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Airs chantés [SF]

21. v. Unis la fraîcheur et le feu....................[1.25] 22. vi. Homme au sourire tendre.................[2.08] 23. vii. La grande rivière qui va.....................[0.53]

1. Air romantique .............................................[1.38] 2. Air champêtre................................................[1.20] 3. Air grave..........................................................[2.38] 4. Air vif................................................................[1.08]

Calligrammes [TO]

24. i. L’espionne ..................................................[1.48] 25. ii. Mutation.....................................................[0.44] 26. iii.Vers le sud..................................................[1.52] 27. iv. Il pleut.........................................................[1.12] 28. v. La grâce exilée..........................................[0.39]

29. vi. Aussi bien que les cigales....................[1.52]

30. vii.Voyage........................................................[2.49]

5. Colloque [TO] and [LA]........................[3.13]

6. Mazurka [TO]............................................[3.45]

7. La grenouillère [AM].............................[2.10]

8. Montparnasse [TO].................................[3.12] 9. Hyde Park [TO]........................................[0.55]

n his notorious little 1918 pamphlet Le Coq et l’Arlequin, Jean Cocteau pronounced that ‘a composer always has too many notes on his keyboard.’This was a lesson the young Francis Poulenc took to heart and observed throughout his career; and nowhere

I

more tellingly than in the piano parts of his songs – far better written, he thought, than his works for piano solo.

After the First World War, the ethos of French art across the board lay in the direction of clarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, water nymphs, an end to fogs’, and Erik Satie, the cultural godfather of the new French music, warned that fogs had been the death of as many composers as sailors. Another target was the ‘music one listens to head in hands’ – Wagner most notably, but also Schumann. For Poulenc then, in quest of song texts, the 19th century was largely to be avoided and only one of his texts,Théodore de Banville’s Pierrot,was published during it,while Jean Moréas’s four poems forming the Airs chantés were printed in the first decade of the 20th. Otherwise Poulenc sought either distancing through pre-Romantic poetry or immediacy through poetry of his own time.The present volume begins with the Airs chantés and continues with settings of poems entirely by Poulenc’s contemporaries.

31. La souris [LM]...........................................[0.54]

Deux mélodies

10. i. Le pont [RM]...........................................[1.39] 11. ii. Un poème [TO].....................................[1.15]

32. Monsieur Sans Souci [JL]...................[3.05]
(Il fait tout lui-même)

33. Nous voulons une

12. Le portrait [JMA].....................................[1.52] petite sœur [LA]........................................[5.08]

Miroirs brûlants [SF]

13. i. Tu vois le feu du soir ..............................[4.14] 14. ii. Je nommerai ton front...........................[1.15]
T o tal timings: ................................................[61.59]

Lorna Anderson [LA] John Mark Ainsley [JMA] Sarah Fox [SF] Jonathan Lemalu [JL] Lisa Milne [LM] Ann Murray [AM] Robert Murray [RM] Thomas Oliemans [TO]

It is not always wise to take composers at their word.Poulenc was not alone in occasionally liking to tease his readers, so his claim, that he loathed the poetry of Jean Moréas (Yannis Papadiamantopoulos, 1856-1910) and chose these poems as being suitable for mutilation, should probably be taken with a slight pinch of salt, as should his condemnation of ‘Air grave’ as ‘certainly my worst song’, though it may be true that he was more successful elsewhere in imitating ‘ancient’ textures. He professed to be annoyed by the success of the second and last songs of the set, and the only one to escape censure was the opening ‘Air romantique’, where he concentrates the music around the tonic E minor, in parallel with the unvarying tempo.

15. …Mais mourir [JMA]............................[1.38] 16. Main dominée par le cœur [TO]....[1.12]
La fraîcheur et le feu [JMA

17. i. Rayons des yeux .....................................[1.17]

18. ii. Le matin les branches attisent............[0.45]

19. iii. Tout dispar ut ............................................[1.52]

20. iv. Dans les ténèbres du jardin ................[0.29]

