Oreanisis As Composers
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A Case Study of Russia and Ukraine's Use of the Eurovision Song
Lund University FKVK02 Department of Political Science Spring 2020 Peace and Conflict Studies Supervisor: Fredrika Larsson The Battle of Eurovision A case study of Russia and Ukraine’s use of the Eurovision Song Contest as a cultural battlefield Character count: 59 832 Julia Orinius Welander Abstract This study aims to explore and analyze how Eurovision Song Contest functioned as an alternative – cultural – battlefield in the Russian-Ukrainian conflict over Crimea. With the use of soft power politics in warfare as the root of interest, this study uses the theories of cultural diplomacy and visual international relations to explore how images may be central to modern-day warfare and conflicts as the perception of. The study has a theory-building approach and aims to build on the concept of cultural diplomacy in order to explain how the images sent out by states can be politized and used to conduct cultural warfare. To explore how Russia and Ukraine used Eurovision Song Contest as a cultural battlefield this study uses the methodological framework of a qualitative case study with the empirical data being Ukraine’s and Russia’s Eurovision Song Contest performances in 2016 and 2017, respectively, which was analyzed using Roland Barthes’ method of image analysis. The main finding of the study was that both Russia and Ukraine used ESC as a cultural battlefield on which they used their performances to alter the perception of themselves and the other by instrumentalizing culture for political gain. Keywords: cultural diplomacy, visual IR, Eurovision Song Contest, Crimea Word count: 9 732 Table of Contents 1 Introduction ............................................................................................................ -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
La Instrumentalización Política Del Festival De Eurovisión: El Caso Del Enfrentamiento Entre Rusia Y Ucrania (2010-2019)”
FACULTAD DE COMUNICACIÓN GRADO EN PERIODISMO TRABAJO DE FIN DE GRADO “La instrumentalización política del Festival de Eurovisión: el caso del enfrentamiento entre Rusia y Ucrania (2010-2019)” JUNIO 2020. SEVILLA. AUTOR: DANIEL LINDO GARCÍA TUTOR: FERNANDO RAMÓN CONTRERAS MEDINA RESUMEN La cuestionada gestión de los servicios públicos de televisión, y la influencia de la Unión Europea de Radiodifusión y sus derivados en los cinco continentes, hacen del Festival de Eurovisión un escenario perfecto para la propagación de las consignas políticas que defienden los dispares gobiernos europeos que administran los primeros. La Revolución del Maidán y la anexión rusa de Crimea no solo provocaron una colisión entre Kiev y Moscú, también lograron acercar a una antigua república soviética como Ucrania a Bruselas. El longevo evento de música, reflejo del poder económico occidental, no ha sido sino la mayor plataforma mediática donde Rusia y su país vecino han librado una de sus muchas batallas. Palabras clave: Rusia, Ucrania, Eurovisión, Europa, canciones, televisión. ÍNDICE 1. INTRODUCCIÓN ...................................................................................................... 1 1.1. INTERÉS EN EL TEMA DE ESTUDIO E HIPÓTESIS ...................................... 1 1.2. ESTRUCTURA ..................................................................................................... 2 1.3. PLANTEAMIENTO GENERAL .......................................................................... 3 1.3.1. Objetivos ........................................................................................................ -
Eastman Notes July 2006
