Crossword Puzzles Designed to Reinforce the Learning of Important Facts and Concepts Related to These Important Personalities
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Eugène Delacroix the Artist Eugène Delacroix Born in Saint-Maurice-En-Chalencon, France 1798; Died in Paris, France 1863
Eugène Delacroix Horse Frightened by Lightning , 1824–1829 watercolor, white heightening, gum Arabic watercolor on paper, 94 x 126 in. Museum of Fine Arts, Budapest, Hungary Self-Portrait, c.1837 oil on canvas The Louvre, Paris The Artist Eugène Delacroix Born in Saint-Maurice-en-Chalencon, France 1798; died in Paris, France 1863 Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic School. Born in France in 1798, Delacroix was orphaned at the age of 16. In 1816 he began his formal art training, learning the neoclassical style of Jacques- Louis David. Delacroix’s first major painting, The Barque of Dante, was accepted into the Paris Salon in 1822, earning him national fame. He turned away from the neoclassical style, and became one of the best-known Romantic painters, favoring imaginative scenes from literature and historical events. Highly acclaimed works include Death of Sardanapalus and Liberty Leading the People , a painting inspired by France’s uprising against King Charles X in 1830. In 1832, Delacroix spent 6 months in North Africa, and created many paintings inspired by Arabic culture and the sun-drenched landscape. Delacroix continued to be very popular in his lifetime, exhibiting many works in the Paris salon, and receiving commissions to decorate important Parisian buildings. Delacroix died on August 13, 1863. Art Movement Romanticism The Romantic Movement was inspired in part by the ideas of Rousseau, who declared that “Man is born free, but is everywhere in chains!” Romanticism emerged from the desire for freedom – political freedom, freedom of thought, of feeling, of action, of worship, of speech, and of taste. -
Music in the Baroque Period
MUSIC A.D. 450–1995 BY MARK AMMONS, D.M.A. COPYRIGHT © 1995 Mark Twain Media, Inc. ISBN 978-1-58037-976-2 Printing No. 1890-EB Mark Twain Media, Inc., Publishers Distributed by Carson-Dellosa Publishing LLC The purchase of this book entitles the buyer to reproduce the student pages for classroom use only. Other permissions may be obtained by writing Mark Twain Media, Inc., Publishers. All rights reserved. Printed in the United States of America. Music: A.D. 450–1995 TABLE OF CONTENTS Introduction ...................................................................................................................... iii Time Line ......................................................................................................................... iv Music in the Middle Ages ..................................................................................................1 Pope Gregory I and the Dove ...........................................................................................4 Leonin and Perotin Go to School ......................................................................................6 Troubadours, Trouvères, and Jongleurs............................................................................9 “New Art” vs. “Old Art” .....................................................................................................11 Music in the Renaissance ...............................................................................................13 Josquin: The Man, the Myth, the Great...........................................................................15 -
Colonia Tournament Round #6