Malcolm Martineau piano

3

‘Colloque’,composed in 1940,was Poulenc’s only setting of words by PaulValéry.After the plain opening in octaves the piano, as often in Poulenc’s love songs, then proceeds largely in pairs of pulsing chords, leading to one of his favourite descending sequences on the words ‘Si ton désir…’ ‘Mazurka’, his last setting of words by Louise de Vilmorin, was commissioned by the bass Doda Conrad in 1949 as one of a set of seven songs entitled Mouvements de coeur to mark the 100th anniversary of the death of Chopin. Poulenc felt his song might have accompanied the ball in the novel Le grand Meaulnes, and was pleased to have negotiated the tricky ‘font, font, font’ passages to his own satisfaction.
1945, and the whole put together in May and July 1946. He hoped, even so, that the song flowed in one long wave, and insisted it should catch the burbling of the water and of the conversation going on above it. In ‘the postage stamp’ of Un poème, he admired Apollinaire’s ability to ‘suggest silence and emptiness in so few words’ and his music, balanced on the edge of atonality, is the soul of emptiness, redeemed (or is it?) by a final, unforeseen major chord.

The novelist Colette was a friend of Poulenc’s from the early 1930s until her death in 1954 but,despite his frequent entreaties,she gave him only one poem – inscribed on a large gauze handkerchief and handed to him from her hospital bed in 1938. In Le portrait Colette paints a version, perhaps, of herself –‘beautiful, unkind, deceitful, unfair’, she was certainly the first and could, at times, be the rest – and Poulenc responds with a song of wilful eccentricity, beginning ‘very violent and impassioned’ and only at the end finding resolution, as the hankerchief reveals ‘the very portrait of your heart’. Its own qualities aside, the composer felt that this song, to his own surprise, constitutes the perfect lead-in to…
He once said that he would be happy to have inscribed on his tombstone:‘Here lies Francis Poulenc, the musician of Apollinaire and Eluard’.The order there is not just alphabetical but, in Poulenc’s life, chronological. Starting with the tiny poems of Le bestiaire (to follow in the two final volumes of this series), he employed his own technique, essentially traditional but also flexible, to mirror the apparent simplicities of Guillaume Apollinaire’s poetry, beneath which flow powerful currents of humour and nostalgia. He had had in mind to set La grenouillère for years before finally turning to it in 1938, reminding him as it did of happy childhood hours spent on the banks of the Marne and of the paintings by Monet and Renoir depicting boatmen and lazy Sunday afternoons (he admitted that the piano’s floating, undirected thirds on the line ‘Petits bateaux vous me faites bien de la peine’ were borrowed from Mussorgsky). With Apollinaire, he wrote, ‘irony is always veiled by tenderness and melancholy’, and this song must be delivered straight, without knowing winks.
… ‘Tu vois le feu du soir’, the first of the pair of Miroirs brûlants, composed in 1938-9 to poems by Paul Eluard. Poulenc had first met the poet in Adrienne Monnier’s bookshop at the end of the First World War, but did not set any of his poetry until 1935. Of the two songs making up Miroirs brûlants, he was severe on the second, but reckoned that ‘Tu vois…’ might well be the one song of his that he would take to his desert island. It is not hard to see why. There are the usual pulsing chords, some on, some off the beat; a predominance of minor chords, with or without attendant 7ths and 9ths; a wonderful lightening of the mood (major chords) at ‘Tu vois un bel enfant…’; and in the voice a line that seems utterly natural and yet utterly individual.
The more he readApollinaire,the more he realised the poetic importance of Paris in his work and in Montparnasse the composer looks back to the ‘discovery’ of the Left Bank 30 years earlier by Picasso, Braque, Modigliani… and Apollinaire. Hyde Park, in contrast, is nostalgiafree – one of Poulenc’s scatty, fast numbers. Le pont, like Montparnasse and many other of his songs, was written piecemeal: the line ‘qui va de loin qui va si loin’ in 1944, the next line in
The two settings of the poet he made just after the war are barely less impressive. He dedicated …mais mourir to the memory of Nusch, Eluard’s second wife, who died suddenly

  • 4
  • 5

of a cerebral haemorrhage in 1946 at the age of just 40.Here the piano chords pulse in groups of three rather than two, but the elegance and suppleness of the vocal line remain. Referring to the ‘mains lasses retournant leurs gants’, Poulenc remembered that ‘Nusch’s hands were so beautiful, this poem seemed to me especially made to evoke them’ (they can be seen and

admired in Francis Poulenc, Music, Art and Literature, ed. Sidney Buckland and Myriam

