Classical Images – Mesopotamian Lyra
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Summer Constellations
Night Sky 101: Summer Constellations The Summer Triangle Photo Credit: Smoky Mountain Astronomical Society The Summer Triangle is made up of three bright stars—Altair, in the constellation Aquila (the eagle), Deneb in Cygnus (the swan), and Vega Lyra (the lyre, or harp). Also called “The Northern Cross” or “The Backbone of the Milky Way,” Cygnus is a horizontal cross of five bright stars. In very dark skies, Cygnus helps viewers find the Milky Way. Albireo, the last star in Cygnus’s tail, is actually made up of two stars (a binary star). The separate stars can be seen with a 30 power telescope. The Ring Nebula, part of the constellation Lyra, can also be seen with this magnification. In Japanese mythology, Vega, the celestial princess and goddess, fell in love Altair. Her father did not approve of Altair, since he was a mortal. They were forbidden from seeing each other. The two lovers were placed in the sky, where they were separated by the Celestial River, repre- sented by the Milky Way. According to the legend, once a year, a bridge of magpies form, rep- resented by Cygnus, to reunite the lovers. Photo credit: Unknown Scorpius Also called Scorpio, Scorpius is one of the 12 Zodiac constellations, which are used in reading horoscopes. Scorpius represents those born during October 23 to November 21. Scorpio is easy to spot in the summer sky. It is made up of a long string bright stars, which are visible in most lights, especially Antares, because of its distinctly red color. Antares is about 850 times bigger than our sun and is a red giant. -
Introduction to Astronomy from Darkness to Blazing Glory
Introduction to Astronomy From Darkness to Blazing Glory Published by JAS Educational Publications Copyright Pending 2010 JAS Educational Publications All rights reserved. Including the right of reproduction in whole or in part in any form. Second Edition Author: Jeffrey Wright Scott Photographs and Diagrams: Credit NASA, Jet Propulsion Laboratory, USGS, NOAA, Aames Research Center JAS Educational Publications 2601 Oakdale Road, H2 P.O. Box 197 Modesto California 95355 1-888-586-6252 Website: http://.Introastro.com Printing by Minuteman Press, Berkley, California ISBN 978-0-9827200-0-4 1 Introduction to Astronomy From Darkness to Blazing Glory The moon Titan is in the forefront with the moon Tethys behind it. These are two of many of Saturn’s moons Credit: Cassini Imaging Team, ISS, JPL, ESA, NASA 2 Introduction to Astronomy Contents in Brief Chapter 1: Astronomy Basics: Pages 1 – 6 Workbook Pages 1 - 2 Chapter 2: Time: Pages 7 - 10 Workbook Pages 3 - 4 Chapter 3: Solar System Overview: Pages 11 - 14 Workbook Pages 5 - 8 Chapter 4: Our Sun: Pages 15 - 20 Workbook Pages 9 - 16 Chapter 5: The Terrestrial Planets: Page 21 - 39 Workbook Pages 17 - 36 Mercury: Pages 22 - 23 Venus: Pages 24 - 25 Earth: Pages 25 - 34 Mars: Pages 34 - 39 Chapter 6: Outer, Dwarf and Exoplanets Pages: 41-54 Workbook Pages 37 - 48 Jupiter: Pages 41 - 42 Saturn: Pages 42 - 44 Uranus: Pages 44 - 45 Neptune: Pages 45 - 46 Dwarf Planets, Plutoids and Exoplanets: Pages 47 -54 3 Chapter 7: The Moons: Pages: 55 - 66 Workbook Pages 49 - 56 Chapter 8: Rocks and Ice: -
Instruction Manual
1 Contents 1. Constellation Watch Cosmo Sign.................................................. 4 2. Constellation Display of Entire Sky at 35° North Latitude ........ 5 3. Features ........................................................................................... 6 4. Setting the Time and Constellation Dial....................................... 8 5. Concerning the Constellation Dial Display ................................ 11 6. Abbreviations of Constellations and their Full Spellings.......... 12 7. Nebulae and Star Clusters on the Constellation Dial in Light Green.... 15 8. Diagram of the Constellation Dial............................................... 16 9. Precautions .................................................................................... 18 10. Specifications................................................................................. 24 3 1. Constellation Watch Cosmo Sign 2. Constellation Display of Entire Sky at 35° The Constellation Watch Cosmo Sign is a precisely designed analog quartz watch that North Latitude displays not only the current time but also the correct positions of the constellations as Right ascension scale Ecliptic Celestial equator they move across the celestial sphere. The Cosmo Sign Constellation Watch gives the Date scale -18° horizontal D azimuth and altitude of the major fixed stars, nebulae and star clusters, displays local i c r e o Constellation dial setting c n t s ( sidereal time, stellar spectral type, pole star hour angle, the hours for astronomical i o N t e n o l l r f -
