Deutsche Nationalbibliografie 2011 T 06
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Fifth Report Data: January 2009 to December 2015
Fifth Report Data: January 2009 to December 2015 ‘Our daughter Helen is a statistic in these pages. Understanding why, has saved others.’ David White Ngā mate aituā o tātou Ka tangihia e tātou i tēnei wā Haere, haere, haere. The dead, the afflicted, both yours and ours We lament for them at this time Farewell, farewell, farewell. Citation: Family Violence Death Review Committee. 2017. Fifth Report Data: January 2009 to December 2015. Wellington: Family Violence Death Review Committee. Published in June 2017 by the Health Quality & Safety Commission, PO Box 25496, Wellington 6146, New Zealand ISBN 978-0-908345-60-1 (Print) ISBN 978-0-908345-61-8 (Online) This document is available on the Health Quality & Safety Commission’s website: www.hqsc.govt.nz For information on this report, please contact [email protected] ACKNOWLEDGEMENTS The Family Violence Death Review Committee is grateful to: • the Mortality Review Committee Secretariat based at the Health Quality & Safety Commission, particularly: – Rachel Smith, Specialist, Family Violence Death Review Committee – Joanna Minster, Senior Policy Analyst, Family Violence Death Review Committee – Kiri Rikihana, Acting Group Manager Mortality Review Committee Secretariat and Kaiwhakahaere Te Whai Oranga – Nikolai Minko, Principal Data Scientist, Health Quality Evaluation • Pauline Gulliver, Research Fellow, School of Population Health, University of Auckland • Dr John Little, Consultant Psychiatrist, Capital & Coast District Health Board • the advisors to the Family Violence Death Review Committee. The Family Violence Death Review Committee also thanks the people who have reviewed and provided feedback on drafts of this report. FAMILY VIOLENCE DEATH REVIEW COMMITTEE FIFTH REPORT DATA: JANUARY 2009 TO DECEMBER 2015 1 FOREWORD The Health Quality & Safety Commission (the Commission) welcomes the Fifth Report Data: January 2009 to December 2015 from the Family Violence Death Review Committee (the Committee). -
Neil Foster Carries on Hating Keith Listens To
April 2017 April 96 In association with "AMERICAN MUSIC MAGAZINE" ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK Chuck Berry, Capital Radio Jazzfest, Alexandra Palace, London, 21-07-79, © Paul Harris Neil Foster carries on hating Keith listens to John Broven The Frogman's Surprise Birthday Party We “borrow” more stuff from Nick Cobban Soul Kitchen, Jazz Junction, Blues Rambling And more.... 1 2 An unidentified man spotted by Bill Haynes stuffing a pie into his face outside Wilton’s Music Hall mumbles: “ HOLD THE THIRD PAGE! ” Hi Gang, Trust you are all well and as fluffy as little bunnies for our spring edition of Tales From The Woods Magazine. WOW, what a night!! I'm talking about Sunday 19th March at Soho's Spice Of Life venue. Charlie Gracie and the TFTW Band put on a show to remember, Yes, another triumph for us, just take a look at the photo of Charlie on stage at the Spice, you can see he was having a ball, enjoying the appreciation of the audience as much as they were enjoying him. You can read a review elsewhere within these pages, so I won’t labour the point here, except to offer gratitude to Charlie and the Tales From The Woods Band for making the evening so special, in no small part made possible by David the excellent sound engineer whom we request by name for our shows. As many of you have experienced at Rock’n’Roll shows, many a potentially brilliant set has been ruined by poor © Paul Harris sound, or literally having little idea how to sound up a vintage Rock’n’Roll gig. -
Building Cultural Bridges: Benjamin Britten and Russia