Chimènes, Aldershot, Ashgate, 1999, Plate 12). In Main dominée par le coeur, the composer admitted a further borrowing, this time from himself in ‘Plume d’eau claire’ from his 1935 Eluard set, but was proud of the song’s tonal construction: C major – D major (‘...habite...’) – C major – D major (‘...rien...’) – C major, mirroring the double wave of the poem. this time by Apollinaire. From early in their gestation Poulenc settled on an overall tonal scheme: F minor – E flat major – E major – B major, then back through E major – E flat major – F minor. In the event F minor became F# minor, and what he called ‘the hinge of B major’ for ‘Il pleut’ became B flat minor, but the to-and-fro principle remained.The poems took him back to his youth and he dedicated each song to a friend from those years. In ‘L’espionne’, we hear again the syncopated chords that run through so many of his Eluard settings, but here the tone is ‘more sensual than lyrical’.‘Mutation’ and ‘Aussi bien que les cigales’ are what he called ‘soldiers’ songs’, on the cusp between ditties and mélodies proper, although at the end of the latter he turns on the dramatics for the final line, in capitals in the original poem. Finally, ‘Voyage’, ‘certainly one of the two or three songs I value most… It goes from emotion to silence, passing through melancholy and love.’The spare octaves of the piano epilogue,‘very blurred and far away in a fog of pedals’, conjure up the noise of the trains Poulenc used to hear as a boy in July, taking people away on holiday. But surely not that alone: how better to paint ‘your face that I no longer see’…
Poulenc’s next settings of Eluard were the seven short songs of La fraîcheur et le feu, composed in 1950. He described these as ‘mes mélodies les plus concertées’, using that last word in the sense of ‘unified’. The seven poems were published in Eluard’s 1940 volume Le Livre ouvert I as a group entitled ‘Vue donne vie’, and Poulenc saw them as essentially making up a single work, ‘progressing wonderfully with the feeling of a crescendo’. His unified structure rests on the two distinct tempi, fast and slow, with nothing in between.As already mentioned in the opening paragraph, his piano writing is typically sparse, although in this case he was thinking specifically of Matisse’s sketches of a swan to illustrate a volume of Mallarmé’s sonnets, where the lines are gradually reduced in number and complexity to form the final published drawings.The set is dedicated to Stravinsky and the third song quotes from the latter’s neoclassical Serenade in A for piano. The climax comes, after a ‘très long silence’, in the penultimate song where Poulenc responds once more to Eluard’s ‘côté litanies’, as he had so memorably at the end of his

choral work Figure humaine.

The bass Doda Conrad was again the moving spirit behind La souris, one of 80 compositions, dedications and letters he commissioned in 1956 for the 80th birthday of his mother, the soprano Marya Freund, the original wood dove in Schönberg’s Gurrelieder and the speaker in the French premiere of Pierrot lunaire. Going back to Apollinaire’s Le bestiaire, Poulenc chose ‘La souris’ to mark the passing of time, gradually nibbled away by the mouse. His dedication though is tactful:‘Dear Marya Freund, your heart will always be 20 years old! Alas! The composer of Le bestiaire is a lot more than 28!’

Finally, the two Chansons pour enfants of 1934 (for their companions, see volume 2) again find Francis Poulenc, alias Maurice Chevalier, on sparkling form.
Even if the songs in La fraîcheur et le feu were ‘ses plus concertées’, his concern for structure had also been evident in the Calligrammes of two years earlier,again a group of seven songs,

© Roger Nichols

  • 6
  • 7

  • Airs Chantés [SF]
  • Sung Airs
  • 3. Air grave
  • 3. Grave Air

Jean Moréas (1856-1910)

  • Ah! fuyez à présent,
  • Ah! begone now,

  • 1. Air romantique
  • 1. Romantic Air

malheureuses pensées! O! colère, ô remords! Souvenirs qui m’avez les deux tempes pressées, de l’etreinte des morts. unhappy thoughts! O! anger, O remorse! Memories that beset my two temples
J’allais dans la campagne avec le vent d’orage, Sous le pâle matin, sous les nuages bas, Un corbeau ténébreux escortait mon voyage Et dans les flaques d’eau retentissaient mes pas.
I walked in the countryside with the storm wind, beneath the pallid morning, under the low clouds,

  • a sinister raven followed me on my way
  • with the grip of the dead.

and my steps splashed in the puddles .
Sentiers de mousse pleins, vaporeuses fontaines, grottes profondes, voix des oiseaux et du vent lumières incertaines
Moss-grown paths, vaporous fountains, deep grottoes, voices of birds and of the wind, fitful lights
La foudre à l’horizon faisait courir sa flamme Et l’Aquilon doublait ses longs gémissements; Mais la tempête était trop faible pour mon âme, Qui couvrait le tonnerre avec ses battements.
The lightning on the horizon forked its flame and the North Wind redoubled its long wailing; but the tempest was too weak for my soul, which drowned the thunder with its throbbing.