Colonia Tournament Round 6 First Period, 20 Tossups 1. This author of a campaign biography for Millard Fillmore wrote about Reverend Hooper's refusal to remove sinister headwear in "The Minister's Black Veil." This man included a story about Aylmer killing Georgianna while trying to remove the title blemish in his story collection Mosses from an Old Manse. For 10 points name this author of "The Birthmark" also known for novels like The House of the Seven Gables and The Scarlet Letter. ANSWER: Nathaniel Hawthorne 015-10-14-06101 2. Pahoehoe is produced by many of these geological features, which generally do not generate pyroclastic flows. A fissure in one of these geological features can create a curtain of fire. These features are usually formed through effusive eruptions and have very low-viscosity, fluid lava that can spread over long distances, making some of these features the largest mountains on earth. For 10 points, name these gentle-sloped volcanoes that include Mauna Loa and Kiluaea. ANSWER: shield volcanoes 036-10-14-06102 3. The outer surface of these structures are covered in a material that contains amelogenins (AM-uh-lo-JEN-ins) instead of collagens. Another part of these structures is covered by cementum (see-MEN-tum); that part is the root, whose central part is the pulp. The primary type of these structures are typically lost starting around age six. Enamel covers the upper surface of, for 10 points, what structures used to chew food? ANSWER: teeth 003-10-14-06103 4. This artist depicted disfigured and naked men trying to get into a boat that bears three people in his painting The Barque of Dante. -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
Greek Studies 2012 B Greekstudies11.Qxd 15/04/2012 8:51 PM Page 47
Greek Studies 2012 b_greekstudies11.qxd 15/04/2012 8:51 PM Page 47 47 Areti Devetzidis Flinders University THE MASSACRES OF CHIOS BY EUGÈNE DELACROIX – PROCESS, MEANING AND EFFECT INTRODUCTION What makes a great work of art? Why do we have works of art? Why do we need works of art? I decided to explore these questions by deconstructing the ideo - logical workings and conflicting narratives contained in a painting that has attracted and puzzled me for many years. The Massacres of Chios was first exhibited at the famous Paris Salon of August 1824. It is based on the massacre of thousands of civilians on the island of Chios in 1822.1 It measures 4.17m x 3.54m, a scale usual for history painting 2. It sig - nalled Delacroix’s ambition to become a great artist,3 and its full title, Scenes from the Massacres of Chios; Greek Families Awaiting Death or Slavery, etc. (see the various reports and newspaper accounts), draws attention to the painting’s simul taneous depiction of several narratives over time. The lack of a single focus, the brilliant colour and the “roughness” of the drawing and brushwork, caused a “storm or controversy” (Fraser: 2004), and earned Delacroix the epithets of Revolutionary, Romantic and Liberal. It continues to attract controversy to this day 4 but is now regarded as one of the greatest works of Romanticism, and counted amongst other great anti-war paintings such as Picasso’s Guernica (1937) and Goya’s The Third of May 1808 (1814-15). THE ARTIST – FERDINAND VICTOR EUGÈNE DELACROIX (1798-1863) Eugène Delacroix was born into wealth and bourgeois privilege, and received an excellent classical education, but lost everything by the time he was sixteen. -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
French Art, Classic and Contemporary, Painting and Sculpture
NYPL RESEARCH LIBRARIES 3 3433 08191162 4 Virt-*'.', FRENCH ART THE HEW YORK PDBLIC LIB4^ARY ASTOK, LENOX Tli-DEN FOUNDATIONS / / "W Y( J SCRIB] 1 90J NG THE DAWN / FRENCH ART CLASSIC AND CONTEMPORARY PAINTING AND SCULPTURE BY W. C. BROWNELL NEW AND ENLARGED EDITION WITH FORTY-EIGHT ILLUSTRATIONS NEW YORK CHARLES SCRIBNER'S SONS 1901 COPYRIGHT, 1892, 1901, BY CHARLES SCRIBNEr's SONS PUBLISHED OCTOBER, 1901 THE NEW r, yc>^Y "y BUG LIBRARY ' ' i "» —f A S< » , TILBSN Pi»-JNBATIO«« D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTON TO AUGUSTE RODIN Advantage has been taken of the present ilkistrated edition of this book to add a chapter on "Rodin and the Institute," in which the progress of what ten years ago was altogether a "new movement in sculpture," is further considered. Except in sculpture, and in the sculpture of Rodin and that more or less directly in- fluenced by him, thei-e has been no new phase of French