DOCSLIB.ORG

Konzerte Spielzeit Januar – Juni 2020 20 Jahre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Konzerte Spielzeit Januar – Juni 2020 20 Jahre KONZERTE SPIELZEIT JANUAR – JUNI 2020 20 JAHRE NRW-NETZWERK GLOBALER MUSIK BERGKAMEN BIELEFELD BOCHOLT BONN BRILON DETMOLD DÜSSELDORF GELSENKIRCHEN GÜTERSLOH HAMM HERNE KEMPEN KÖLN MESCHEDE MÜNSTER PADERBORN REMSCHEID SIEGEN SOLINGEN WUPPERTAL BRÜSSEL | BELGIEN LEIDEN | NIEDERLANDE KONZERTE JANUAR – JUNI 2020 LEE NARAE PALVAN HAMIDOV 09.01.2020 REMSCHEID 15.04.2020 DÜSSELDORF 10.01.2020 DETMOLD 19.04.2020 PADERBORN 13.01.2020 GÜTERSLOH 20.04.2020 SIEGEN 14.01.2020 HAMM 21.04.2020 HAMM 15.01.2020 DÜSSELDORF 22.04.2020 KÖLN 16.01.2020 WUPPERTAL 23.04.2020 GÜTERSLOH 19.01.2020 SOLINGEN 24.04.2020 GELSENKIRCHEN 20.01.2020 SIEGEN 25.04.2020 LEIDEN 22.01.2020 KÖLN 23.01.2020 KEMPEN NIYIRETH ALARCÓN 10.05.2020 PADERBORN LO CÒR DE LA PLANA 11.05.2020 BERGKAMEN 05.02.2020 DÜSSELDORF 13.05.2020 KÖLN 08.02.2020 MESCHEDE 14.05.2020 WUPPERTAL 12.02.2020 GÜTERSLOH 17.05.2020 BRILON 13.02.2020 WUPPERTAL 18.05.2020 SIEGEN 14.02.2020 DETMOLD 19.05.2020 HAMM 16.02.2020 SOLINGEN 20.05.2020 DÜSSELDORF 17.02.2020 SIEGEN 22.05.2020 GELSENKIRCHEN 18.02.2020 HAMM 25.05.2020 BOCHOLT 19.02.2020 KÖLN 26.05.2020 HERNE 21.02.2020 BRÜSSEL 27.05.2020 KEMPEN 28.05.2020 REMSCHEID SAFAR 12.03.2020 REMSCHEID TAMALA 13.03.2020 DETMOLD 01.06.2020 DETMOLD 15.03.2020 BRILON 03.06.2020 DÜSSELDORF 16.03.2020 BERGKAMEN 04.06.2020 HERNE 17.03.2020 HAMM 07.06.2020 BONN 18.03.2020 DÜSSELDORF 08.06.2020 BERGKAMEN 19.03.2020 WUPPERTAL 14.06.2020 PADERBORN 21.03.2020 LEIDEN 16.06.2020 HAMM 22.03.2020 PADERBORN 17.06.2020 KÖLN 23.03.2020 BOCHOLT 18.06.2020 WUPPERTAL 24.03.2020 GÜTERSLOH 19.06.2020 GELSENKIRCHEN 25.03.2020 KÖLN 20.06.2020 MÜNSTER 26.03.2020 BONN 27.03.2020 GELSENKIRCHEN 28.03.2020 BRÜSSEL 29.03.2020 KEMPEN ALLE TERMINE AUCH AUF 31.03.2020 HERNE www.klangkosmos-nrw.de VORWORT Klangkosmos NRW hat Geburtstag! Im Januar 2000 fand das erste Konzert unter dem Label „Klangkosmos“ in Köln statt. Niemand der damaligen Paten dieses Konzertes hätte gedacht, daß aus der Idee eine echte Erfolgsgeschichte würde. Seitdem entstand eine offene Plattform von Kulturorganisationen in gut 25 Städten in NRW und Crossborder-Partnern in Belgien und den Niederlanden, die herausragende Musikensembles aus allen fünf Kontinenten präsentiert, um die weltweite musikalische Vielfalt zeitgenössischer Heimatklänge und Klangkunst live erlebbar zu machen. Jedes Jahr waren 10 Ensembles mit Meistermusikern und jungen Talenten zu Residenzen von bis zu vier Wochen nach NRW eingeladen, um sich in Konzerten zu präsentieren, in Musikworkshops an Schulen und in Einrichtungen der kulturellen Bildung die Geheimnisse ihrer Musik zu teilen, sich mit lokalen Communities und musikalischen local heroes auszutauschen und neue Freundschaften zu schließen, aber auch in wissenschaftlichen Lectures und kulturpolitischen Rahmenveranstaltungen tiefe Einblicke in ihre Klangkunst und Kulturen zu ermöglichen. Wir haben berührend intensive Konzerte erlebt, magisch schöne Klänge auf wenig bekannten Instrumenten gehört; kämpferische Lieder, Hymnen für den Frieden sowie überschäumend fröhliche Grooves, die das Leben feiern. Danke an alle, die uns in diesen 20 Jahren begleitet haben, an alle treuen Partner und an die unschätzbar engagierten und kompetenten Teams in allen Orten und aller Bereiche vor und hinter den Kulissen! Und vor allem Dank an Sie, unser fantastisches Publikum! Natürlich haben wir in der 1. Jahreshälfte 2020 der Jubiläumsspielzeit ganz besondere musikalische Perlen für Sie nach NRW eingeladen! Zum ersten Mal im Klangkosmos