  • des sauvages sous-bois.
  • of the wild undergrowth.

De la dépouille d’or du frêne et de l’érable L’Automne composait son éclatant butin, Et le corbeau toujours, d’un vol inexorable,
From the golden spoils of the ash and the maple Autumn amassed her brilliant booty, and the raven still, with inexorable flight,
Insectes, animaux, Beauté future, Ne me repousse pas Ô divine nature, Je suis ton suppliant
Insects, animals, beauty to come, do not repulse me O divine nature, I am your suppliant
M’accompagnait sans rien changer à mon destin. bore me company changing nothing towards my fate.

  • 2. Air champêtre
  • 2. Pastoral Air

Ah! fuyez à présent, colère, remords!
Ah! begone now,

  • anger, remorse!
  • Belle source, je veux me rappeler sans cesse,

Qu’un jour guidé par l’amitié Ravi, j’ai contemplé ton visage, ô déesse, Perdu sous la mousse à moitié.
Lovely spring, I will never cease to remember, that on a day, guided by friendship entranced, I gazed upon your face, O goddess, half hidden beneath the moss.

  • 4. Air vif
  • 4. Lively Air

Que n’est-il demeuré, cet ami que je pleure, O nymphe, à ton culte attaché, Pour se mêler encore au souffle qui t’effleure Et répondre à ton flot caché.
Had he but remained, this friend for whom I weep, o nymph, a devotee of your cult, to mingle once again with the breeze that caresses you, and to respond to your hidden waters.
Le trésor du verger et le jardin en fête, Les fleurs des champs, des bois éclatent de plaisir
The riches of the orchard and the festive garden, the flowers of the fields, of the woods burst forth with delight

  • Hélas! et sur leur tête le vent enfle sa voix.
  • Alas! and above their head the wind's voice is rising.

  • Mais toi, noble océan
  • But you, noble ocean

que l’assaut des tourmentes Ne saurait ravager, whom the assault of tempests cannot ravage,
Certes plus dignement lorsque tu te lamentes Tu te prends à songer. most certainly with more dignity, when you lament you lose yourself in dreams.

  • 8
  • 9

  • 5. Colloque [LA] and [TO]
  • 5. Colloquy
  • 6. Mazurka [TO]
  • 6. Mazurka

  • Paul V a léry (1871-1945)
  • Louise d e V ilmorin (1902-1969)

D’une rose mourante L’ennui se penche vers nous Tu n’es pas différente Dans ton silence doux De cette fleur mourante; Elle se meurt pour nous. Tu me sembles pareille À celle dont l’oreille
Like to a dying rose weariness weighs upon us; you are not different in your sweet silence from this dying flower: it dies for us … you seem to resemble her whose head I cradled in my lap, but who never
Les bijoux ause poitrines, Les soleils aux plafonds, Les robes opalines,
The jewels on the breasts, the suns on the ceiling, the opaline gowns,

  • Miroirs et violons,
  • mirrors and violins.

  • Font ainsi, font, font, font,
  • Make thus, make, make, make,

Des mains tomber l’aiguille, L’aiguille de raison, Des mains de jeunes filles Qui s’envolent et font,
Hands let fall the needle, the needle of reason, from hands of young girls that fly past and make,
Était sur mes genoux À celle dont l’oreille Ne m’écoutait jamais! Tu me sembles pareille À l’autre que j’aimais: Mais de celle ancienne Sa bouche était la mienne listened to me! You seem to resemble the other whom I loved: but the lips of this former love were one with my own.