Constellations with Prominent Stars That Can Be Found Near the Meridian at 10 Pm on January 15
ONSTELLATIONS C Altitude Ruler The rotation of the Earth on its axis causes the stars to rise and set each evening. In addition, the orbit of the Earth around the Sun places different regions of the sky in our Horizon night-time view. The PLANISPHERE is an extremely useful tool for finding stars and 10 constellation in the sky, depicting not only what is currently in the sky but it also allows the 20 prediction of the rising and setting times of various celestial objects. 30 THE LAYOUT OF THE PLANISPHERE 40 50 The outer circumference of the dark blue circular disk (which is called the star wheel) you’ll notice that the wheel is divided into the 12 months, and that each month is divided into 60 individual dates. The star wheel rotates about the brass fastener, which represents the 70 North Celestial Pole. The frame of the planisphere has times along the outer edge. 80 Holding the planisphere on the southern corner you'll see "midnight" at the top. Moving Zenith counterclockwise, notice how the hours progress, through 1 AM, 2 AM, and so on through "noon" at the bottom. The hours then proceed through the afternoon and evening (1 PM, 2 PM, etc.) back toward midnight. Once you have the wheel set properly for the correct time and day, the displayed part represents what you see if you stand with the star and planet locator held directly over your head with the brass fastener toward the north. (Notice that the compass directions are also written on the corners of the frame.) Of course, you don't have to actually stand that way to make use of the Star and Planet Locator--this is just a description to help you understand what is displayed. -
Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
The Music of the Bible, with Some Account of the Development Of
. BOUGHT WITH THE INCOl^E .. FROM THE SAGE ENDOWMENT FUlSfD THE GIFT OF Henrg W. Sage 1891 ,. A>.3ooq..i.i... /fiMJA MUSIC LIBRARY Cornell University Library ML 166.S78 1914 The music of the Bible with some account 3 1924 021 773 290 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021773290 Frontispiece. Sounding the Shophar. (p. 224/ THE MUSIC OF THE BIBLE WITH SOME ACCOUNT OF THE DEVELOPMENT OF MODERN MUSICAL INSTRUMENTS FROM ANCIENT TYPES BY JOHN STAINER M.A., MUS. DOC, MAGD. COLL., OXON. NEW EDITION : With Additional Illustrations and Supplementary Notes BY the Rev. F. W. GALPIN, M.A., F.L.S. London : NOVELLO AND COMPANY, Limited. New York: THE H. W. GRAY CO., Sole Agents for the U.S.A. [ALL RIGHTS RESERVED.] 5 ORIGINAL PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further confirmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be found here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. -
And Nineteenth-Century Viola Da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 4-19-2013 Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Recommended Citation Becker, Sarah, "Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices" (2013). Music Honors Theses. 6. http://digitalcommons.trinity.edu/music_honors/6 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF_________MUSIC______________AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/19/2013 ______ ____________________________ ________________________________ THESIS ADVISOR DEPARTMENT CHAIR __________________________________________________ ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. -
Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors. -
Exhibits Depicting Dance at the National Archaeological Museum of Athens