Summer 2010 FOr ALUMNI, PARENTS, AND FrIeNDS OF THe eASTmAN SCHOOL OF MUSIC FrOm THe DeAN A musical model In December of this year, we will witness the completion of George Eastman’s original dream when we open our new addition. What many once knew as the Swan Street parking lot was a small triangular parcel of land—the last piece of real estate George needed to complete his school and theater, at least as he had originally imagined it back in 1922. But the price the owner demanded was in George’s mind too high, and so the theater project went ahead without that property. In the ensuing years, the University of Rochester purchased the lot, and we are now completing the second phase of our Eastman Theatre Renovation and Expansion Project. Although “bricks and mortar” have occupied our time, energy, and resources NOTES as of late, we are equally committed to intensifying the Volume 28, Number 2 signal Eastman sends to the nation and the world. We re- Summer 2010 turned to New York City: our Eastman Virtuosi performed at Merkin Concert Hall, and the Ying Quartet performed Editor at the Morgan Library. We continued our participation in David raymond the Kennedy Center’s Conservatory Project, as well as in Contributing writers a John Adams residency in the nation’s capital (see p. 28). Clive Gillinson Douglas Lowry We are a leader in our expanding deployment of Internet2 ramon ricker technology to enhance our “virtual partnerships” around Helene Snihur the world. Our students learn from distinguished art- Contributing photographers ists and scholars from places as far away as Oslo, and we Kurt Brownell share our perspectives with those audiences, all in real- Adam Fenster time master class exchanges. -
The RTOS Story
The RTOS Story As told by the following brief history, the Rochester Theater Organ Society (RTOS) story is one of inspiration, luck, near failure, community involvement, perseverance and untold hours of dedication and hard work by an unstoppable band of enthusiasts and volunteers, all having the common goal of saving an important piece of Rochester's musical history through the preservation and presentation of a magnificent Wurlitzer theatre pipe organ. RTOS Story - In the Beginning In the beginning there was an organ, a theatre, and an organist. Wurlitzer Opus 1951 was built at the Rudolph Wurlitzer Company factory in North Tonawanda, NY in the summer of 1928. At that time the 2916-seat Keith-Albee Palace Theatre (later renamed RKO Palace) was well on its way to completion on Clinton Avenue North and Mortimer Street in Rochester, NY. A native of Great Britain, Tom Grierson had experience playing organs in St Louis, Brooklyn and Buffalo, and eventually settled in Rochester. Here he had held several church organist positions and played engagements at several local theatres before being retained to play at what would soon become Rochester's most beautiful movie palace. Tom custom designed the organ, a 4-manual, 21-rank, ‘special’ which was probably shipped by rail to Rochester on September 12, 1928. Installation took three months and local lore suggests that due to Tom’s close relationship with Wurlitzer (he recorded many organ player rolls for them) and since Rochester was only a short distance from the factory, that the organ was the recipient of voicing and regulating services not afforded most Wurlitzer installations. -
Voices of the Star an Ansteorran Bardic Publication
Voices of the Star An Ansteorran Bardic Publication Volume I A.S. XXXIX Kingdom of Ansteorra Kingdom Bards of Ansteorra* Antonia Bianca Santiago da Lagos - 01/03/2004 Pendaran Glamorgan - 01/04/2003 Antigonus Bearbait - 01/05/2002 Eleanor Fairchild - 01/06/2001 Ulf Gunnarsson - 12/11/1999 Willow de Wisp - 11/07/1998 Galen of Bristol - 11/15/1997 Robin of Gilwell - 12/14/1996 Finnacan Dub - 11/04/1995 Cedric Fithelere - 06/18/1994 Margery de Bray - 03/27/1993 Karina des Pensees - 12/21/1991 Hossein Ali Qomi - 01/12/1991 Cadfan ap Morgan Godrudd - 02/17/1990 Robin of Gilwell - 01/14/1989 Catrin ferch Gwilym o Gonway - 01/30/1988 Roselynde d'Angleterre - 08/09/1986 Sieglinde Syr - 06/22/1985 Einar of Langfjord - 09/29/1984 Harald Bodvarson - 08/07/1983 Jonathan DeLaufyson Macebearer - 03/27/1982 Titled Bards of Ansteorra* Aldersruhe – Lord Alexander von Ness Middleford – Sir Kenneth MacQuarrie of Tobermory Bjornsborg – None Moonschadowe – Lady Angelique Le Woulfe Blacklake – Namron – Lord Grímólfr Einarsson Bonwicke – Duchess Willow de Wisp Northkeep – Centurian Owen ap Aeddan ap Trehearn Bordermarch – Master Modius von Mergentheim Raven’s Fort – HL Annes Clotilde von Bamburg Brad Leah – Dona Antonia Bianca Santiago da Lagos Rivers Run – Bryn Gwlad – Dona Antonia Bianca Santiago da Lagos Rosenfeld – Geoffrey Clark Chemin Noir – Seawinds – Lord Henri de Gauthier Crossrode Keep – Lord Seamus O'Dubhoa Skarrgard – Lord Gunnar Thordarsson Dragonsfire Tor – Master Robin of Gilwell Shadowlands – Lord Alden Drake Eldern Hills – Lady Serena Dominicci -