  • Font ainsi, font, font, font,
  • Make thus, make, make, make,

D’un regard qui s’appuie, D’une ride à leur front, Le beau temps ou la pluie. Ed d’un soupir larron,
Of a stare that is fixed, of a wrinkle on the brow,

  • fine weather or rain.
  • Que me compares-tu

quelque rose fanée?
Why do you compare me

  • to some faded rose?
  • And of a thievish sigh,

L’amour n’a de vertu que fraîche et spontanée Mon regard dans le tien Ne trouve que son bien Je m’y vois toute nue! Mes yeux effaceront Tes lar mes qui seront d’un souvenir venues. Si ton désir naquit
Love’s one virtue is fresh and spontaneous. Gazing into your eyes I find only what is good. I see myself laid bare! My eyes will make you forget your tears flowing from a memory. If your desire is born let it die on my couch and on my lips_

  • Font ainsi, font, font, font,
  • Make thus, make, make, make,

Du bal une tourmente Où sage et vagabond, D’entendre l’inconstante, Dire oui, dire non,
A tempest of the ball where the wise and the flighty, hear the fickle one, say yes, say no,

  • Font ainsi, font, font, font,
  • Make thus, make, make, make,

qu’il meure sur ma couche

  • Et sur mes lèvres
  • Danser l’incertitude
  • The uncertainty dance

  • qui t’emporteront la bouche.
  • which will impassion your own.
  • Dont les pas compteront.

Oh! le doux pas des prudes, Leurs silences profonds, of which the steps will count. Oh! the soft steps of the prudes, their profound silences,

  • Font ainsi, font, font, font,
  • Make thus, make, make, make,

  • 10
  • 11

Du bal une contrée Où les feux s’uniront. Des amours recontrées Ainsi la neige fond.
A country of the ball where fires will unite. From encountered loves thus the snow melts.
Un poète lyrique d’Allemagne Qui voulez connaître Paris Vous connaissez de son pavé Ces raies sur lesquelles il ne faut pas que l’on marche a lyric poet from Germany who wants to know Paris you know on its pavement these lines on which one must not step

  • La neige fond, fond, fond.
  • The snow melts, melts, melts.
  • Et vous rêvez
  • and you dream

  • D’aller passer votre Dimanche à Garches
  • of going to pass your Sunday at Garches

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    University of New Mexico UNM Digital Repository Clovis News, 1911-1913 New Mexico Historical Newspapers 12-18-1914 Clovis News, 12-18-1914 The ewN s Print. Co. Follow this and additional works at: https://digitalrepository.unm.edu/clovis_news Recommended Citation The eN ws Print. Co.. "Clovis News, 12-18-1914." (1914). https://digitalrepository.unm.edu/clovis_news/98 This Book is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Clovis News, 1911-1913 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. A 1. V, I I Come to A jfSK5 Come to : Clovis, V JS it New Mexico. VOL. 8. NO. 25 CLOVIS, CURRY COUNTY. NEW MEXICO, DECEMBER 18, 1914 $1.00 PER YEAH AMERICAN BANK PROPERTY Is There a Santa Claus. CHAMBER OF COMMERCE One of the gems of present SOLD AT RECEIVER'S SALE day journalism is the reply of HAS MUCH SUDAN SEED the New Y ork Sun to the letter of a little girl, Virginia O'Han-lo- n, Depositors of Institution Will Get Their Pro Pata Share who, not doubting the edit- Plan by Which County Was Supplied With Sudan Grass or's infallibility, demanded the of Proceeds of Sale Soon. Seed and Which Yielded Heavy Returns, Disclosed. truth about Santa Cdaus. Here is the editor's answer: According to cou rt order the "Yes, Virginia.! there is a The following letter has been final step in closing the affairs of New Train Schedule Santa Claus.
  • 12 Bab 1 Pendahuluan 1.1 Latar Belakang Selain Anime Dan Manga, Jepang Adalah Negara Yang Juga Terkenal Melalui Industri Musikny

    12 Bab 1 Pendahuluan 1.1 Latar Belakang Selain Anime Dan Manga, Jepang Adalah Negara Yang Juga Terkenal Melalui Industri Musikny

