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Funk Is Its Own Reward": an Analysis of Selected Lyrics In
ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K. -
Recession Proof Jobs
September 2009 WWW.BERGEN.EDU/THETORCH VOLUME - 15 ISSUE - 1 Environment Club... pg 2 The Torch Meadowlands Campus... pg 3 THE STUDENT NEWSPAPER OF BERGEN COMMUNITY COLLEGE Textbook Resolution: What is it? SADAF KHURSID On April 1ST, Bergen resolution that would save even more difficult to burden for students. Some CO-EDITOR Community College held the students some money in attain.” of the recommendations that a public hearing to inform the long run. The Text Book Did you know the were stipulated included the The present economic the students that the tuition Resolution was proposed to average text book now costs following: recession has forced us to will increase by almost the senate to help students a minimum of $100.00? “[To] keep the same face the harsh realities of eight percent for the next cut back on some of the That is approximately three- editions of books for two drastic increases in every semester. This means expenses that they will be fourths the cost of tuition! years, give preference to arena from transportation to that you, the students, will facing. According to SGA, The Text Book low or no cost educational the cost of food. The most be paying more than you “The rising cost of the Resolution was passed April resources over expensive important change that has already are. college textbooks creates an 21st by the faculty senate. commercial text books, occurred and which affects Keeping that in mind, added burden to the tuition The Resolution consists of make professors place every student is the increase Student Government rate which is spiraling out suggestions or alternatives a copy of required and in tuition. -
Deutsche Nationalbibliografie
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2010 T 05 Stand: 19. Mai 2010 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main, Berlin) 2010 ISSN 1613-8945 urn:nbn:de:101-ReiheT05_2010-1 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie Katalogisierung, Regeln für Musikalien und Musikton-trä- auf der Sachgruppenübersicht angegeben, entsprechend ger (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD -
Személyes Adat E-Mail
Ügyiratszám: MN/38404-8/2017. Ügyintéző: személyes adat Telefonszám: Személyes adat E-mail: személyes adat Tárgy: a vállalt műsorstruktúrának megfelelő műsor sugárzására, valamint a közszolgálati célokat szolgáló műsorszámok bemutatására fordított műsoridőre vonatkozó törvényi kötelezettségek megsértése Melléklet: I., és II. számú mellékletek A NEMZETI MÉDIA- ÉS HÍRKÖZLÉSI HATÓSÁG MÉDIATANÁCSÁNAK 104/2018. (II.6.) számú H A T Á R O Z A T A A Nemzeti Média- és Hírközlési Hatóság Médiatanácsa (a továbbiakban: Médiatanács) a Retro Rádió Kft.-vel – névváltozást megelőzően Rádió Q Kft. (1016 Budapest, Gellérthegy u. 8.; a továbbiakban: Médiaszolgáltató) szemben hivatalból lefolytatott eljárásában megállapította, hogy a Médiaszolgáltató az általa üzemeltetett Rádió Q (Budapest 99,5 MHz) állandó megnevezésű körzeti, közösségi médiaszolgáltatás 2017. november 30 – december 6. közötti működése során megsértette a vállalt műsorstruktúrának megfelelő műsor sugárzására, valamint a közszolgálati célokat szolgáló műsorszámok arányára vonatkozó törvényi kötelezettségeit, amelynek következtében a Médiaszolgáltatót 100.000 Ft, azaz százezer forint bírsággal sújtja. A Médiaszolgáltató a bírságot e határozat közlését követő hét napon belül köteles megfizetni a Médiatanács Magyar Államkincstárnál vezetett 10032000-00295141-00000024 számú pénzforgalmi számlájára. A bírságfizetési kötelezettség késedelmes teljesítése esetén a Médiaszolgáltató késedelmi pótlékot köteles fizetni, melynek mértéke minden naptári nap után a késedelem, illetve az esedékesség előtti -
Mémoire Alice Zoghaib