art developed within the decade — at least none important enough to impose other additions to the text of a work so general in character. CONTENTS I. CLASSIC PAINTING 1 I. CHARACTER AND ORIGIN II. CLAUDE AND POUSSIN III. LEBRUN AND LESUEUR IV. LOUIS QUINZE V. GREUZE AND CHARDIN VI. DAVID, INGRES, AND PRUDHON II. ROMANTIC PAINTING 39 I. ROMANTICISM II. GERICAULT AND DELACROIX III. THE FONTAINEBLEAU GROUP IV. THE ACADEMIC PAINTERS V. COUTURE, PUVIS DE CHAVANNES, AND REGNAULT III. REALISTIC PAINTING 75 I. REALISM II. COURBET AND BASTIEN-LEPAGE III. THE LANDSCAPE PAINTERS ; FROMENTIN AND GUILLAUMET IV. HISTORICAL AND PORTRAIT PAINTERS V. -
Act II, Signature Xvii - (1)
We can also trace that peculiar social movement which led some factories, ships, restaurants, and households to clean up their backstages to such an extent that, like monks, Communists, or German aldermen, their guards are always up and there is no place where their front is down, while at the same time members of the audience become sufficiently entranced with the society's id to explore the places that had been cleaned up for them [Erving Goffman, The Presentation of Self (New York: Anchor Press, 1959), p. 247]. II — xvii — What Was That Good For? Coalition forces pour into Ossian. In Las Vegas, Roveretto Messimo ponders taking on a new client to pay his bills. A U.S. detachment breaks into the Impersonal Terrace while Fuald, deported back to Ossian, plots revenge by organizing the looting of the Hermitage. Charles, drugged by Ferguson’s alien soporifics, agrees to print an article exposing the eco– terrorist aims of the Founder’s League. In the 13th century, the fanatical inquisitor Conrad prepares to declare anathema against Fr. Anselm. ~ page 215 ~ This is the cover art for the single "War" by the artist Edwin Starr. The cover art copyright is believed to belong to the label, Gordy, or the graphic artist.* "War" Act II, Signature xvii - (1) *[Image & caption credit and following text courtesy of Wikipedia]: "War" is a soul song written by Norman Whitfield and Barrett Strong for the Motown label in 1969. Whitfield first produced the song — a blatant anti-Vietnam War protest — with The Temptations as the original vocalists. After Motown began receiving repeated requests to release "War" as a single, Whitfield re-recorded the song with Edwin Starr as the vocalist, deciding to withhold the Temptations ' version so as not to alienate their more conservative fans. -
Boston Symphony Orchestra Concert Programs, Season 87, 1967-1968
1 J MIT t / ^ii "fv :' • "" ..."?;;:.»;:''':•::•> :.:::«:>:: : :- • :/'V *:.:.* : : : ,:.:::,.< ::.:.:.: .;;.;;::*.:?•* :-: ;v $mm a , '.,:•'•- % BOSTON ''•-% m SYMPHONY v. vi ORCHESTRA TUESDAY A SERIES EIGHTY-SEVENTH SEASON 1967-1968 -^^VTW-s^ Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. -
Spanish Local Color in Bizet's Carmen.Pdf
!@14 QW Spanish Local Color in Bizet’s Carmen unexplored borrowings and transformations Ralph P. Locke Bizet’s greatest opera had a rough start in life. True, it was written and composed to meet many of the dramatic and musical expectations of opéra comique. It offered charming and colorful secondary characters that helped “place” the work in its cho- sen locale (such as the Spanish innkeeper Lillas Pastia and Carmen’s various Gypsy sidekicks, female and male), simple strophic forms in many musical numbers, and extensive spoken dialogue between the musical numbers.1 Despite all of this, the work I am grateful for many insightful suggestions from Philip Gossett and Roger Parker and from early readers of this paper—notably Steven Huebner, David Rosen, Lesley A. Wright, and Hervé Lacombe. I also benefi ted from the suggestions of three specialists in the music of Spain: Michael Christoforidis, Suzanne Rhodes Draayer (who kindly provided a photocopy of the sheet-music cover featuring Zélia Trebelli), and—for generously sharing his trove of Garciana, including photocopies of the autograph vocal and instrumental parts for “Cuerpo bueno” that survive in Madrid—James Radomski. The Bibliothèque nationale de France kindly provided microfi lms of their two manu- scripts of “Cuerpo bueno” (formerly in the library of the Paris Conservatoire). Certain points in the present paper were fi rst aired briefl y in one section of a wider-ranging essay, “Nineteenth-Century Music: Quantity, Quality, Qualities,” Nineteenth-Century Music Review 1 (2004): 3–41, at 30–37. In that essay I erroneously referred in passing to Bizet’s piano-vocal score as having been published by Heugel; the publisher was, of course, Choudens. -