    Bab 1 Pendahuluan 1.1 Latar Belakang Selain anime dan manga, Jepang adalah negara yang juga terkenal melalui industri musiknya. Sebagian dari musik yang paling menarik yang ada di dunia sekarang ini datang dari Jepang (McClure, 1998 : 7). Pada tahun 2001, sekitar 62 % dari seluruh keluarga di Jepang memiliki pemutar CD dan CD musik. Dan 96 % dari CD musik yang dimiliki adalah CD musik produksi Jepang sendiri (Hataro, 2002 : 135). Hal ini menunjukkan bahwa mayoritas masyarakat Jepang lebih menghargai musik dalam negeri dibandingkan musik-musik dari luar. Sebagai salah satu bentuk seni, musik mengajak pendengarnya untuk mencari makna terdalam dari liriknya. Entah itu lagu tentang cinta ataupun lagu politik, pesan- pesan yang terdapat di dalam lirik terlihat lebih kaya, lebih persuasif, lebih emosional dan memiliki makna yang lebih dalam jika dimasukkan ke dalam konteks musikal dibandingkan hanya membaca sebuah teks (Thompson & Russo, 2004 : 54). Dilihat dari segi lirik, musik Jepang dapat dikatakan cukup berbeda jika dibandingkan dengan musik-musik dari negara lainnya, khususnya musik barat. Di samping musik Jepang dengan lirik yang ceria dan ringan, terdapat pula musik Jepang dengan lirik-lirik yang mengandung makna yang dalam. Satu pendapat mengatakan bahwa musik Jepang tidak hanya mengisahkan tentang cinta. Tetapi juga ada yang mengisahkan tentang kehidupan, alam, makanan, dan sebagainya. Hal itu membuat lirik Jepang lebih terlihat seperti puisi, karena mengandung makna yang dalam, yang tidak dapat dipahami begitu saja. 12 Lirik lagu yang mengandung makna tersembunyi, contohnya adalah lagu milik Ai Otsuka yang berjudul Kuroge Wagyuu Joushio Tanyaki 680 Yen (黒毛和牛上塩タン 焼 680 円). Dilihat dari judul lagu tersebut, secara sepintas memang terkesan seperti lagu mengenai makanan.
  • ANIME OP/ED (TV-Versio) Japahari Net - Retsu No Matataki Maximum the Hormone - ROLLING 1000 Toon

    ANIME OP/ED (TV-Versio) Japahari Net - Retsu No Matataki Maximum the Hormone - ROLLING 1000 Toon

    Air Master ANIME OP/ED (TV-versio) Japahari Net - Retsu no matataki Maximum the Hormone - ROLLING 1000 tOON 07 Ghost Ajin Yuki Suzuki - Aka no Kakera flumpool - Yoru wa Nemureru kai? Mamoru Miyano - How Close You Are 91 Days Angela x Fripside - Boku wa Boku de atte ELISA - Rain or Shine TK from Ling Tosite Sigure - Signal Amanchu Maaya Sakamoto - Million Clouds 11eyes Asriel - Sequentia Ange Vierge Ayane - Arrival of Tears Konomi Suzuki - Love is MY RAIL 3-gatsu no Lion Angel Beats BUMP OF CHICKEN - Answer Aoi Tada - Brave Song .dot-Hack Lisa - My Soul Your Beats See-Saw - Yasashii Yoake Girls Dead Monster - My Song Bump of chicken - Fighter Angelic Layer .hack//g.u Atsuko Enomoto - Be my Angel Ali Project - God Diva HAL - The Starry sky .hack//Liminality Anime-gataris See-Saw - Tasogare no Umi GARNiDELiA - Aikotoba .hack//Roots Akagami no Shirayuki hime Boukoku Kakusei Catharsis Saori Hayami - Yasashii Kibou eyelis - Kizuna ni nosete Abenobashi Mahou Shoutengai Megumi Hayashibara - Anata no kokoro ni Akagami no Shirayuki hime 2nd season Saori Hayami - Sono Koe ga Chizu ni Naru Absolute Duo eyelis - Page ~Kimi to Tsuzuru Monogatari~ Nozomi Yamamoto & Haruka Yamazaki - Apple Tea no Aji Akagi Maximum the Hormone - Akagi Accel World May'n - Chase the World Akame ga Kill Sachika Misawa - Unite. Miku Sawai - Konna Sekai, Shiritakunakatta Altima - Burst the gravity Rika Mayama - Liar Mask Kotoko - →unfinished→ Sora Amamiya - Skyreach Active Raid Akatsuki no Yona AKINO with bless4 - Golden Life Shikata Akiko - Akatsuki Cyntia - Akatsuki no hana
  • 1994 Historic Hyde Park Homes Tour