BUILDING CULTURAL BRIDGES: BENJAMIN BRITTEN AND RUSSIA Book Review of Benjamin Britten and Russia, by Cameron Pyke Maja Brlečić Benjamin Britten visited Soviet Russia during a time of great trial for Soviet artists and intellectuals. Between the years of 1963 and 1971, he made six trips, four formal and two private. During this time, the communist regime within the Soviet Union was at its heyday, and bureaucratization of culture served as a propaganda tool to gain totalitarian control over all spheres of public activity. This was also a period during which the international political situation was turbulent; the Cold War was at its height with ongoing issues of nuclear armaments, the tensions among the United States, the Soviet Union, and the United Kingdom ebbed and flowed, and the atmosphere of unrest was heightened by the Vietnam War. It was not until the early 1990s that the Iron Curtain collapsed, and the Cold War finally ended. While the 1960s were economically and culturally prosperous for Western Europe, those same years were tough for communist Eastern Europe, where the people still suffered from the aftermath of Stalin thwarting any attempts of artistic openness and creativity. As a result, certain efforts were made to build cultural bridges between West and East, including efforts that were significantly aided by Britten’s engagements. In his book Benjamin Britten and Russia, Cameron Pyke portrays the bridging of the vast gulf achieved through Britten’s interactions with the Soviet Union, drawing skillfully from historical and cultural contextualization, Britten’s and Pears’s personal accounts, interviews, musical scores, a series of articles about Britten published in the Soviet Union, and discussions of cultural and political figures of the time.1 In the seven chapters of his book, Pyke brings to light the nature of Britten’s six visits and offers detailed accounts of Britten’s affection for Russian music and culture. -
2013 Year in Review
OPERA AMERICA 2013 GROWING ONSTAGE AND OFF OPTION 1 TABLE OF CONTENTS A SURGE OF INNOVATION 6 RESONATING IN NEW SPACES 14 A COMMUNITY OF VOICES 20 OPERA AMERICA FINANCIAL REPORT 28 ANNUAL FIELD REPORT 30 SUPPORT FOR OPERA AMERICA 55 COVER: Maria Aleida as Queen of the Night in Opera Carolina’s production of The Magic Flute. Photo by Jon Silla. LEFT: Nina Yoshida Nelsen, Ji Hyun Jang and Mihoko Kinoshita in Houston Grand Opera’s production of The Memory Stone by Marty Regan and Kenny Fries. Photo by Felix Sanchez. CONCEPT AND DESIGN FOR ANNUAL REPORT BY THE LETTER FROM THE CHAIRMAN Since its inception OPERA America has existed as a community of like-minded individuals committed to the artistic and financial strength of the field. This past year, our definition of community expanded: our conference, held in Vancouver, affirmed our commitment to all of North America, while our growing partnership with Opera Europa continued to bridge the continents through our shared dedication to an art form that knows no borders. Most profoundly, however, the opening of the National Opera Center in New York has created a new center for our community, a tangible space where individual and company members can gather for auditions, recitals and professional learning programs. The center’s technology capabilities enable us to share these offerings globally, even as its flexible amenities enable us to share our love for opera locally. We are delighted to present our global, national and local achievements of the past year through this Annual Report. To our members we offer gratitude for your support of these achievements. -
What Next Miranda?: Marina Warner's Indigo