MLA in Memphis, Tennessee Lisa Rae Philpott the University of Western Ontario, [email protected]
Western University Scholarship@Western Western Libraries Publications Western Libraries 2-2006 MLA in Memphis, Tennessee Lisa Rae Philpott The University of Western Ontario, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/wlpub Part of the Archival Science Commons Citation of this paper: Philpott, Lisa Rae, "MLA in Memphis, Tennessee" (2006). Western Libraries Publications. 72. https://ir.lib.uwo.ca/wlpub/72 MLA in Memphis, Tennessee The Peabody Hotel February 22-25, 2006 By Lisa Rae Philpott Music Library, University of Western Ontario This year’s MLA Continuing Education rooting for its homegrown talent, Three-6 Workshop, Digitizing Music, was sponsored Mafia, nominated (and winners) in the Best by the Education Committee, and was a pre- Song category for “It’s Hard Out Here for a conference offering. I was fortunate to be Pimp” in the film, Hustle & Flow. Ford, a placed on the waiting list, and was pleased Northerner, described Memphis as a well kept that a larger venue was found, thus permitting secret and urged attendees to visit the me to attend this session. museums and take-in live performances on Beale Street. Her recommendations? MLA’s opening reception is the traditional “Experience music. Eat BBQ. See the beginning of the conference proper. Following Mississippi River.” on the heels of the New Members roundtable and reception, this reception provides the American Libraries’ reporter Gordon opportunity to meet- and-greet other MLA’ers Flagg was welcomed. Annie Thompson and visit with our many wonderful vendors. (Conference Manager) welcomed new exhibitors, and thanked the sponsors for their The seventy-fifth Annual Conference was underwriting of coffee breaks. -
DOROTHEA LINK Professor of Musicology Distinguished
DOROTHEA LINK Professor of Musicology Distinguished Research Professor Hugh Hodgson School of Music, 250 River Rd., University of Georgia, Athens, GA 30602 tel: 706 542 1034; fax: 706 542 2773; email: dlink AT uga.edu PUBLICATIONS Authored Books Arias for Stefano Mandini, Mozart’s first Count Almaviva. Recent Researches in the Music of the Classical Era 97. Middleton, WI: A-R Editions, 2015 (xlv, 127 pages). Reviews: Magnus Tessing Schneider in Notes: Quarterly Journal of the Music Library Association 73 (December 2016): 339-45. Arias for Vincenzo Calvesi, Mozart’s first Ferrando. Recent Researches in the Music of the Classical Era 84. Middleton, WI: A-R Editions, 2011 (xxxv, 118 pages). Reviews: Clifford Bartlett in Early Music Review 146 (February 2012): 6-7; Joshua Neumann in Notes: Quarterly Journal of the Music Library Association 70 (December 2013): 321-5. Arias for Francesco Benucci, Mozart's first Figaro and Guglielmo. Recent Researches in the Music of the Classical Era 72. Middleton, WI: A-R Editions, 2004 (xxvii, 120 pages). Reviews: Laurel E. Zeiss in Newsletter of the Society for Eighteenth-Century Music 7 (October 2005): 5-7; Julian Rushton in Early Music 36 (August 2008): 474-6; Saverio Lamacchia in Il saggiotore musicale 15, no. 2 (2008): 359-62. Arias for Nancy Storace, Mozart's first Susanna. Recent Researches in the Music of the Classical Era 66. Middleton, WI: A-R Editions, 2002 (xxv, 122 pages). Reviews: Emma Kirkby in Early Music (May 2003): 297-298; Constance Mayer in Notes: Quarterly Journal of the Music Library Association 60 (June 2004), 1032-1034; Julian Rushton in Music & Letters 85 (November 2004): 682-683; Laurel E.