    1994 Historic Hyde Park Homes Tour

    i:·~?.·, ;)''/ .··:· ~L,. .Welcome to Our Neighborhood, The Hyde Park Neighborhood Association welcomes you to our eighteenth annual Hyde Park Homes Tour. The theme for this year's tour is "A Stroll Through the Park." Last year the Austin Convention and Visitors Bureau and the Historic Landmark Commission created a walking tour of Hyde Park. We would like to thank those who helped in developing the walking tour and invite you to return and take the self-guided tour at your leisure. This Homes Tour invites you to "Stroll through the Park" to enjoy the grace and beauty of some of our homes and the hospitality of our neighbors. Among the stops on the Tour you will see a new Victorian home that recreates the style of 100 years ago, a home which celebrates its hundredth anniversary, anda home which was saved from the bulldozers 15 years ago. · The homes on the 1994 Tour represent a wide range of styles from the 100 year old Victorians to the. 20th century bungalows that make up the majority of Hyde Park homes. This year we would like to call attention to the people of Hyde Park. Those who lived and worked in early Hyde Park, such as Elisabet Ney, Peter Mans bendel, Charles Ramsdell,· and many others who established a neighborhood which promoted the value of art and literature. In keeping. with those values we hope you will take the time .to stop at the Elisabet Ney Museum and enjoy the music, prose and verse of our neighbors. JL Alan Marburger, Preside Hyde Park Neighborhoo r ABOUT HYDE PARK AND H.P.N.A.
  • BAB I PENDAHULUAN 1.1 Latar Belakang Dan Permasalahan 1.1.2

    BAB I PENDAHULUAN 1.1 Latar Belakang Dan Permasalahan 1.1.2

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diponegoro University Institutional Repository BAB I PENDAHULUAN 1.1 Latar Belakang dan Permasalahan 1.1.2 Latar Belakang Sastra merupakan aspek penting yang selalu melekat dalam kehidupan manusia. Menurut Sumardjo dan Saini (1988:3), sastra adalah ungkapan pribadi manusia yang berupa pengalaman, pemikiran, perasaan, ide, semangat, keyakinan, dalam suatu bentuk gambaran konkret yang membangkitkan pesona dengan alat bahasa. Dalam kehidupan sehari-hari, karya sastra selalu kita jumpai baik sebagai pelaku sastra ataupun sebagai penikmat saja. Secara umum karya sastra dibagi menjadi tiga genre, yaitu prosa, puisi, dan drama. Puisi adalah suatu bentuk karya sastra yang mengungkapkan pikiran dan perasaan penyair secara imajinatif dan disusun dengan mengkonsentrasikan semua kekuatan bahasa dengan pengkonsentrasian struktur fisik dan struktur batinnya (Waluyo, 1995:25). Puisi merupakan salah satu karya sastra yang paling sering kita nikmati dalam kehidupan sehari-hari, yaitu lirik lagu. Bahasa lagu hakikatnya adalah puisi karena ada unsur bunyi, persajakan, diksi, dan sebagainya. Bahasa puisi adalah bahasa yang khas. Artinya bahasa yang dipergunakan ringkas dan padat, memakai simbol dan lambang, bunyi, sarana retorika sehingga diperoleh efek estetis (Hermintoyo, 2014:1). Lirik adalah jiwa lagu yang bersama dengan melodi atau instrumen membentuk suatu harmoni. Sedangkan pengertian lagu yaitu gubahan seni nada atau suara dalam urutan, kombinasi, dan hubungan temporal (biasanya diiringi 1 dengan alat musik) untuk menghasilkan gubahan musik yang mempunyai kesatuan dan kesinambungan (mengandung irama). Jadi lirik lagu adalah ekspresi tentang sesuatu hal yang dilihat atau didengar seseorang atau yang dialaminya. Setiap lagu pasti mempunyai tujuan tertentu yang ingin disampaikan oleh pengarang kepada masyarakat sebagai pendengarnya.
  • The Ultimate Civil Right: Examining the Hyde Amendment and the Born Alive Infants Protection Act

    The Ultimate Civil Right: Examining the Hyde Amendment and the Born Alive Infants Protection Act