Kunapipi Volume 16 Issue 3 Article 13 1994 What Next Miranda?: Marina Warner's Indigo Chantal Zabus Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Zabus, Chantal, What Next Miranda?: Marina Warner's Indigo, Kunapipi, 16(3), 1994. Available at:https://ro.uow.edu.au/kunapipi/vol16/iss3/13 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] What Next Miranda?: Marina Warner's Indigo Abstract Each century seems to have its own interpellative dream-text: The Tempest for the 17th century; Robinson Crusoe for the 18th century; Jane Eyre for the 19th century; Heart of Darkness for the turn of this century. Such texts serve as pre-texts to others; they underwrite them. Yet, in its nearly four centuries of existence, The Tempest has washed ashore more alluvial debris than any other text: parodies, rewritings and adaptations of all kinds. Incessantly, we keep revisiting the stage of Shakespeare's island and we continue to dredge up new meanings from its sea-bed. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol16/iss3/13 What Next Miranda?: Marina Warner's Indigo 81 CHANTAL ZABUS What Next Miranda?: Marina Warner's Indigo 1 'What next I wonder?' Iris Murdoch, The Sea, the Sea Each century seems to have its own interpellative dream-text: The Tempest for the 17th century; Robinson Crusoe for the 18th century; Jane Eyre for the 19th century; Heart of Darkness for the turn of this century. -
Letzte Instanz Coppelius Deathstars Metallspürhunde Project Pitchfork the Mission Camouflage Schandmaul
FEBRUAR / MÄRZ 09 AUSGABE 18 - JAHRGANG 4 LETZTE INSTANZ COPPELIUS DEATHSTARS METALLSPÜRHUNDE PROJECT PITCHFORK THE MISSION CAMOUFLAGE SCHANDMAUL DEATHSTARS LEAVES EYES METALLSPÜRHUNDE GRATIS ZUM MITNEHMEN EDITORIAL INHALT Ist Euch eigentlich aufgefallen, wie gering der 5 Tourdaten Einfluss der seit Monaten in düstersten Farben ge- 7 Soundcheck zeichneten globalen Finanzkrise auf unsere Szene 35 Lichtkunst: Gert Hof ....in diesen Läden gibt es das NEGAtief wirkt. Vielleicht liegt es daran, dass die Währung 48 Hörspiel: Sacred 2 Media Markt: Aschaffenburg, Augsburg, Bad Dürrheim, Bo- des Undergrounds in Kreativpunkten und nicht in chum, Chemnitz, Dessau, Dresden-Nickern, Duisburg, Flensburg, Euro gerechnet wird. Vielleicht ist die seit Jahren 38 Camouflage Goslar, Groß Gaglow, Günthersdorf, Heide, Heilbronn, Herzo- gebeutelte Musikbranche einfach auch resistent 16 Coppelius genrath, Hildesheim, Kaiserslautern, Karlsruhe, Koblenz, Krems, geworden, hat eigene Wege und Mittel aus der Kri- 19 Curious Leoben, Limburg, Linz, Magdeburg, Memmingen, München, se gefunden. Lässt man unser aktuelles Inhaltsver- 22 Deathstars Nürnberg-Kleinreuth, Oldenburg, Pforzheim, Porta Westfalica, zeichnis Revue passieren, dann wird angesichts der 36 Digital Factor Reutlingen, Saarbrücken ,Sindelfingen, Stuttgart, Trier, Viernheim, Stilvielfalt eines schnell klar: Gerade in Zeiten der Vössendorf, Weiterstadt, Wien, Wien Hietzing, Wiesbaden 26 Eisenfunk Krise hat Musik nicht nur einen einzigen Ausweg Saturn: Augsburg, Bad Oeynhausen, Bergisch Gladbach, zu bieten. Diese innere Zuflucht könnt ihr hono- 9 Ensoph 58 The Eternal Afflict Braunschweig, Bremen, Darmstadt, Dortmund, Dresden, rieren, indem ihr hin und wieder ein Album käuf- Düsseldorf, Erfurt, Essen, Euskirchen, Frankfurt, Gelsenkirchen, lich erwerbt oder in einem der unzähligen legalen 37 Fading Colours 8 Heavy-Current Gelsenkirchen, Göttingen, Graz, Hagen, Halle, Hamburg, Kaufportale herunterladet. -
Death - the Eternal Truth of Life
© 2018 JETIR March 2018, Volume 5, Issue 3 www.jetir.org (ISSN-2349-5162) DEATH - THE ETERNAL TRUTH OF LIFE The „DEATH‟ that comes from the German word „DEAD‟ which means tot, while the word „kill‟ is toten, which literally means to make dead. Likewise in Dutch ,‟DEAD‟ is dood and “kill” is doden. In Swedish, “DEAD” is dod and „Kill‟ is doda. In English the same process resulted in the word “DEADEN”, where the suffix “EN” means “to cause to be”. We all know that the things which has life is going to be dead in future anytime any moment. So, the sentence we know popularly that “Man is mortal”. The sources of life comes into human body when he/she is in the womb of mother. The active meeting of sperm and eggs, it create a new life in the woman‟s overy, and the woman carried the foetus with 10 months and ten days to given birth of a new born baby . When the baby comes out from the pathway of the vagina of his/her mother, then his/her first cry is depicted that the new born baby is starting to adjustment of of the newly changing environment . For that very first day, the baby‟s survivation is rairtained by his/her primary environment. But the tendency of death is started also. In any time of any space the human baby have to accept death. Not only in the case of human being, but the animals, trees, species, reptailes has also the probability of death. The above mentioned live behind are also survival for the fittest. -
