DOCSLIB.ORG

Maria Isabel Mayo-Harp B.A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Maria Isabel Mayo-Harp B.A NATIONAL ANTHEMS AND IDENTITIES: THE ROLE OF NATIONAL ANTHEMS IN THE FORMATION PROCESS OF NATIONAL IDENTITIES Maria Isabel Mayo-Harp B.A. (Hom.) Instituto Tecnologico Authorno de México, 1994 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUTREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department of Political Science O Maria Isabel Mayo-Harp 2001 SMON FRASER UNIVERSITY July 200 1 Al1 rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 ûttawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Librq of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microforrn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract The issue of how nations came to being has been extensively covered by social scientists. Many academics have considered the expansion of print media since the lare eighteenth century as the main factor in the emergence of nation-states in Europe and Latin America. Specifically, they have pointed out the important role of novels and newspapers as the main vehicles for national consciousness formation. However, this thesis contends that they alone cannot explain the great dissemination of national feelings or nationalism düring that century. This thesis explains the important role that national anthems have played in the process of national emergence, and how, although more restrictive in number and extension than the novel, they acted as effective transmitters of national ideologies. The study not oniy describes the different functions of national anthems and the way they can evoke popular feelings and emotions; it also quantitatively analyzes their textua1 content and, in a specific way, covers the circumstances of the emergence of Spanish Arnerican nations while looking particularly at the Mexican national anthem. The period of study is primarily the nineteenth century; however, its implications cm be extrapolated to present days. Ultimately, this thesis conciudes that while national anthems are created by elites seeking to reach some specific goals, they are, at the same time, authentic expressions of popuIar identity. 1 conciude that further research on the role of national anthems in present nationalistic movements and conflicts should be undertaken. iii To my parents, Carlos and Celia Mayo, and to my husband, Francisco F. Harp. Acknowledgements 1 wouid like to thank my senior supervisor, Dr. David Laycock, for his patience in reading the earlier drafts of this thesis, for his interest and concern to bring to my attention valuable references, above al1 for his comments that help shape the central ideas of this essay. I would also like to thank Dr. Maureen Covell for her input on earlier drafts of this research. Her constant support, straightforward manner and attention to my best interests were niost appreciated. 1 am gratefi~lto Dr. Paul Warwick for his statisticd consultation, and to Dr. Antonio Gornez-Moriana for his guidance and constructive criticism. Thanks go to Liliana Hill, for her unending patience and the generous arnounts of time she gave to my rnanuscripts. Finally, 1 would IiKe to thank rny husband Francisco, who has lived through this study with me, and my parents, Carlos and Celia, who have supported me ail the way. Table of Contents Chapter 1. Introduction: National Anthems and Collective Identity. 1 1.1. Violence and Rationality 1.2. National Symbols and Identities 1.3. What Are National Anthems? 1.4. The Sccial-Political Functions of National Anthems 1S. Syrnbolic Communication 1.6. Chapters Outline Chapter 2. The Formation of National Identities during the Nineteenth Century 2.1. What is a Nation? 2.2. The Emergence of Nations in the Nineteenth Century: The Role of Novels and Newspapers 22.1. Some points to be considered 2.3. The Emergence of Nations in the Nineteenth Century: The Role of National Anthems 2.3.1. Language standardization, common use of words, names and phrases, and delimitation of members 2.3.2. "Homogeneous, empty the" and the introduction of an ancient and continuous history 2.3.3. The popular hero 2.4. The Next Step Chapter 3. A Quantitative Analysis 3.1. A Formal Analysis of National Anthems as Texts 3 -2. Dependent Variables 3.2.1. Anthem's Content 3-22Anthem's Grade of Bellicosity 3 -2.3.Anthem's Length 3.3. Independent Variables 3.3. I . Spatial variable 3.3.2. Social variables 3.3.3. Temporal variables 3 -4. National