January 1943) James Francis Cooke
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Transatlantic Modernisms This List Focuses on Works of Modern
Transatlantic Modernisms This list focuses on works of modern literature that either register or have a transatlantic effect. Our guiding notions involve expatriations and migrations; circulations and translations; as well as gifts, thefts, borrowings, and appropriations. The subheadings are intended to be suggestive rather than definitive, representative of these concerns rather than comprehensive. Though entries are restricted to literature, other art forms-music, visual arts, and film-form part of the context. A FEW PRECURSORS 1. Edgar Allan Poe, "The Fall of the House of Usher" (1839), "The Murders in the Rue Morgue" (1841), "The Gold Bug" (1843), "The Purloined Letter" (1845) 2. Walt Whitman, Leaves of Grass (1855) 3. Baudelaire, Le spleen de Paris (1869) EXPATRIATIONS AND MIGRATIONS 1. Henry James, The Portrait of a Lady (1881) 2. Oscar Wilde, "Impressions of America" (1883) 3. Robert Louis Stevenson, The Master of Ballantrae (1889) 4. Edith Wharton, The Custom of the Country (1913) 5. Virginia Woolf, The Voyage Out (1915) 6. T.S. Eliot, The Waste Land (1922) 7. James Joyce, Ulysses (1922) 8. D. H. Lawrence, Studies in Classic American Literature (1924) 9. Ernest Hemingway, Men without Women (1927) 10. Nancy Cunard, Black Man and White Ladyship (1931) 11. Gertrude Stein, The Autobiography of Alice B. Toklas (1933) 12. Djuna Barnes, Nightwood (1936) 13. H.D. [Hilda Doolittle], Trilogy (1946) 14. Ezra Pound, The Pisan Cantos (1948) 15. J.P. Donleavy, The Ginger Man (1955) 16. James Baldwin, Notes of a Native Son (1955) 17. Chester Himes, My Life of Absurdity (1976) 18. V.S. Naipaul, The Enigma of Arrival (1987) 19. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
An Intelligent Technique to Customise Music Programmes for Their Audience
Poolcasting: an intelligent technique to customise music programmes for their audience Claudio Baccigalupo Tesi doctoral del progama de Doctorat en Informatica` Institut d’Investigacio¶ en Intel·ligencia` Artificial (IIIA-CSIC) Dirigit per Enric Plaza Departament de Ciencies` de la Computacio¶ Universitat Autonoma` de Barcelona Bellaterra, novembre de 2009 Abstract Poolcasting is an intelligent technique to customise musical se- quences for groups of listeners. Poolcasting acts like a disc jockey, determining and delivering songs that satisfy its audience. Satisfying an entire audience is not an easy task, especially when members of the group have heterogeneous preferences and can join and leave the group at different times. The approach of poolcasting consists in selecting songs iteratively, in real time, favouring those members who are less satisfied by the previous songs played. Poolcasting additionally ensures that the played sequence does not repeat the same songs or artists closely and that pairs of consecutive songs ‘flow’ well one after the other, in a musical sense. Good disc jockeys know from expertise which songs sound well in sequence; poolcasting obtains this knowledge from the analysis of playlists shared on the Web. The more two songs occur closely in playlists, the more poolcasting considers two songs as associated, in accordance with the human experiences expressed through playlists. Combining this knowl- edge and the music profiles of the listeners, poolcasting autonomously generates sequences that are varied, musically smooth and fairly adapted for a particular audience. A natural application for poolcasting is automating radio pro- grammes. Many online radios broadcast on each channel a random sequence of songs that is not affected by who is listening. -
1St Connection Between Baseball and Opera