2018 INDEX of ARTICLES Published in the TIBIA, the BOMBARDE
1955 - 2018 INDEX of ARTICLES published in THE TIBIA, THE BOMBARDE, and THEATRE ORGAN [2019 Edition] by Jack Moelmann 1955-2018 INDEX OF ACTICLES PUBLISHED IN THE TIBIA, THE BOMBARDE, and THEATRE ORGAN by Jack Moelmann This is an index of major items which appeared in THE TIBIA, 1955-1958; THE BOMBARDE, 1964- 1966; and THEATRE ORGAN, 1959-2018. No attempt has been made to list the many smaller items such as Chapter News/Notes, Concert News, Nuggets, etc. In addition, other items routinely published are also not included, e.g., committees, Directors/Staff/Editors, classified ads, advertisements, the President’s Message, Letters to the Editor/Members’ Forum, meeting notices, advertising rates, items from the ATOS International News newsletter, some items from the Pipes and Personalities section, election announcements, Annual Membership Meeting announcements, Special Services/ATOS Marketplace items available, scholarship and competition program announcements, and other items of that nature. Since THEATRE ORGAN is issued bi-monthly, issues are identified by the first month of their issue. Abbreviations used in this index include: C=Classical; CA=Audio Cassette Tape; CD=Compact Disc; E=Electronic Instrument; P=Pipe Organ; M=Mechanical Instrument; VC=Video Cassette Tape; Spr=Spring Issue; Win=Winter Issue; Sum=Summer Issue; Supp=Supplemental publication. Corrections/comments/additions should be sent to Jack Moelmann; 1015 Matthew Drive, O’Fallon, Illinois 62269; Phone: (618) 632-8455; Fax: (618) 632-8456; E-mail: [email protected] Copyright - none TABLE OF CONTENTS Page 1. ATOS ARCHIVE & LIBRARY and SPECIAL/MEMBER SERVICES ............................................... 3 2. ATOS CHAPTER OPERATIONS .................................................................................................... 3 3. ATOS COMMITTEE REPORTS and NOTES ................................................................................ -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
Deploying Musical Narratives of Internal Others in Soviet and Post-Soviet Ukraine
“THEY BELIEVE THE DAWN WILL COME”: DEPLOYING MUSICAL NARRATIVES OF INTERNAL OTHERS IN SOVIET AND POST-SOVIET UKRAINE Melissa Bialecki A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2017 Committee: Katherine Meizel, Advisor Sidra Lawrence © 2017 Melissa Bialecki All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor This thesis explores the roles of internal others in constructing a Soviet and post-Soviet Ukrainian national identity. I begin with an analysis of the kobzars—a group of blind, itinerant minstrels who performed across Ukraine in the late 19th and early 20th centuries, before they disappeared entirely during Stalin’s Great Terror in the 1930s. First, I explore the ways in which the Ukrainian bandura, an asymmetrical lute instrument, has become a site for documenting epistemologies of blind musicians in Ukraine. I then examine how these ways of knowing blindness have been influenced by myths of blind musicians in Ukraine that seek to demystify these internal “others.” Furthermore, I discuss how these myths continue to influence 21st century depictions of blind minstrels through an analysis of the 2014 Ukrainian film, The Guide. Finally, I turn my focus to the Eurovision Song Contest in order to examine how narratives of internal others are deployed in order to negotiate Ukraine’s position in 21st century Europe and in the context of the Russian-Ukrainian conflict. I then reflect on the ways in which deploying these narratives of internal others does not draw these groups into the mainstream, but instead emphasizes and exploits their difference for the purpose of rejecting external hegemony in Ukraine. -
Eastman Notes July 2006