Anthem's Content 3.5. Anthem's Structure: Grade of Bellicosity and Length 3.5.1. The role of Region 3.5.2. The role of language 3.5.3. The role of Colonial Powers 3.5.4. The role of Religion 3.5.5. The role of Sociai Events 3.5.6. The role of Political Arrangement 3.6. The multivariate Models 3.6.1. Anthem's Bellicosity: Muitivariate Model 3 -6.2. Anthem' s Length: Multivariate Model 3.7. Conclusion Chapter 4. The Spanish American Anthems 4.1. The Spanish American Anthems: The Highest Scores 4.2. Spanish-American Anthem's Bellicosity 4.3. Spanish-Arnerican Anthems' Length 4.3.1. Low Focus Events: Conservatives vs Liberals 4.4. A Case Study: The Mexican National Anthem 3.4.1. A bt-ief quantitative introduction 4.4.2. The Political Anarchy 4.4.3. The External Interventions 4.4.4. The Mexican Anthem's Popular Acceptance 4.5. Conclusion Chapter 5. Conclusions: Nations and Anthems 5.1. Principal Findings 5.2. Future Perspectives Appendix A Variables Data Appendix B Bellicose Words Appendix C Statistical Tables Bi bliography vii List of Tables Table 3.1. Anthern' s Content Table 3.2. Grade of Bellicosity Table 3.3. Anthem's Length Table 3.4. Lambda Measures 69 Table 3.5. Categorical Regression 7 1 Table 3.6. Percentage of bellicose words and number of verses by Region 76 Table 3.7. Percentage of bellicose words and number of verses by Lnnguage 78 Table 3 -8. Percentage of bellicose words and number of verses by Col. Power 80 Table 3.9. Percentage of bellicose words and number of verses by Religion 82 Table 3.10. Percentage of bellicose words and number of verses by Social Event 83 Table 3.1 1. Percentage of bellicose words and number of verses by Politicai Arrangement Table 3.12. Linear Regression (Stepwise rnethod) Dependent Variable: Anthem' s bellicosi ty Table 3.13. Linear Rezression (S tepwise method) Dependent Variable: Anthem's bellicosity Table 3.14. Linear Regression (S tepwise method) Dependent Variable: Anthem's length Table 3.15. Linear Regression (Stepwise method) Dependent Variable: Anthem's Length Table 4.1. Groups with the Highest Scores .. Vlll Chapter 1 Introduction: National Anthems and Collective Identity Like other national spbols, national anthems are labels by which nations identify themselves. But they are much more than that. Through them, it is possible to identify each nation's identity and bring a sense of concreteness to the highly abstract notior. of "nation". In :his thesis, 1 will explain the important role that national anthems have played in the process of national formation, and how, although more restrictive in number and extension than the novel, they acted as effective transmitters of national ideologies. The study not only describes the different functions of national anthems and the way they can evoke popular feelings and emotions, it also quantitatively analyzes their textual content and, in a specific way, covers the circumstances of the emergence of Spanish American nations while looking particularly at the Mexican national anthem. The period of study is primarily the nineteenth century; however, its implications can be extrapolated to present days. 1.1. Violence and Rationality Political history has been largely dominated by mass violence and by great efforts to deal with hopes and material goals. At the sarne time, entire communities do not show signs of protest activity to oppressive conditions and at some other times they even passionately defend those social and political institutions that exploit them. Collective actions that are violent are easy to analyze and understand if their goal is an increasing of material goods, or a better condition of life, in other words, if they are clearly "rational". But how to explain those social movements around Islamic 1 fùndarnentalism in Iran, or liberation theology in Haiti in which the participants repeatedly sacrifice not only their materiai rewards, but also their lives? How to understand the enthusiastic support for despotic regimes or those large-scde massacres in Russia, Spain, Indonesia, Armenia or the former Yugoslavia during the Iast century? When rational and materialist models confront these types of questions, they sometimes turn to non-rational explanations, and "we may be told that nationalism transformed hearts and minds - but not why and how."' It is not enough to explain pditical behaviour and social change as a response of rational individuals. That would be, in the majority of the cases, simplistic and misleading.