Baseball & Opera (compiled by Mark Schubin, this version posted 2014 April 14) 1849 : 1 st connection between baseball and opera: Fans of American actor Edwin Forrest, who is playing Macbeth in New York, hire thugs from among ballplayers at Elysian Fields in Hoboken, New Jersey (1 st famous ball field) to disrupt performances of British actor William Macready, also playing Macbeth in New York at what had been Astor Opera House. Deadly riot ensues; Macready is rescued by ex-Astor Opera House impresario Edward Fry, who later (1880) invents electronic home entertainment (and probably headphones) by listening to live opera by phone. 1852: Opera-house exclusivity dispute with composer’s niece Johanna Wagner forms legal basis of baseball’s reserve clause. 1870 : Tony Pastor’s Opera House baseball team is covered by The New York Times (they won). 1875 : San Francisco Chronicle reports on that city’s opera-house baseball team. 1879 : Pirate King role created for Signor Brocolini, who, as John Clark, played first base for the Detroit Base Ball Club. 1881 : Dartmouth College opera group performs to raise money for college’s baseball team. 1884 : Three telegraph operators, James U. Rust, E. W. Morgan, and A. H. Stewart, present live games remotely. One sends plays from ballpark, second receives and announces, third moves cards with players’ names around backdrop. Starting in Nashville’s 900-seat Masonic Theater, they soon move to 2,500-seat Grand Opera House, beginning half-century of remote baseball game viewing at opera houses (also Augusta, GA Grand Opera House starting 1885). 1885 : The Black Hussar is probably 1 st opera with baseball mentioned in its libretto (in “Read the answer in the stars”). -
The Appropriation of Vodún Song Genres for Christian Worship in the Benin Republic
THE APPROPRIATION OF VODÚN SONG GENRES FOR CHRISTIAN WORSHIP IN THE BENIN REPUBLIC by ROBERT JOHN BAKER A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY The Centre for West African Studies The School of History and Cultures The University of Birmingham June 2011 ii ABSTRACT Songs from the vodún religion are being appropriated for use in Christian worship in Benin. My research looks into how this came to be, the perceived risks involved and why some Christians are reluctant to use this music. It also looks at the repertoire and philosophy of churches which are using vodún genres and the effect this has upon their mission. For my research, I interviewed church musicians, pastors, vodún worshippers and converts from vodún to Christianity. I also recorded examples of songs from both contexts as well as referring to appropriate literary sources. My results show that the church versions of the songs significantly resemble the original vodún ones and that it is indeed possible to use this music in church without adverse effects. Doing so not only demystifies the vodún religion, but also brings many converts to Christianity from vodún through culturally authentic worship songs. The research is significant as this is a current phenomenon, unresearched until now. My findings contribute to the fields of missiology and ethnomusicology by addressing issues raised in existing literature. It will also allow the Beninese church and those in similar situations worldwide to understand this phenomenon more clearly. ii Dedication To Lois, Madelaine, Ruth and Micah. For your patience and endurance over the past four years. -
Opera Enormous: Arias in the Cinema Benjamin Speed