Music Man Meredith Willson
The Music Man Meredith Willson THEATER 16/17 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week. -
Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence. -
BOOKLET EDITOR Antonin Scherrer 11 XI
1 Jean-Luc Darbellay Musik, die lebt 2 3 Gleichermassen berufen zur ars musica und zur die aber auch als Bindeglieder zum nächs- Die ungemein farbige und vitale Musik reduziert rhythmische Verdichtungen und aleatorisches Auf- ars medicina, wendet sich der international geach- ten Abschnitt führen. […] Die Klangzen- sich jedoch nicht auf diese Assoziationen, die vor brechen der Satzstruktur zu einer Art Tuba mirum tete Schweizer Komponist und Dirigent Jean-Luc tren werden häufig durch bewegliche allem auf das wiederholt ausbrechende Klangmag- entwickelt. Im Goldenen Schnitt schliesslich kehrt Darbellay innerhalb seines künstlerischen Wirkens Arabesken der Holzbläser und Streicher ma des Anfangs gerichtet sind. Vielmehr folgt das die Musik über eine solistische, fast palindromische unverkennbar den Menschen zu. Sowohl in seiner umspielt […]. Ich verwende zur Realisierung einsätzige Werk insgesamt einer parabelartigen Figur zum Ausgangspunkt zurück. Die Erwartung Tätigkeit als praktizierender Arzt als auch in seinem dieses Effektes eine “Mikrokanontechnik”. Spannungskurve mit anschliessenden brodelnden eines damit verbundenen versöhnlichen Schluss- kompositorischen Schaffen lässt er die Offenheit Rasche Läufe werden in sehr eng aufei- Streicherflächen, seufzerähnlichen Gesten der Holz- gedankens erfüllt sich allerdings nicht, sondern es zur Begegnung erkennen. In seiner Klangsprache nander folgenden kanonischen Einsätzen bläser und Korrespondenzen etwa zwischen lang kommt zu einer zweiten, chromatisch geprägten überwiegen demzufolge: die -
For Graduatet As' Pay Hike Poet, Political Activist to Discuss Black
I I ~FRIDAY'S WEATHER 1 LIGHT WINDS SECOND HAND DRV AND COLD SHOPPING Highs in the 20s 9 Lows 10-15 SEE PAGE 6 SEE BORDERLINE :....... Washington State University ver reen Vol. 95, No. 110 Friday, February 10, 1989 Student lobbylsts scrap for graduateT As' pay hike by Chris Grygiel Gov. Booth Gardner has not allocated Evergreen Staff enough funds for statewide faculty salary increases, Sullivan said. Graduate teaching assistants may be get- State colleges and universities requested ting a raise, but only if the state can come $169 million for pay hikes and have been up with the money. allocated only $62 million, Sullivan said. WSU is requesting $26.1 million to Graduate students teach from 20-40 per- close the gap between the. university and cent of undergraduate classes at state its peer institutions concermng faculty sal- research universities according to the aries for 1989-1991. WSL. ' Graduate assistants would receive $1.9 Graduate teaching assistants who teach million of that sum for pay hikes. 20 hours a week get $838 monthly. While The graduate pay raise would mean an Graduate teaching assistants on work study that work 20 hours a week receive $1092. Under the pay increase proposal, raises for university faculty would be extended "This university on a proportional basis to university grad- oij:- wou.ld be seriously uate assistants. The best university professors will not deCimated without come to Washington unless they know the services of they will be working with quality graduate students, the WSL said. graduate teaching Faculty Senate Chair James Cochran said graduate teaching assistants contribu- assistants.' , tions to WSU are immeasurable. -
We Are TEN – in This Issue
RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more .