Exhibits depicting dance at the National Archaeological Museum of Athens Compiled by Alkis Raftis Notes for a lecture List of images projected. s4133 Girl on a table performs the Oklasma or Persian dance. Boeotian red-figure Kalyx Krater vase Painting, clay vase -385 (B.C. approximately) 25 cm height Greece, Athens, National Archaeological Museum, 12683 The dancer wears a knitted oriental costume with sleeves and trousers. Two female musicians play the aulos and the tambourine s1640 Four men dancing led by a musician (forminx player) Painting, vase -750 Approximate date 9 cm Greece, Athens, National Archaeological Museum, 14477 Vase found in Dipylon, Attica s4125 Votive relief stele to Apollo and Cybele Sculpture, relief, marble -120 (B.C. approximately) 80 x 39.5 cm Greece, Athens, National Archaeological Museum, 1485 In the scene below a girl dances to the music of two aulos-players. On the right, slaves draw wine from vases for the drinking party (symposium) pictured above. s4123 Grave stele of a female dancer holding clappers and a boy Sculpture, relief, Pentelic white marble -350 (B.C. approximately) 77 x 12 cm Greece, Athens, National Archaeological Museum, 1896 The boy is probably the son of the dead dancer, a rare example of the occuation of the deceased. s4129 Attic Geometric oenochoe vase bearing incision mentioning dance Painting, clay vase -735 (B.C. approximately) 23 cm height Greece, Athens, National Archaeological Museum, 192 The inscription says: ""Which now of all the dancers dances most charmingly, to him this…". The vase was the prize for a dancer at an event. This is the earliest known inscription in Greek language. -
Plant Motifs on Jewish Ossuaries and Sarcophagi in Palestine in the Late Second Temple Period: Their Identification, Sociology and Significance
PLANT MOTIFS ON JEWISH OSSUARIES AND SARCOPHAGI IN PALESTINE IN THE LATE SECOND TEMPLE PERIOD: THEIR IDENTIFICATION, SOCIOLOGY AND SIGNIFICANCE A paper submitted to the University of Manchester as part of the Degree of Master of Arts in the Faculty of Humanities 2005 by Cynthia M. Crewe ([email protected]) Biblical Studies Melilah 2009/1, p.1 Cynthia M. Crewe CONTENTS Abbreviations ..............................................................................................................................................4 INTRODUCTION ......................................................................................................................................5 CHAPTER 1 Plant Species 1. Phoenix dactylifera (Date palm) ....................................................................................................6 2. Olea europea (Olive) .....................................................................................................................11 3. Lilium candidum (Madonna lily) ................................................................................................17 4. Acanthus sp. ..................................................................................................................................20 5. Pinus halepensis (Aleppo/Jerusalem pine) .................................................................................24 6. Hedera helix (Ivy) .........................................................................................................................26 7. Vitis vinifera -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
Corinth, 1987: South of Temple E and East of the Theater
CORINTH, 1987: SOUTH OF TEMPLE E AND EAST OF THE THEATER (PLATES 33-44) ARCHAEOLOGICAL INVESTIGATIONS by the American School of Classical Studies at Athens were conductedin 1987 at Ancient Corinth south of Temple E and east of the Theater (Fig. 1). In both areas work was a continuationof the activitiesof 1986.1 AREA OF THE DECUMANUS SOUTH OF TEMPLE E ROMAN LEVELS (Fig. 1; Pls. 33-37:a) The area that now lies excavated south of Temple E is, at a maximum, 25 m. north-south by 13.25 m. east-west. The earliest architecturalfeature exposed in this set of trenches is a paved east-west road, identified in the 1986 excavation report as the Roman decumanus south of Temple E (P1. 33). This year more of that street has been uncovered, with a length of 13.25 m. of paving now cleared, along with a sidewalk on either side. The street is badly damaged in two areas, the result of Late Roman activity conducted in I The Greek Government,especially the Greek ArchaeologicalService, has again in 1987 made it possible for the American School to continue its work at Corinth. Without the cooperationof I. Tzedakis, the Director of the Greek ArchaeologicalService, Mrs. P. Pachyianni, Ephor of Antiquities of the Argolid and Corinthia, and Mrs. Z. Aslamantzidou, epimeletria for the Corinthia, the 1987 season would have been impossible. Thanks are also due to the Director of the American School of Classical Studies, ProfessorS. G. Miller. The field staff of the regular excavationseason includedMisses A. A. Ajootian,G. L. Hoffman, and J.