The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 5-2012 Opera Enormous: Arias in the Cinema Benjamin Speed Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Film and Media Studies Commons, Music Performance Commons, and the Theatre and Performance Studies Commons Recommended Citation Speed, Benjamin, "Opera Enormous: Arias in the Cinema" (2012). Electronic Theses and Dissertations. 1749. http://digitalcommons.library.umaine.edu/etd/1749 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. OPERA ENORMOUS: ARIAS IN THE CINEMA By Benjamin Speed B. A. , The Evergreen State College, 2002 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Communication) The Graduate School The University of Maine May, 2012 Advisory Committee: Nathan Stormer, Associate Professor of Communication and Journalism, Advisor Laura Lindenfeld, Associate Professor of Communication and Journalism and the Margaret Chase Smith Policy Center Michael Socolow, Associate Professor of Communication and Journalism THESIS ACCEPTANCE STATEMENT On behalf of the Graduate Committee for Benjamin Jon Speed I affirm that this manuscript is the final and accepted thesis. Signatures of all committee members are on file with the Graduate School at the University of Maine, 42 Stodder -
Publicacion7135.Pdf
BIBLIOTECA PÚBLICA DE ALICANTE BIOGRAFÍA Roy Haynes nació el 13 de marzo de 1925 en Boston, Massachusetts. A finales de los años cuarenta y principios de los cincuenta, Roy Haynes tuvo la clase de aprendizaje que constituiría el sueño de cualquier músico actual: sentarse en el puesto de baterista y acompañar al gran Charlie Parker. Ahora, cincuenta años después, y tras haber tocado con todos los grandes del jazz: Thelonius Monk, Miles Davis, o Bud Powell, todavía coloca sus grabaciones en la cima de las listas de las revistas especializadas en jazz. Este veterano baterista, comenzó su andadura profesional en las bigbands de Frankie Newton y Louis Russell (1945-1947) y el siguiente paso fue tocar entre 1947 y 1949 con el maestro el saxo tenor, Lester Young. Entre 1949 y 1952, formo parte del quinteto de Charlie Parker y desde ese privilegiado taburete vio pasar a las grandes figuras del bebop y aprender de ellas. Acompañó a la cantante Sarah Vaughan, por los circuitos del jazz en los Estados Unidos entre 1953 y 1958 y cuando finalizó su trabajo grabo con Thelonious Monk, George Shearing y Lennie Tristano entre otros y ocasionalmente sustituía a Elvin Jones en el cuarteto de John Coltrane. Participó en la dirección de la Banda Sonora Original de la película "Bird" dirigida por Clint Eastwood en 1988 y todavía hoy en activo, Roy Haynes, es una autentica bomba dentro de un escenario como pudimos personalmente comprobar en uno de sus últimos conciertos celebrados en España y mas concretamente en Sevilla en el año 2000. En 1994, Roy Haynes recibió el premio Danish Jazzpar, que se concede en Dinamarca. -
Claudia Maurer Zenck
Claudia Maurer Zenck Publikationsliste A: Bücher Verfolgungsgrund: „Zigeuner“. Unbekannte Musiker und ihr Schicksal im „Dritten Reich“ (= Antifaschistische Literatur und Exilliteratur – Studien und Texte, Bd. 25, hg. v. Verein zur Förderung und Erforschung der antifaschistischen Literatur), Wien: Verlag der Theodor Kramer Gesellschaft, 2016 Mozarts Così fan tutte: dramma giocoso und deutsches Singspiel. Frühe Abschriften und frühe Aufführungen, Schliengen: edition argus, 2007 Vom Takt. Untersuchungen zur Theorie und kompositorischen Praxis im ausgehenden 18. und beginnenden 19. Jahrhundert, Wien / Köln / Weimar: Böhlau, 2001 Ernst Krenek – ein Komponist im Exil, Wien: Lafite, 1980 Versuch über die wahre Art, Debussy zu analysieren (= Berliner musikwissenschaftliche Arbeiten 8), München / Salzburg: Katzbichler, 1974 B: Editionen Ernst Krenek. Frühe Lieder für Gesang und Klavier, 3 Hefte, Wien: Universal Edition, 2015 (mit Einleitung, Textteil, Kritischem Bericht) Ernst Krenek - Briefwechsel mit der Universal Edition (1921-1941), 2 Teile, Köln / Weimar / Wien: Böhlau, 2010 „'...la di Ella inaudita finezza'. Zur Entstehung der Varianti. Briefwechsel Luigi Nono – Rudolf Kolisch 1954–1957/58“, in: Schönberg & Nono. A Birthday Offering to Nuria on May 7, 2002, hg. v. Anna Maria Morazzoni, Florenz: Olschki, 2002, S. 267–315 Ernst Krenek: Die amerikanischen Tagebücher 1937–1942. Dokumente aus dem Exil (Hg. u. Übers.), Wien / Köln / Weimar: Böhlau, 1992 Der hoffnungslose Radikalismus der Mitte. Briefwechsel Ernst Krenek – Friedrich T. Gubler 1928–1939 (Hg.), Wien / Köln: Böhlau, 1989 C: Herausgabe Younghi Pagh-Paan. Auf dem Weg zur musikalischen Symbiose, Mainz: Schott, 2020 (wird im Mai/Juni 2020 erscheinen) (zus. mit Gernot Gruber u. Matthias Schmidt:) Ernst Krenek – nicht nur Komponist (= Ernst Krenek Studien 7), Schliengen: edition argus, 2018 Musik, Bühne und Publikum. -