Load more

Recommended publications
  • Chawla 1 the Female Renunciant in Exile
    Chawla 1 The Female Renunciant in Exile: (Re-)Invention, Translation, Empowerment1 Abstract Through a focus on the Tibetan Nuns Project (TNP) founded in 1987, my paper argues that exile in India necessitated a translation of “Tibetan culture” for patrons and potential sponsors of the putative “Tibetan cause” in Europe and North America, which in turn led to pedagogical and curricular innovations in Tibetan nunneries. This has led to a re-imagination of the role of the female monastic within Tibetan nationalist culture: from a relatively marginal position (vis-à-vis monks), nuns now occupy a prominent place as ambassadors for the Tibetan cause. Mass migration led to innovations, inventions, and improvisations within Tibetan society in exile regarding the role of women in general, and religious women in particular. Through an analysis of the TNP, this paper asks how migration has occasioned a rethinking among Tibetans about gender relations within their society, and the ways in which a three-generation long stay in India has contributed to this rethinking. A second related enquiry is about the translation of western feminism in Tibetan Buddhist contexts, both through the initiatives of TNP office bearers such as Elizabeth Napper and Phillipa Russell, as well as through TNP’s participation in the worldwide rethinking of women’s roles in the Buddhist sangha. Finally, I explore what empowerment means in movements for gender-equality within TNP nunneries, and ask if these are based on a misreading of these non-Western monastic traditions in Judeo-Christian terms. I make a case for approaching Tibetan exile in India beyond the prism of forced dislocation and loss, and argue that exile became an opportunity for Tibetan Buddhist nuns to reconfigure their position in Tibetan society.
    [Show full text]
  • L'aula D'idioma Com a Mitjà D'integració I D'enriquiment
    L’AULA D’IDIOMA COM A MITJÀ D’INTEGRACIÓ I D’ENRIQUIMENT MULTICULCULTURAL José Luis Bartolomé Sánchez Curs 2004-2005 Centre de treball: IES Montsacopa (Olot, Garrotxa) Especialitat: Llengua anglesa Supervisió: Neus Serra (Servei Inspecció Delegació Territorial d’Educació de Girona) Llicència d’estudis retribuïda concedida pel Departament d’Educació de la Generalitat, Resolució del 16 de juliol de 2004 (DOGC núm. 4182 de 26.7. 2004) “The White Man Drew a Small Circle” The white man drew a small circle in the sand and told the red man, 'This is what the Indian knows,' and drawing a big circle around the small one, 'This is what the white man knows.' The Indian took the stick and swept an immense ring around both circles: 'This is where the white man and the red man know nothing.' Carl Sandburg « L'home blanc va dibuixar un cercle petit » L'home blanc va dibuixar un cerce petit a la sorra i va dir al pell roja: "Això és els que coneixeu els indis" i tot seguit va dibuixar un cercle gran al voltant del petit: "Això és el que coneixem els homes blancs." L'indi va agafar el pal i va escombrar un enorme cercle al voltant dels altres dos: "Això és on ni l'home blanc ni el pell roja no coneixen gens". 2 3 4 5 Índex Pàgina Introducció 7 Greencards for Cultural Integration 11 Readers 113 - Around the world in ten Tintin books 118 - Australia 129 - America 139 - Far and Middle East 155 - Africa 177 - Far East. China & India 217 Pop Songs 249 Movies 357 Conclusions 428 Bibliografia 433 6 INTRODUCCIÓ 7 L'experiència personal dels darrers anys com a docent d'institut en un municipi amb un augment espectacular de l'arribada de famílies i alumnes d'altres països m'ha fet veure que l'entrebanc principal de contacte amb aquestes persones -l'idioma- resulta de vegades paradoxal.
    [Show full text]
  • Contemporary Asian Art and Exhibitions Connectivities and World-Making
    Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 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, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern .
    [Show full text]
  • Contemporary Asian Art and Exhibitions Connectivities and World-Making
    Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 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, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern .
    [Show full text]
  • Guida Junior Eurovision 2016
    JUNIOR EUROVISION SONG CONTEST: LA FESTA EUROPEA DELLA MUSICA, A MISURA DI BAMBINO Cos’è lo Junior Eurovision Song Contest? E’ la versione “junior” dell’Eurovision Song Contest, ovvero il più grande concorso musicale d’Europa ed è organizzato, come il festival degli adulti dalla EBU, European Broadcasting Union, l’ente che riunisce le tv e radio pubbliche d’Europa e del bacino del Mediterraneo. Lo Junior Eurovision si rivolge ai bambini e ragazzi dai 9 ai 14 anni (età abbassata da questa edizione, fino al 2015 era 10-16), che abbiano avuto o meno esperienze canore precedenti (regola introdotta nel 2008: prima dovevano essere esordienti assoluti) L’idea è nata nel 2003 prendendo spunto da concorsi per bambini organizzati nei paesi Scandinavi, dove l’Eurovision Song Contest (quello dei grandi) è seguito quasi come una religione. Le prime due edizioni furono infatti ospitate proprio da Danimarca e Norvegia. Curiosamente però, dopo le prime edizioni, i paesi Scandinavi si sono fatti da parte, eccezion fatta per la Svezia. Come funziona lo Junior Eurovision Song Contest? Esattamente come allo Eurovision dei grandi, possiamo dunque dire che sono “le televisioni” a concorrere, ciascuna con un proprio rappresentante. Rispetto alla rassegna degli adulti, ci sono alcune sostanziali differenze: Il cantante che viene selezionato (o il gruppo) deve essere rigorosamente della nazionalità del paese che rappresenta. L’unica eccezione è stata consentita per la Repubblica di San Marino (quest’anno assente). Nella rassegna dei “grandi” non ci sono invece paletti in tal senso ma piena libertà. Le canzoni devono essere eseguite obbligatoriamente in una delle lingue nazionali almeno per il 70% della propria durata, che deve essere compresa fra 2’45” e 3’ e completamente inedite al momento della presentazione ufficiale sul sito della rassegna o della partecipazione al concorso di selezione.
    [Show full text]
  • Ideas of South Asia Symbolic Representations and Political Uses
    South Asia Multidisciplinary Academic Journal 10 | 2014 Ideas of South Asia Symbolic Representations and Political Uses Aminah Mohammad-Arif and Blandine Ripert (dir.) Electronic version URL: http://journals.openedition.org/samaj/3699 DOI: 10.4000/samaj.3699 ISSN: 1960-6060 Publisher Association pour la recherche sur l'Asie du Sud (ARAS) Electronic reference Aminah Mohammad-Arif and Blandine Ripert (dir.), South Asia Multidisciplinary Academic Journal, 10 | 2014, « Ideas of South Asia » [Online], Online since 25 December 2014, connection on 03 March 2020. URL : http://journals.openedition.org/samaj/3699 ; DOI:10.4000/samaj.3699 This text was automatically generated on 3 March 2020. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 1 TABLE OF CONTENTS Introduction. Imaginations and Constructions of South Asia: An Enchanting Abstraction? Aminah Mohammad-Arif ‘India, that is Bharat…’: One Country, Two Names Catherine Clémentin-Ojha India in the Muslim Imagination: Cartography and Landscape in 19th Century Urdu Literature Faisal Devji A Strange Love of the Land: Identity, Poetry and Politics in the (Un)Making of South Asia Sudipta Kaviraj Poetics and Politics of Borderland Dwelling: Baltis in Kargil Radhika Gupta Impasse and Opportunity: Reframing Postcolonial Territory at the India-Bangladesh Border Jason Cons Anthropology, Politics, and Place in Sri Lanka: South Asian Reflections from an Island Adrift Jonathan Spencer Thinking India in South Africa: Gandhi’s Conundrum Claude Markovits The Construction, Mobilization and Limits of South Asianism in North America Anouck Carsignol From South Asia to Southasianism: A Nepalese Activist’s Perspective An interview with Kanak Mani Dixit Blandine Ripert Afterword.