UNIVERSITE PARIS XVIII LES GENERATIONS D’APRES GUERRE, LES FESTIVALS ET L’EUROPE Marché européen du festival pop rock, sociologie des publics et partage culturel. Etude du Sziget Festival (Hongrie) Alice Zoghaib 2006 Ce mémoire a été réalisé dans le cadre du Master II de recherche en Gestion de la Culture au sein de l’Institut des Etudes Européennes Abréviations EMO : European Music Office EFRP : European Festival Research Project, groupe européen de recherché sur les festivals, dirigé par Dragan Klaic MAO : Musique Assistée par Ordinateur PECO : Pays d’Europe Centrale et Orientale UE : Union Européenne • EU28 : ensemble des Etats membres et pays candidats qui n’ont pas encore rejoint l’UE • EU25 : moyenne pondérée des 25 Etats membres à la date du 1er mai 2004 • EU15 : quinze Etats qui étaient membres de l’UE avant le 1er mai 2004 : o Autriche (AT), Belgique (BE), Danemark (DK), Finlande (FI), France (FR), Allemagne (DE), Grèce (EL), Irlande (IE), Italie (IT), Luxembourg (LU), Pays- Bas (NL), Portugal (PT), Espagne (ES), Suède (SE) et Royaume-Uni (UK) • NEM : nouveaux Etats membres qui ont adhéré à l’UE le 1er mai 2004 : o Chypre (CY), République tchèque (CZ), Estonie (EE), Hongrie (HU), Lettonie (LV), Lituanie (LT), Malte (MT), Pologne (PL), Slovaquie (SK) et Slovénie (SI) • CC : pays candidats qui ne sont pas encore membres de l’UE : Bulgarie (BG), Roumanie (RO) et Turquie (TR). USA : Etats Unis d’Amérique SOMMAIRE Remerciements.............................................................................................................................. 1 1. Introduction .......................................................................................................................... 2 1.1. Limitation du sujet....................................................................................................... 2 1.1.1. Limitation générale du sujet et structure............................................................. 2 1.1.2. Contexte et importance du sujet......................................................................... -
Recorder.Hu HIPERKARMA.Facebook.Com/Recorder.Hu
JÚNIUS 26. sopron 2017. terjesztési pontjainkon: ingyenes. előfizetőinknek: 789 Ft. június 27.- zene fashion zene tech zene media zene design zene business zene art zene digital zene live július 1. rec 050 2017 / 03 TEMPLES XIXA LAURA MARLING GRANDADDY THUNDERCAT DEPECHE MODE ROUTE 8 DEÁK KRISTÓF BLACK METAL ÉV www.volt.hu | Kedvezményes KONCERTPLAKÁTOK MAGYAR C/VOLTFesztival jegyek április VILÁGZENE 50 MOMENTUMA 9-ig! volt_recorder_200x270.indd 1 HIPERKARMA. www.recorder.hu facebook.com/recorder.hu 21/03/17 13:05 tartalom 10 44 32 6 42 www.recorder.hu rec 050 facebook.com/recorder.hu 2017 / 03 lemeztáska front világrecorder 4 Route 8. 24 Bérczesi Róbert (hiperkarma). 36 A világzene ötven évének diszkográfia interjú csúcspillanatai. 6 Depeche Mode. 26 Xixa. profül trend what the faq 42 Papp Dávid a Temples-ről. 8 Black metal: múlt és jelen. 28 Az Oscar-díjas Deák Kristóf. recorder 50 magyar poppillanat zeneipar 44 Lemezkritikák. 10 1967-2016: ötven év ötven 30 Streaming: 100 millió előfizető. programajánló kiemelkedő momentuma. kollektor 48 Március-áprilisi koncertek 32 Oroszi Iván koncertplakátjai. és partik. RECORDER • Ingyenes zenemagazin • REC050: 2017. március www.recorder.hu • www.facebook.com/recorder.hu • www.twitter.com/recorderhu • [email protected] Kiadó: Recorder Kft. • Felelős kiadó: a Kft. ügyvezetője. • ISSN: 2062-9656 • Postacím: 1277 Budapest, Pf. 106 Főszerkesztő: Dömötör Endre • Szerkesztő: Forrai Krisztián • Szerzők: Csada Gergely, Elekes Roland, Fábián Titusz, Greff András, Kálmán Attila, Kollár Bálint, Komróczki Dia, Lékó Tamás, Mika László, Németh Róbert, Papp Dávid, Rónai András, Salamon Csaba, Szabó Sz. Csaba, Szepesi Dániel, Velkei Zoltán, Weyer Balázs Lapterv és tördelés: Simon Says Kreatív producer: Pawlowszky Tamás • Hirdetés: 06.30.2803098 • [email protected] • Előfizetés: www.recorder.hu/elofizetes Minden jog fenntartva. -
A Narrative Exploring the Perception of Analog Synthesizer Enthusiasts' Identity and Communication Christoph Stefan Kresse Clemson University
Clemson University TigerPrints All Theses Theses 5-2015 Synthesized: A Narrative Exploring the Perception of Analog Synthesizer Enthusiasts' Identity and Communication Christoph Stefan Kresse Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Kresse, Christoph Stefan, "Synthesized: A Narrative Exploring the Perception of Analog Synthesizer Enthusiasts' Identity and Communication" (2015). All Theses. 2114. https://tigerprints.clemson.edu/all_theses/2114 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. SYNTHESIZED: A NARRATIVE EXPLORING THE PERCEPTION OF ANALOG SYNTHESIZER ENTHUSIASTS’ IDENTITY AND COMMUNICATION A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Communication, Technology, and Society by Christoph Stefan Kresse May 2015 Accepted by: Dr. Chenjerai Kumanyika, Ph.D., Committee Chair Dr. David Travers Scott, Ph.D. Dr. Darren L. Linvill, Ph.D. Dr. Bruce Whisler, Ph.D. i ABSTRACT This document is a written reflection of the production process of the creative project Synthesized, a scholarly-rooted documentary exploring the analog synthesizer world with focus on organizational structure and perception of social identity. After exploring how this production complements existing works on the synthesizer, electronic music, identity, communication and group association, this reflection explores my creative process and decision making as an artist and filmmaker through the lens of a qualitative researcher. As part of this, I will discuss logistic, as well as artistic and creative, challenges. -