wird ein Quartett aus Korea zu hören sein, das einen berührenden Liederzyklus im volksmusikalischen Pansori-Stil über eine legendäre Frauengestalt präsentiert. Auch erstmals in NRW wird der berühmtest Epensänger Turkmenistans sein, der im Trio kraftvoll-rhythmische Stücke im Gepäck hat. Die afghanischen Großmeister klassischer Musik aus Kabul kommen mit dem Ensemble Safar und die okzitanischen Revolutionäre des polyphonen Gesangs aus Südfrankreich. Im Mai steht eine starke Frau aus Kolumbien im Mittelpunkt der Konzerte, die schon lange vor „Fridays for Future“ sich für den Schutz der Natur eingesetzt hat, um dann den Sommer mit innovativen Klängen aus den afrikanischen Biotopen europäischer Metropolen einzuleiten. Seien Sie herzlichst willkommen ! Birgit Ellinghaus Kuratorin Klangkosmos NRW GRUSSWORT Sehr geehrte Damen und Herren, Klangkosmos NRW bringt in der 20. Konzertsaison Ensembles nach Nordrhein-Westfalen, die uns musi- kalische Einblicke in bei uns seltener zu erlebende Musikkulturen geben. Ensembles aller fünf Kontinente präsentieren in Live-Konzerten die Vielfalt der Weltmusik in Nordrhein-Westfalen. Dank lokaler Kulturorganisationen, vieler ehrenamtlich Engagierter sowie einer kompetenten Koordination und Kuratierung bringt Klangkosmos seit zwei Jahrzenten grenzüberschreitende, transnationale musikalische Impulse in viele kleine und große Städte in Nordrhein-Westfalen. Einmal mehr zeigt sich dabei: Musik macht es möglich, dass Menschen unterschiedlicher Herkunft, Sprache und Kultur einander kennenlernen und Kontakte knüpfen. Die Kontakte reichen in nahe und ferne Länder, die oftmals faszinierende Kulturen besitzen: europäische Nachbarn ebenso wie süd- und zentralasiatische Staaten und viele Länder aus Subsahara-Afrika. In diesem Jahr werden Gäste unter anderem aus Frankreich, Albanien, Turkmenistan und Südkorea erwartet. Auf musikalische Weise bereichern diese Kontakte unsere zeitgenössischen Musikszenen und bieten dem Publikum besondere Gelegenheiten für eindrucksvolle musikalische Erlebnisse. Bei diesen Erlebnissen wünsche ich Ihnen viel Vergnügen. Isabel Pfeiffer-Poensgen Ministerin für Kultur und Wissenschaft des Landes Nordrhein-Westfalen GRUSSWORT Das Netzwerk „Klangkosmos NRW“ ist eine beeindruckende zivilgesell- schaftliche Initiative für den trans- nationalen Kulturaustausch. Seit 20 Jahren laden die in dieser offenen Plattform organisierten Kultur- vereine, Kirchen beider Konfessionen, Theater, Kulturzentren, Schulen und kommunalen Organisationen heraus- ragende Musikensembles zu Residenzen mit Konzerten, Workshops und anderen künstlerischen Begegnungen nach NRW ein, um so die Vielfalt der Musiken der Welt zu erforschen: rund 200 Künstlergruppen aus über 130 Ländern und allen fünf Kontinenten. In einer Welt, in der kulturelle, ethnische, religiöse und soziale Konflikte eine ständige Bedrohung der Menschenrechte sind, engagiert sich „Klangkosmos NRW“ für den gegenseitigen Respekt, Gleichberechtigung und transnationalen Dialog, für kulturelle Vielfalt weltweit, für Vernetzung im lokal-globalen Spannungsfeld, für immaterielles Kulturerbe, für Künstlermobiltät sowie für die Professionalisierung von Musikern und kulturelle Bildung mit Mitteln der Musik. Es entstanden rege Partnerschaften mit Künstlern und Akteuren aus dem Musikbereich in Zentralasien und im Indischen Ozean, sodass die reichen Klangfarben dieser Regionen inzwischen einen festen Platz in der Musiklandschaft in NRW haben. Aber auch Europa ist in 20 Jahren im Klangkosmos NRW eng zusammengerückt durch die ständigen Kooperationspartnern in Brüssel und Leiden (NL), wie auch durch die zahlreichen musikalischen Gäste