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]
  • Musical Women and Identity-Building in Early Independent Mexico (1821-1854)
    Musical Women and Identity-Building in Early Independent Mexico (1821-1854) Yael Bitrán Goren Thesis submitted for the degree of PhD Music Department, Royal Holloway, University of London 2012 1 Declaration of Authorship I, Yael Bitrán Goren, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 13 April 2012 Abstract This thesis investigates music in Mexico City, with an emphasis on women's relationship to Romanticism, education, consumption, domestic music-making and public performance. During the first decades after independence in 1821, Mexicans began the process of constructing an identity, which musically speaking meant an expansion of the secular musical world. Such construction involved the development of internal activity alongside a conditional receptivity to external influence in the form of the visits of Italian opera companies such as those of Manuel García and Max Maretzek, and travelling virtuosi such as pianist virtuoso Henri Herz, who brought new repertoire and performance practices to Mexican theatres and homes. As consumers and as musicians, women were at the centre of such developments. In Mexico, both European music and that of local musicians was disseminated by means of ladies’ journals and imported and locally-printed sheet music by foreign and Mexican composers, in order to supply a growing home market for amateurs. Abundant surviving repertoire for the home, the widespread availability of musical instruction as revealed through advertisements, and witness accounts of soirées and concerts in the theatre reveal a budding musical world that has hitherto been overlooked and which occurred during a period generally deemed of little importance in Mexican musical history.
    [Show full text]
  • Lista Membrilor CREDIDAM La Data De 15.02.2015, Români Şi Străini Care Au Acordat Mandat În Mod Direct (Nu Intră În Aceas
    Lista membrilor CREDIDAM la data de 15.02.2015, români şi străini care au acordat mandat în mod direct (nu intră în această listă artiştii interpreţi străini reprezentaţi indirect, pe baza acordurilor încheiate cu organismele similare din străinătate) Data la care a devenit Data cerere revocare mandat Data solicitare redobandire Nr.crt. Nume Prenume Pseudonim/Nume de scena membru acordat CREDIDAM * calitate membru CREDIDAM * 1 Aaron Renfree S CLUB 8 27.12.2010 2 Ababei Alexei 07.09.2011 3 Abacioaei Eugen 11.06.1998 4 Abaghioaiei Istrate Florica Opris 31.08.2009 5 Aboaice Silvia 29.03.2004 6 Aboulumosha Mejda Sandra 09.04.2009 7 Abraham Andrew Andy Abraham 27.12.2010 8 Abraham Rares Mihai 30.06.2006 9 Abrahams Kyle James 16.01.2013 10 Abram Zsuzsanna 20.05.2008 11 Abrudan Ioan Alexandru 24.06.2003 12 Abrudan Iulian 08.03.1997 13 Abuzatoae Constantin 02.11.2010 14 Achim Alin Alin Achim 11.03.2000 15 Achim Daniel 14.08.2012 16 Achim Ovidiu Alexandru 07.04.2005 17 Achitei Anton 29.05.2003 24.10.2012 05.04.2013 18 Achitei Mirela Badea 01.03.2000 19 Aciobanitei Marian Mac 03.05.2010 20 Aciocirlanoaei Vasile Petronius Pedro Negrescu 16.11.2003 21 Aciu Marius 12.04.2010 22 Aciu Paula Cristina Paula Chirila 24.05.2010 23 Acker Petra 06.12.2011 24 Acsinte Constantin 04.03.1998 25 Acsinte Florin FOFO 05.07.2013 26 Acsinte Maria Augusta 29.10.1999 27 Acsintoaie Robert Iulian Robert 08.09.2011 28 Adair Daniel Patrick 09.07.2013 29 Adam Ana Luminita 21.06.1999 30 Adam Anda Angelica Anda Adam 08.06.2004 31 Adam Carmen 17.09.1999 32 Adam Chirila Adrian
