampedusa aristocracy—and in particular Wwas diagnosed with lung of the family of Don Fabrizio cancer in April 1957, he had been Corbera, prince of Salina—during trying to find a publisher for his the Risorgimento as Giuseppe historical novel Il Gattopardo (The Garibaldi, the leader for Italian leopard) for nearly a year. -
ICTM Abstracts Final2
ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants. -
Religion Asserts That Its Central Concerns Are Discovering Truth and Implementing the Measures Called for by That Truth
1 Truth: A Path for the Skeptic 2 Truth: A Path for the Skeptic Robert Vail Harris, Jr. First Edition (PDF Version) Copyright 2018 Robert Vail Harris, Jr. Website: truth4skeptic.org Email: [email protected] What is truth? Is there meaning in existence? What are life and death? These and similar questions are explored here. This work draws on techniques and examples from science and mathematics in a search for insights from ancient and modern sources. It is writ- ten especially for the skeptical scientist, the agnostic, and the athe- ist. It is informal but rigorous, and invites careful reflection. 3 Contents Page Questions 4 Answers 84 Actions 156 Notes and References 173 Truth: A Path for the Skeptic 4 Questions Overview The search for truth is a lifelong endeavor. From the time we open our eyes at birth until we close them at the hour of death, we are sorting and sifting, trying to determine what is true and what is not, what is reality and what is illusion, what is predictable and what is random. Our understanding of truth underpins our priorities and all our activities. Every thought we have, every step we take, every choice we make is based on our assessment of what is true. Knowing the truth enriches our lives, while false beliefs impover- ish and endanger us. The importance of truth can be illustrated by countless exam- ples. Contractual arrangements are accompanied by an assertion of truthfulness. Participants in a trial are required to tell the truth. Various implements have been used to try to ascertain truth, from the dunking and burning of accused witches to the use of lie detec- tors. -
Lights of Irfan Book 12.Indb
Mayflowers in theVille Lumière: the Dawning of Bahá’í History in the European Continent1 Julio Savi Against the background of the Paris of the fin de siècle and of the Belle Époque, with its magnificent intellectual and artistic efflorescence, a young American lady becomes the catalyst for the spiritual awakening of a group of early God-intoxicated believers. The paper emphasizes their human characters and the mysterious ways through which they, lovingly steered by a subtle, omnipresent and all-guiding Will, came to recognize the dawn of the new era on the European continent and on the whole world. The nineteenth century of the Christian era was drawing to a close when a young woman from the town of Englewood, New Jersey, on the outskirts of New York City, arrived in Paris, on the banks of the Seine. Her family name was Bolles and her name was Mary Ellis(1870–1940), but she was known as May, a name evoking the thought of advanced springtime, multicolored roses, mild breezes, refreshing showers. Randolph, her brother, had decided to study architecture and his family had chosen for him the École des Beaux Arts in Paris. There- fore in 1892–93, May, Randolph and their mother Mary Martha moved to the French capital. A subtle, omnipresent and all-guiding Will had decreed that their choice would open to the young woman a road, which would lead her to a great destiny, comprising “the priceless honor of a martyr’s death” in Argentina in 1940(Shoghí Effendí, qtd. in Holley, “May Ellis Maxwell” 642), if only she would understand the true meaning of events and seize her God-given 281 Lights of ‘Irfán Book Twelve opportunities. -
Arirang”: the Korean Resistance Anthem That Became a Japanese Pop Hit
The Journal of Asian Studies Vol. 66, No. 3 (August) 2007: 645–687. © 2007 Association of Asian Studies Inc. doi: 10.1017/S0021911807000927 The Dual Career of “Arirang”: The Korean Resistance Anthem That Became a Japanese Pop Hit E. TAYLOR ATKINS “Arirang” is known worldwide as the quintessential Korean folk song. Its iconic status in contemporary Korea derives from its perceived role in strengthening Korean resolve to resist the cultural violence of the Japanese colonial occupation (1905–45). A musical “skeleton” capable of countless improvised variations and interpretations, some “Arirangs” explicitly assailed the Japanese and thus were censored by colonial authorities. However, in the 1930s and 1940s, precisely the time when assimilationist pressures in colonial Korea were intensifying, Japanese songsmiths, singers, and recording companies released “Arirang” ren- ditions in prodigious quantities, sometimes in collaboration with Korean perfor- mers. “Arirang” became the most familiar song in the Japanese empire: Its persistent theme of loss spoke to Koreans of their lost sovereignty and to Japanese of the ravaging effects of modernity on traditional lifeways. For both peoples, it served as a mirror for self-contemplation and an “ethnographic lens” for gazing upon the other. E OFTEN ASSIGN TO music the burden of fostering intercultural communi- Wcation and understanding. Platitudes galore testify to the unique power of music to bridge imposing gaps between societies, to remind of us our shared humanity. But what, in fact, does music