von den Sami vom Polarkreis bis zu sizilianischen Troubadouren, von Meistermusikern mit Uilleann Pipes aus Irland bis zu shamanischen Maultrommeln aus Jakutien. Diese und weitere Brückenschläge mit den lokalen Musikszenen und Musikern der Region bereichern die Musiklandschaft zwischen Rhein und Lippe enorm. Wir gratulieren den Akteuren zu diesem beispielhaften Projekt! Es ermöglicht einem breiten Publikum interaktiv und unterhaltsam, thematisch substantiell, klang- und stilistisch anspruchsvolle Einblicke in die Vielfalt der Welt des 21. Jahrhunderts. Antworten auf die drängendsten Probleme unserer Zeit erfordern mehr denn je transnationale Zusammenarbeit, gerade auch im Kultur- und Kunstbereich. Prof. Dr. Wolfgang Kaschuba Vorstandsmitglied der Deutschen UNESCO-Kommission LEE NARAE KOREA Lee Narae ist als ‚Sorigun‘ eine traditionelle Sängerin, die sich in Koreas epischer Pansori Gesangskunst insbesondere der Rolle der Frauen widmet. Mit ihrem Konzertprogramm wirft sie ein neues Licht auf die legendäre „Byeongangseo-ga“ Erzählung, die als starkes Beispiel für patriarchalische Werte im Genre Pansori steht. Lee Narae nimmt die Perspektive der unglückseligen weiblichen Figur ­­ Ong-nyeo ein, die früher als unkeusch und verflucht galt und interpretiert diese neu. Dabei kombiniert sie ein breites Spektrum von Klängen mit dem gesungenen Wort und bezieht andere musikalische Einflüsse mit ein. Ihre Performance stellt in einzelnen Stücken die großen Szenen nach und verdichtet ihre Wirkung durch ihre kreative Musik, die die Tradition des Pansori mit zeitgenössischer Energie auflädt. Lee Narae absolvierte nach der Gukak National High School, dem nationalen Zentrum für traditionelle Musik, ihren Bachelor in traditioneller koreanischer Musik an der Seoul National University. 2017 gewann sie den Hauptpreis bei Koreas bedeutendem Jeonju Int‘l Sori-Festival, 2018 wurde sie vom Koreanischen Kulturministerium mit der Produktion „Ong-nyeo – Eine verfluchte Frau“ für einen Auftritt bei renommierten Programm „Journey to Korean Music“ ausgewählt. Hwa-Young hat als Spielerin der koreanischen Wölbbrettzither Gayageum ihr tiefes Verständnis für traditionelle Musik in zahlreichen Wettbewerben mit herausragenden Leistungen gezeigt und präsentiert das Instrument gleichzeitig in traditionellen und zeitgenössischen Kompositionen. Gitarrist des Ensembles sowie Songwriter und Komponist der Gruppe ist Lee Si Mun, dessen unterschiedliche
Load more

Recommended publications
  • Compassion & Social Justice
    COMPASSION & SOCIAL JUSTICE Edited by Karma Lekshe Tsomo PUBLISHED BY Sakyadhita Yogyakarta, Indonesia © Copyright 2015 Karma Lekshe Tsomo No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, photocopying, recording, or otherwise without the prior permission in writing of the editor. CONTENTS PREFACE ix BUDDHIST WOMEN OF INDONESIA The New Space for Peranakan Chinese Woman in Late Colonial Indonesia: Tjoa Hin Hoaij in the Historiography of Buddhism 1 Yulianti Bhikkhuni Jinakumari and the Early Indonesian Buddhist Nuns 7 Medya Silvita Ibu Parvati: An Indonesian Buddhist Pioneer 13 Heru Suherman Lim Indonesian Women’s Roles in Buddhist Education 17 Bhiksuni Zong Kai Indonesian Women and Buddhist Social Service 22 Dian Pratiwi COMPASSION & INNER TRANSFORMATION The Rearranged Roles of Buddhist Nuns in the Modern Korean Sangha: A Case Study 2 of Practicing Compassion 25 Hyo Seok Sunim Vipassana and Pain: A Case Study of Taiwanese Female Buddhists Who Practice Vipassana 29 Shiou-Ding Shi Buddhist and Living with HIV: Two Life Stories from Taiwan 34 Wei-yi Cheng Teaching Dharma in Prison 43 Robina Courtin iii INDONESIAN BUDDHIST WOMEN IN HISTORICAL PERSPECTIVE Light of the Kilis: Our Javanese Bhikkhuni Foremothers 47 Bhikkhuni Tathaaloka Buddhist Women of Indonesia: Diversity and Social Justice 57 Karma Lekshe Tsomo Establishing the Bhikkhuni Sangha in Indonesia: Obstacles and