    [Show full text]
  • The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992
    THE SECULARIZATION OF THE REPERTOIRE OF THE MORMON TABERNACLE CHOIR, 1949-1992 Mark David Porcaro A dissertation submitted to 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 (Musicology) Chapel Hill 2006 Approved by Advisor: Thomas Warburton Reader: Severine Neff Reader: Philip Vandermeer Reader: Laurie Maffly-Kipp Reader: Jocelyn Neal © 2006 Mark David Porcaro ALL RIGHTS RESERVED ii ABSTRACT MARK PORCARO: The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992 (Under the direction of Thomas Warburton) In 1997 in the New Yorker, Sidney Harris published a cartoon depicting the “Ethel Mormon Tabernacle Choir” singing “There’s NO business like SHOW business...” Besides the obvious play on the names of Ethel Merman and the Mormon Tabernacle Choir, the cartoon, in an odd way, is a true-to-life commentary on the image of the Salt Lake Mormon Tabernacle Choir (MTC) in the mid-1990s; at this time the Choir was seen as an entertainment ensemble, not just a church choir. This leads us to the central question of this dissertation, what changes took place in the latter part of the twentieth century to secularize the repertoire of the primary choir for the Church of Jesus Christ of Latter-day Saints (LDS)? In the 1860s, when the MTC began, its sole purpose was to perform for various church meetings, in particular for General Conference of the LDS church which was held in the Tabernacle at Temple Square in Salt Lake City. From the beginning of the twentieth century and escalating during the late 1950s to the early 1960s, the Choir’s role changed from an in-house choir for the LDS church to a choir that also fulfilled a cultural and entertainment function, not only for the LDS church but also for the American public at large.
    [Show full text]
  • Foi Proclamada "Miss Universo" a Senhorita Lize Golderbeiter, "Miss Áustria"
    pr * ra^rmTmmmmmwfmi ww ¦ a->™ pjtwnuwfw" .,» -t**"-*-*-*!!!-!*-*!**^ J******* É R .. ,-*^**v^-¦*••¦ i • *v » UMA SECÇAr O JORNAL EDIÇÃO DE 16 PAGINAS ANNO XI «IU O»; JANEIRO — QUARTA-f-tülU, ia De tll MIO OM 1131 (*•*. 3 5 .ift •'••• —— i ¦"" i,*****>*i!=':--iT*,riiMi i.' æ— o epílogo do orande concurso internacional de belleza "Miss Foi proclamada Universo" a senhorita Lize Golderbeiter, "Miss Áustria" i:«-i.. i .-% afinal. Iiunleni, ¦_.-'?.• r«P"r«i*Blanu tinte t, -i. ia- • ¦•>¦¦ ¦• •»)=•« d* tietltM du Qal* !'!?*.„t..?!!_-,,i"-oneurso Uma* mli panou st*.l»t#iii rtta flennalne L«b«rd*. Atal-ti 4t* •..» rhtmam •* * it>*-.-.• \ - > ».-.•» ao d* ftalltu.I a grand* festa mUiiair. e. na» srchi- **a*N|a -#i;.«. * qu* gye em mtio de imitei v.tion. Na inunda Inteiro palpitam A («nhorlia Olga Rtrgemlnl da íA Uni-ads» delia me artrqu*!. t, Ao m. panetiMM • - ¦«»¦» • i•*•-••• tvn. tíHsde. «'ura.;'". »»••=•• = "> '"-'» deeMo do asptclst*, vlem-te qusti C. A. ia CUNHA ja. ii.üi.- at sua* ' ».í»i«--«a«-« tnirij4 A» tlneeil-lade pat-au, nmiij um meteoro de selnlll. lotfas aa -ml»»*. * as "DUrlo punho, du jury. dtiltrei.p, a piaiU fatutat, A ttotâ jury iuminl#lunadu para etrulh*i l*t,tma tsiranhameiite a auturidsde. (ÜBTlidu c-i.c.hi ao Jtiii.MAL, aa 4a Ilo Paulo- '¦'¦* me 4tt*« • om um i.:•»--., . u. f.Un ...... »jm um ar _i.5-4«» o i-a/inni Ao mundo, u. • ,. .: nduetora*. ptla locae*. •» pela» it a .-is linda de *ntr*> a* eltlist) da tianjo IUpublU-4 sepuntrlonal. e du Ut!,.lu ds .Mlaas" aoa Ctlidot Unidos| viva noa olho», o tm *av!»t> um u.j.i-a .