When Performance Really Matters
WHEN PERFORMANCE REALLY MATTERS m 2019 | ANNUAL REPORT SPACE HERITAGE: CELEBRATING APOLLO 11 FINANCIAL HIGHLIGHTS RECENT FINANCIAL PERFORMANCE REVENUE BY SEGMENT (Dollars and shares in millions, except per share data) 2019 2018 NET SALES $2,905 $2,709 NET EARNINGS $180 $97 DILUTED EARNINGS PER SHARE $5.11 $2.68 ADJUSTED EARNINGS PER SHARE* – $4.57 EQUITY MARKET CAPITALIZATION $2,847 $2,985 Aircraft Controls 45% AVERAGE SHARES OUTSTANDING 35.2 36.1 • Industrial Systems 32% Measured as of fiscal year end • Space and Defense 23% SALES (Dollars in millions) • $3,500 $ 2,905 $3,000 REVENUE BY MARKET $ 2,648 $ 2,709 $ 2,610 $ 2,526 $ 2,498 $2,500 $ 2,470 $ 2,412 $ 2,331 Fifty years ago, on July 20, 1969, four days after launching on a $ 2,114 $ 2,000 $ 1,849 Saturn rocket, the Lunar Module (LM) landed on the surface of the Moon. Moog employees designed and built the Thrust Vector Control $ 1,500 (TVC) actuation on all three stages of the Saturn rocket on that historic $ 1,000 flight—as well as the earlier Mercury and Gemini space programs. $ 500 While Apollo 11 Commander Neil Armstrong and Pilot Edwin “Buzz” Aldrin Jr. descended to the Moon’s surface, Pilot Michael Collins $ 0 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 remained with the Command and Service Modules in lunar orbit. FISCAL YEAR The Moon’s uneven surface required Armstrong to steer the LM using semi-automated controls. To train for the landing, Armstrong DILUTED EARNINGS PER SHARE (In dollars) Defense 37% used the Lunar Landing Research Vehicle (LLRV) which was • $ 6.00 Commercial Aircraft 23% designed and built by Bell Aerosystems in Niagara Falls, now part of • Industrial Automation 24% Moog. -
Betsy Moog Brooks, Edd, CED, LSLS Cert. Aved 12300 South Forty Drive, St
Betsy Moog Brooks, EdD, CED, LSLS Cert. AVEd 12300 South Forty Drive, St. Louis, MO 63141 [email protected] 314-692-7172 EDUCATION Lindenwood University, St. Charles, MO Doctor of Education in Instructional Leadership/Andragogy 2017 Washington University, St. Louis, MO Master of Science in Speech and Hearing 1983 St. Lawrence University, Canton, NY Bachelor of Arts 1981 CERTIFICATION Missouri State Teacher Certification (Life) Deaf and Hearing Impaired (K-12) Missouri State Teacher Certification (Life) Behavior Disordered (K-12) Missouri State Teacher Certification (Life) Learning Disabled (K-12) Missouri State Teacher Certification (CPC) Early Childhood Education (B-3) Council on Education of the Deaf (CED) Missouri Early Intervention Credentialed Provider Listening and Spoken Language Specialist, Certified Auditory-Verbal Educator (LSLS Cert. AVEd) PROFESSIONAL WORK EXPERIENCE 2011-Present Moog Center for Deaf Education, St. Louis, Missouri Executive Director 2012-2018 Consultant to Alabama School for the Deaf and Blind, Spoken Language Program, Talladega, Alabama 2002-2018 Consultant to Colegio Las Lomas Oral, Buenos Aires, Argentina 1996-2016 Consultant to Certified Moog Programs 2005-2013 Consultant to CPAL, Lima, Peru 2006-2011 Moog Center for Deaf Education, St. Louis, Missouri Director of the Moog School and Family School 2007-2008 Consultant to Summit Speech School, Summit, New Jersey 2000-2006 Moog Center for Deaf Education, St. Louis, Missouri Director of the Family School 1996-2000 Moog Oral School, St. Louis, Missouri Coordinator of the Family School 1996-1997 Moog Oral School, St. Louis, Missouri Teacher of the Hearing Impaired 1992-1996 Central Institute for the Deaf, St. Louis, Missouri Counselor, Parent-Infant Program 1983-1996 Central Institute for the Deaf, St. -
Dressin' to the Music