    THE ULTIMATE CIVIL RIGHT: EXAMINING THE HYDE AMENDMENT AND THE BORN ALIVE INFANTS PROTECTION ACT HEARING BEFORE THE SUBCOMMITTEE ON THE CONSTITUTION AND CIVIL JUSTICE OF THE COMMITTEE ON THE JUDICIARY HOUSE OF REPRESENTATIVES ONE HUNDRED FOURTEENTH CONGRESS SECOND SESSION SEPTEMBER 23, 2016 Serial No. 114–95 Printed for the use of the Committee on the Judiciary ( Available via the World Wide Web: http://judiciary.house.gov U.S. GOVERNMENT PUBLISHING OFFICE 22–122 PDF WASHINGTON : 2016 For sale by the Superintendent of Documents, U.S. Government Publishing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 COMMITTEE ON THE JUDICIARY BOB GOODLATTE, Virginia, Chairman F. JAMES SENSENBRENNER, JR., JOHN CONYERS, JR., Michigan Wisconsin JERROLD NADLER, New York LAMAR S. SMITH, Texas ZOE LOFGREN, California STEVE CHABOT, Ohio SHEILA JACKSON LEE, Texas DARRELL E. ISSA, California STEVE COHEN, Tennessee J. RANDY FORBES, Virginia HENRY C. ‘‘HANK’’ JOHNSON, JR., STEVE KING, Iowa Georgia TRENT FRANKS, Arizona PEDRO R. PIERLUISI, Puerto Rico LOUIE GOHMERT, Texas JUDY CHU, California JIM JORDAN, Ohio TED DEUTCH, Florida TED POE, Texas LUIS V. GUTIERREZ, Illinois JASON CHAFFETZ, Utah KAREN BASS, California TOM MARINO, Pennsylvania CEDRIC RICHMOND, Louisiana TREY GOWDY, South Carolina SUZAN DelBENE, Washington RAU´ L LABRADOR, Idaho HAKEEM JEFFRIES, New York BLAKE FARENTHOLD, Texas DAVID N. CICILLINE, Rhode Island DOUG COLLINS, Georgia SCOTT PETERS, California RON DeSANTIS, Florida MIMI WALTERS, California KEN BUCK, Colorado JOHN RATCLIFFE, Texas DAVE TROTT, Michigan MIKE BISHOP, Michigan SHELLEY HUSBAND, Chief of Staff & General Counsel PERRY APELBAUM, Minority Staff Director & Chief Counsel SUBCOMMITTEE ON THE CONSTITUTION AND CIVIL JUSTICE TRENT FRANKS, Arizona, Chairman RON DeSANTIS, Florida, Vice-Chairman STEVE KING, Iowa STEVE COHEN, Tennessee LOUIE GOHMERT, Texas JERROLD NADLER, New York JIM JORDAN, Ohio TED DEUTCH, Florida PAUL B.

  • Invitation to Cindy Hyde Smith Luncheon at Community Library

    www.mississippilink.com VOL. 25, NO. 5 NOVEMBER 22 - 28, 2018 50¢ FROM THE MISSISSIPPI LINK ACLU extends a “front-seat” Ward 3 sponsors Thanksgiving invitation to Cindy Hyde Smith Luncheon at community library Councilman Kenneth I. Stokes, host of Thanksgiving dinner By Jackie Hampton Publisher Councilman Kenneth Stokes of Ward 3 said giving back to the community is very important to him as he vividly recalled a time when he was in the fi rst grade Jeff Robinson, ACLU deputy legal director PHOTO BY ANITA YOUNG A front row seat reserved for Cindy Hyde-Smith and was heard crying by the garbage pick-up man in his community. When asked why was he crying the By Ken White It offered insight into the state’s and periodically, Robinson de- better than those statements, but man, known simply as the ‘garbage man,’ was told that Contributing writer history of slavery, slave patrols, ferred to the empty seat. Though unfortunately Mississippi is suf- Stokes was crying because he did not have lunch mon- Against the backdrop of ra- lynchings, black codes, Jim Crow her seat was empty, hundreds of fering from some policies, that ey, and learning this, he gave Stokes money for lunch. cially charged comments made and modern-day mass incarcera- people fi lled the seats around hers. were built, that have institutional- The Councilman said, “I will never forget it; you must by interim U.S. Senator Cindy tion. The conversation was held “You may have noticed that ized racism in Mississippi.” always help others and that is what I have been trying to Hyde-Smith, Jeff Robinson, dep- the night before the only debate there is a reserved seat in the front One of the most poignant mo- do over the years.” uty legal director at the American between candidates for U.S.