    [Show full text]
  • Catalogo MIDI
    M-LIVE CATALOGO COMPLETO MIDI - 29/09/2021 COMME FACETTE LA CAMMESELLA MEDLEY ESTATE 2018 - POR UNA CABEZA (TANGO AC/DC 1 MAMMETA LA CUCARACHA VOL.2 STRUMENTALE) BACK IN BLACK CONCERTO D'ARANJUEZ (INSTRUMENTAL) MEDLEY ESTATE 2019 - QUEL MAZZOLIN DI FIORI 10CC HIGHWAY TO HELL CORAZON DE MELON LA CUMPARSITA VOL.1 REGINELLA CAMPAGNOLA YOU SHOOK ME ALL NIGHT I'M NOT IN LOVE CU CU RRU CU CU (INSTRUMENTAL TANGO) MEDLEY ESTATE 2019 - ROMA NUN FA LA STUPIDA LONG PALOMA (ESPANOL) LA GELOSIA NON È PIÙ VOL.2 STASERA ACE OF BASE 2 DEUSTCHLAND UBER DI MODA MEDLEY FOX TROT - VOL.1 ROMA ROMANTIC MEDLEY ALL THAT SHE WANTS ALLES - DAS LIED DER LA GONDOLIERA MEDLEY FOX TROT - VOL.2 RUSTICANELLA (QUANDO 2 EIVISSA CRUEL SUMMER DEUTSCHEN (GERMANY LA MARSEILLAISE (INNO MEDLEY FOX TROT - VOL.3 PASSA LA LEGION...) OH LA LA LA LIFE IS A FLOWER HYMN) NAZIONALE FRANCIA) MEDLEY FOX TROT - VOL.4 SAMBA DE ORFEO 24KGOLDN FT. IANN DIOR LIVING IN DANGER DIMELO AL OIDO LA MONTANARA (VALZER MEDLEY FUNK - 70'S (INSTRUMENTAL) MOOD THE SIGN (INSTRUMENTAL TANGO) LENTO) INSTRUMENTAL SBARAZZINA (VALZER) 2BLACK FT. LOREDANA ACHEVERÈ DO BASI DE FOGO LA PALOMA MEDLEY GIRO D'ITALIA SCIURI SCIURI LUNA DE ORIENTE (SALSA) BERTÈ DON'T CRY FOR ME (INSTRUMENTAL) MEDLEY GRUPPI ANNI 70 - SHAME AND SCANDAL IN WAVES OF LUV (IN ALTO ARGENTINA LA PICCININA VOL.1 THE FAMILY (SKA ACHILLE LAURO MARE) DOVE STA ZAZÀ (INSTRUMENTAL POLCA) MEDLEY HULLY GULLY - VERSION) 1969 2UE EBB TIDE LA PIMPA (SIGLA RAI VOL.2 SICILIANA BRUNA C'EST LA VIE LA TUA IMMAGINE EL BARBUN DI NAVILI YOYO) MEDLEY HULLY GULLY - SILENT NIGHT (ASTRO DEL MALEDUCATA EL CUMBANCHERO LA PUNTITA VOL.3 CIEL) MARILÙ 3 (INSTRUMENTAL) LA VEDOVA ALLEGRA MEDLEY HULLY GULLY - SILENT NIGHT (DANCE ME NE FREGO EL GONDOLIER (INSTRUMENTAL VALZER) VOL.5 RMX) ROLLS ROYCE 360 GRADI ESPANA CANÌ LARGO AL FACTOTUM MEDLEY HULLY GULLY - SIORA GIGIA SOLO NOI BA BA BAY (INSTRUMENTAL PASO (FROM IL BARBIERE DI VOL.7 SOMEWHERE OVER THE ACHILLE LAURO FT.
    [Show full text]