Agrumi Abc.Specie 2007
Tel: ++41 91/795 18 67 Fax:++41 91/795 30 29 e-mail: [email protected] internet: www.eisenhut.ch Agrumi abc.specie 2007 Nr. Atlantia 262 Citrus Citroides 105 Citrus aurantiifolia cv. Caribean Bears Lime Lime con frutto molto piccolo succoso, tipico Lime, pianta bella e 280 Citrus aurantiifolia cv. Itariet-ileg-lime SPS compatta* (C. aurantifolia x Fortunella japonica) - Ibridi tra Kumquat rotondo e limetta messicana. Crescita media ideale per tenere in vaso, ha una lunga fioritura. Frutto somigliante alla limetta Mexicana di color giallo, ma alla raccolta dovrebbe essere ancora verde, gusto non così amara come la limetta Mexicana.otiima limetta, non molto 133 Citrus aurantiifolia cv. Mexican Lime aspro, ne troppo amaro* cv. Mexico Limette CD Limetta acida Piccolo alberello, i giovani rametti sono provvisti di spine corte, rigide ed estremamente appuntite, foglie piccole, fiori piccoli, frutto piccolo, di forma ovale murità di color verde-giallo, buccia molto sottile, polpa bianco-verdastro. Originaria dell` arcipelago delle Indie orientali. Limetta mexicana succoso resta prraticamente verde l'unico, viene utilizzato per Teckila E` usata come sostituzione del limone e come pianta indicatrice del 143 Citrus aurantiifolia cv. Mexico Limette CD virus della tristezza, sensibile al freddo.* 283 Citrus aurantiifolia Limetta gialla 4 stagioni Frutto liscio e rotondo a maturazione precoce, senza spine 145 Citrus aurantiifolia 160 Citrus aurantium arancio amaro (non nr. 24) arancio amaro Arancio ornamentale molto amaro, se non subito raccolto divena secca solo 162 Citrus aurantium Rivera ornamentale* 373 Citrus aurantium Bizzaria Bouquet de Nice a fleurs 376 Citrus aurantium doubles C.R.C. -
G:\STEAUA\Steaua 1 2013 T.Pmd
Mircea Popa SECURITATEA ªI SCRIITORUL ROMÂN 45 ªtefan Baghiu „STOICIUISMUL” AZI 47 revistã lunarã editatã de Uniunea Scriitorilor din România Florin Mihãilescu „TOVARêII DE DRUM” 48 anul LXIV * nr. 1-2 (771-772) * ianuarie-februarie CRONICA LITERARà 2013 Ovidiu Pecican DINCOLO DE CE SE ªTIE 50 Ioan Pop-Curºeu ÎNCà O RADIOGRAFIERE A Adrian Popescu RITUAL LIRIC DE ZIUA „ETERNEI ªI FASCINANTEI ROMÂNII” 51 3 POETULUI Victor Cubleºan A DOUA ÎNCÃLECARE 52 George Chiriac LUMEA DE MÂINE VA ARÃTA Titu Popescu DESPRE „DENSITATEA DE CUM O FACEM AZI 444 SUNETE ªI DE EMOÞII” (MIRCEA IVÃNESCU) 54 Fenomenul Facebook (I) A LUI MIHAI POSADA Ruxandra Cesereanu, Radu Vancu, Lavinia Rogojinã, Dana Bizulean DE LA O LITERATURà ªtefan Manasia, Cosmin Perþa, Niculae Liviu Gheran, NAÞIONALà LA UNA (INTER)NAÞIONALà 56 Andra Rotaru, Felix Nicolau, Chris Tãnãsescu, Mihai Vakulovski, Valeriu Gherghel, Rãzvan Þupa, Vasile Michel Cassir POEME 59 Gârneþ, T.O.Bobe, Marius Conkan 6 Steaua Alex Goldiº CRITICA ROMÂNEASCà ªI NICOLAE MAREª: 60 POST-TEORIA 24 DIPLOMAT ªI SCRIITOR Nicolae Mareº POEME 60 Ovidiu Pecican IRINA PETRAª 65 27 Paul Aretzu PREOT ªI SCRIITOR 61 Cristiana Keresztes LUMEA-NTR-O URECHE 63 Octavian Perpelea POEME 69 Ion Pop ”GRUPUL DE ACÞIUNE BANAT”, Roxana Francesca David POEM 69 POEZIA GERMANà DIN ROMÂNIA ªI GRUPAREA 70 „ECHINOX” 28 Cãlina Bora „SOPHIA“ LUI CHRIS TÃNÃSESCU CÃRÞI Ruxandra Cesereanu Adrian Matus POEZIA CA JOC SECVENÞIAL 71 32 HOBBITUL ªI ÎNGERII Ioana Popa EXPEDIÞIE ARCTICà 71 Andrei Dullo PAUL GOMA – ALBASTRÃVERZIMEA UNUI DIZIDENT ROMÂN 72 Dorin Mureºan UN EDITOR PROZATOR 72 Adrian Þion MUZICA TÃCUTà A POEZIEI 73 Emil Brumaru Mara Semenescu ZILELE FILO – Radu Þuculescu NIÞà SAU DOMNUL NU.. -