ual Junior Rafael is Au V d Velez’s narrative The Grady music scene io accompanies gathers Momentum C p h o t o s o f and the mystery of t h e G r a d y the Moog synthe- 6 Censorship sizer is investigated 6a r t s h o w 22this month. o at Youth Art Connection. m n ru t s o t R e Senior Erin Wert tells n how it was to grow up 1conservative in a liberal community. Social studies 18 teacher Lou Sartor weighs t in on the state of politics 8in this country and around the world. s rie ge a n e 10 Nexus10 explores M the War on Terror in Iraq and Afghanistan as told through the stories of Mr. Cramer discusses the math and construction of soldiers who fought the war. 2pipe organs. eBay has a MySpace deal and Beagle re 20 advertising. Also a calendar tu of April’s events. u o C 0 G r a c i e Cunningham discusses music’s influence on fashion through the years. Mr. 16 Martinez predicts the next trends for the year. C o v e r and content nexus art by Forrest Aguar Volume 2 Issue 3 March-April 2006 Contributing Writers From Lily Feinberg and Rebecca Gittelson- juniors Lily and Rebecca are officially the two coolest Jews at Grady, so it comes as no surprise that The they’re also best friends. Lily is known for her wicked mad skills at jazz piano and cutouts for The Southerner—even though she really hates Staff cutouts. -
University of Nevada, Reno Partying with Hello Kitty: How Electronic Dance Music and Rave Culture Are Transforming, Commercializ
University of Nevada, Reno Partying with Hello Kitty: How Electronic Dance Music and Rave Culture are transforming, commercializing, and globalizing youth culture in the twenty-first century A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Geoff Scott Dr. Hugh Shapiro/Thesis Advisor May 2014 i Abstract This thesis will demonstrate how electronic dance music (EDM) has evolved from the musical underground during the second half of the twentieth century into the mainstream, commercial powerhouse it is now in the early twenty-first-century world. EDM at its core is a musical style characterized by the use of synthetic, electronic sounds. The combination of technological devices such as drum machines, repetitive bass lines, electronic builds and releases and inorganic noises in tandem with instrumental and vocal samples makes EDM an incredibly malleable style of dance music that has branched into a variety of forms over the course of its less than fifty year existence. Innovations in technology, like the tape reel, the Moog synthesizer, the vinyl mixer and the computer have led to new ways of contemplating and creating music. I argue that the innovative musical voices of late modernism and early postmodernism set the foundation for early EDM, who were not afraid to harness the new synthetic sounds at their disposal. Electronic dance music can trace its roots back to the repetitive, minimalist structures used since the 1960’s by postmodern composers such as Philip Glass and the electronic instrumentation of artists like Terry Riley and John Cage. Owing to its flexibility, EDM has also been re-contextualized in different cultures. -
Tony Lindsay New Solo Project for Hudson Valley Native 18 and Former Santana Singer
Art Music Culture Revolution Erin Hanna Art Student and Singer/Songwriter set to 14 make waves at Troy River Fest Tony Lindsay New solo project for Hudson Valley native 18 and former Santana singer May 2019 Page 3 Music Art Culture Revolution Plugging In the Unplugged When 12-strings, mandolins, violins and MOOG Minitherimins attack: Acoustic Trauma and its neverending quest to redefine the words ‘Acoustic’ and ‘Trauma’ Photo by Jessica Maceli (l - r) Patrick McNulty, Paul Nunzio Maceli By Liam Sweeny a little bit of everything else, see yourself as an acoustic set, or Acoustic Trauma has been blow- was that a crown given? hen I was jamming ing minds from the cradle to the Paul: It’s actually an inter- out, my sound stage cap and gown. esting story. To give you some Wwishes and wah ped- I sit with Paul to mull over the background, my early influences al dreams in tow, I’d heard of finer points of interstellar traffic included classic rock, mostly pro- Acoustic Trauma. I’d never seen law. gressive rock and heavy metal. Tales from the Door ....................20 them, but I’d heard a bootleg RRX: You really push the In my teen years, I quit playing Observations tape, so I knew what they were envelope when it comes to an music to go to college for busi- and Ramblings ..27 laying down. That was in the late acoustic sound. In fact, I don’t ness, knowing that the only way Liats’ Almanac ...28 90s, and Acoustic Trauma has think many people hearing you I would ever get back into mu- Uncovered .........30 been laying it long since I laid my for the first time would have the sic was if I was to do something guitar to rest.