WINTER 2011 FOR ALUMNI, PARENTS, AND FRIENDS OF THE EASTMAN SCHOOL OF MUSIC FROM THE DEAN New music, new styles, and a new era The new Eastman East Wing was completed in December of 2010, and dedicated in a six-day festival we called “The New Eastman Evolution.” This issue of Notes shares with you some of the highlights of this ground-breaking project, one of the many “signal” moments in the rich history of the Eastman School of Music. For members of the Eastman family who have yet to see it, suffice it to say, it is dramatic. Aesthetically and acoustically brilliant, the project’s completion nevertheless means more than us just meeting critical space needs. It is a sym- bol of a new era at Eastman as it leads the way into the music of the 21st century. In our art form, there is a temptation to echo a popular press that routinely NOTES decries the slippage of music in the eyes and ears of a Volume 29, Number 1 fickle public. I would argue quite the opposite: this may Winter 2011 be one of the most exciting moments in all of music his- tory. But it is only exciting if one accepts the notion that Editor every art form throughout recorded history evolves, and David Raymond evolves constantly. Music, and the context within which Contributing writers it is presented, adapts not just to popular cultural trends, Ruth Cahn Douglas Lowry but as a function of its own constant improvisation. So Ramon Ricker many of the positions that Eastman has staked over the Jamal Rossi years serve up remarkable examples of innovative think- Helene Snihur ing, feeling and music making—of not merely respond- Contributing photographers ing to trends, but establishing new trends altogether. -
European Youth Forum Trogen 2017 | 1 Tuesday, 21St March 2017
Tuesday, 21st March 2017 EUROPEAN YOUT H FORUM at the PESTALOZZI CHILDREN’S V ILLAGE Photo: Marta Greetings humans! Stereotype busters Carlo and Daria Angelina There are a lot of stereotypes of each country and for this reason we Today is our 3rd day in the eyft2017 selected the most famous, just for fun! project and in this newspaper we want to tell you more about our group life. We’ll also talk about events that hap - Russia Hungary Ukraine Ukrainians eat pened recently, a small review of some Russians have Hungaryans eat important and gorgeous places in the bears as a pet spicy food cont- salo and drink village and like yesterday a tutorial and ains lot of fat vodka every day a music album review. Did you know how to write a letter to Europe? If not we wrote an article Switzerland Turkey Turkish men are about it especially for you. More about Swiss are extre- very jealous and it you’ll find just inside the newspaper. mely punctual and have their often fight for Don’t forget to check the Youth club own bank woman news out, it will be worth it. So enjoy your free time and stay tuned! (P.S. don’t forget about the radio show Latvia Germany Italy at 6p.m.) Latvians always Germans drink a Italians love pizza sing and dance lot of beer and pasta and they are in mafia European Youth Forum Trogen 2017 | 1 Tuesday, 21st March 2017 Dear Europe... Marta Yesterday the Identity group wrote some letters to Europe where they ex- press their hope, their fears and some advices. -
BILL GAGE Theatre Organist of Two Eras
BILL GAGE Theatre Organist of Two Eras by Lloyd E. Klos There are still a healthy number of cert on the organ there. It was in family well known in General theatre organists whose careers have stalled later in Wanamaker's store in Motors history. Alvin had rigged a bridged from the silent movie days to Philadelphia, forming the nucleus of makeshift theatre in his garage where the renaissance movement of this the enlarged instrument now played he showed movies. A nearby pump great instrument. During a visit to daily. organ was played by Bill to provide Rochester in October, 1973, one of "He also played a concert on the the accompaniment. these performers, Bill Gage, spent Hope-Jones organ in the Ocean His first paying job was as a sub several hours with the writer to re Grove, New Jersey, Auditorium in stitute organist at the 1336-seat Clar view highlights of his career. 1915 for a Methodist meeting. I was idge Theatre in Montclair, playing a William M. Gage was born in 1910 to play it years later, using its Flag 2/10 Wurlitzer with piano. This was in New York City. As is the case with stop when playing 'Battle Hymn of followed by another sub position in many musicians, he inherited his the Republic.' The resulting blast Upper Montclair at the 975-seat love for music. His father was a con was a real crowd-pleaser!'' Bellevue Theatre, which had a cert and church organist, and his Montclair, New Jersey, was the lo 3-manual Austin.