111053-54 Bk Bhmissa
8.111329-30 bk GypsyBaron_EU 12/12/08 1:04 PM Page 12 Johann Also available STRAUSS II The Gypsy Baron SCH TH WA E RZ AB K S O I P L F E 8.111254 8.111257 1 g 954 Recordin Elisabeth Schwarzkopf • Nicolai Gedda Erich Kunz • Erika Köth • Hermann Prey Philharmonia Chorus and Orchestra 8.111016-17 8.111036-37 Otto Ackermann 8.111329-30 12 8.111329-30 bk GypsyBaron_EU 12/12/08 1:04 PM Page 2 Great Operetta Recordings Act 3 ) They are congratulated by Homonay on their success, with Barinkay and Ottokar promoted to the & [The army has been victorious and there is general nobility as a reward for their bravery. Johann rejoicing, with Arsena singing of the difficulties of ¡ This removes any possible objections to the love and courting.] Zsupán, returning from battle, marriage of Saffi and Barinkay and of Arsena and STRAUSS II greets the company. Ottokar, so that all ends in general rejoicing. * He goes on to boast of his martial and other (1825-1899) exploits in Spain. Keith Anderson ( The victorious soldiers sing of their triumphs. The Gypsy Baron (Der Zigeunerbaron) Operetta in Three Acts • Libretto by Ignatz Schnitzer (1839-1921) Barinkay . Nicolai Gedda (tenor) Saffi . Elisabeth Schwarzkopf (soprano) Zsupán . Erich Kunz (baritone) Arsena . Erika Köth (soprano) Czipra . Gertrude Burgsthaler-Schuster (contralto) Carnero . Willy Ferenz (bass) • Karel Stepanek (speaking rôle) Mirabella . Monica Sinclair (contralto) • Lea Seidl (speaking rôle) Ottokar . Josef Schmidinger (bass) Count Homonay . Hermann Prey (baritone) Pali . Erich Paulik (bass) Philharmonia Chorus and Orchestra Otto Ackermann Recorded 18th-21st, 26th, 28th and 31st May, and 25th September, 1954 in Kingsway Hall, London First issued on Columbia 33CX 1329 and 1330 Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn 8.111329-30 211 8.111329-30 8.111329-30 bk GypsyBaron_EU 12/12/08 1:04 PM Page 10 increasing indignation. -
Chimerism Evaluation of 'Hongrou Huyou', a Grafted Chimera Between
RESEARCH ARTICLE https://doi.org/10.7235/HORT.20200011 Chimerism Evaluation of ‘Hongrou Huyou’, a Grafted Chimera between Citrus changshan-huyou and Citrus unshiu Min Zhang1†*, Zequn Zhang1†, Qun Wu2, Fuzhi Ke3, Jianguo Xu3, Siqing Zhao4, Gang Wang4, and Chi Zhang1 1State Key Laboratory of Subtropical Silviculture, Zhejiang A& F University, Hangzhou 311300, PR China 2Quzhou Technical Extension Station for Cash Crops, Quzhou 324000, PR China 3Zhejiang Citrus Research Institute, Taizhou, Zhejiang 318020, PR China 4Changshan Huyou Research Institute, Quzhou, Zhejiang 324000, PR China *Corresponding author: [email protected] †These authors contributed equally to the work. Abstract Chimeras occur spontaneously or artificially and are valuable in horticultural crop breeding. A new diploid citrus chimera, named ‘Hongrou Huyou’ (abbreviated HH) (Citrus changshan-huyou + C. unshiu), was found during a bud sports investigation in China. The morphology, flesh carotenoid Received: April 30, 2019 content, and molecular markers were evaluated in HH and the two grafted donors. The results Revised: November 29, 2019 Accepted: December 8, 2019 showed that characteristics derived from L2/L3, such as the fruit size, winged leaf, seed, pollen, and rind aroma, were similar to those of C. changshan-huyou (CH), whereas the juice sac and stomatal characteristics originating from L1 were the same as those of the satsuma mandarin. High-performance OPEN ACCESS liquid chromatography analysis of carotenes from the flesh of HH showed that the content was the HORTICULTURAL SCIENCE and TECHNOLOGY same as that of the satsuma mandarin, with β-cryptoxanthin producing the main carotenoid spectrum, 38(1):107-117, 2020 whereas lutein and violaxanthin were the main carotenoids in CH.