    [Show full text]
  • And Daemonic Buddhism in India and Tibet
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 The Raven and the Serpent: "The Great All- Pervading R#hula" Daemonic Buddhism in India and Tibet Cameron Bailey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE RAVEN AND THE SERPENT: “THE GREAT ALL-PERVADING RHULA” AND DMONIC BUDDHISM IN INDIA AND TIBET By CAMERON BAILEY A Thesis submitted to the Department of Religion in partial fulfillment of the requirements for the degree of Master of Religion Degree Awarded: Spring Semester, 2012 Cameron Bailey defended this thesis on April 2, 2012. The members of the supervisory committee were: Bryan Cuevas Professor Directing Thesis Jimmy Yu Committee Member Kathleen Erndl Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For my parents iii ACKNOWLEDGEMENTS I would like to thank, first and foremost, my adviser Dr. Bryan Cuevas who has guided me through the process of writing this thesis, and introduced me to most of the sources used in it. My growth as a scholar is almost entirely due to his influence. I would also like to thank Dr. Jimmy Yu, Dr. Kathleen Erndl, and Dr. Joseph Hellweg. If there is anything worthwhile in this work, it is undoubtedly due to their instruction. I also wish to thank my former undergraduate advisor at Indiana University, Dr. Richard Nance, who inspired me to become a scholar of Buddhism.
    [Show full text]
  • Society for Ethnomusicology Abstracts
    Society for Ethnomusicology Abstracts Musicianship in Exile: Afghan Refugee Musicians in Finland Facets of the Film Score: Synergy, Psyche, and Studio Lari Aaltonen, University of Tampere Jessica Abbazio, University of Maryland, College Park My presentation deals with the professional Afghan refugee musicians in The study of film music is an emerging area of research in ethnomusicology. Finland. As a displaced music culture, the music of these refugees Seminal publications by Gorbman (1987) and others present the Hollywood immediately raises questions of diaspora and the changes of cultural and film score as narrator, the primary conveyance of the message in the filmic professional identity. I argue that the concepts of displacement and forced image. The synergistic relationship between film and image communicates a migration could function as a key to understanding musicianship on a wider meaning to the viewer that is unintelligible when one element is taken scale. Adelaida Reyes (1999) discusses similar ideas in her book Songs of the without the other. This panel seeks to enrich ethnomusicology by broadening Caged, Songs of the Free. Music and the Vietnamese Refugee Experience. By perspectives on film music in an exploration of films of four diverse types. interacting and conducting interviews with Afghan musicians in Finland, I Existing on a continuum of concrete to abstract, these papers evaluate the have been researching the change of the lives of these music professionals. communicative role of music in relation to filmic image. The first paper The change takes place in a musical environment which is if not hostile, at presents iconic Hollywood Western films from the studio era, assessing the least unresponsive towards their music culture.
    [Show full text]
  • Appendix: Roster of Emergent Theatre Forms
    APPENDIX: ROSTEr OF EMErGENT THEaTrE FOrMS 550–500 BCE—Greek tragedy (Athens) (Hartnoll 607) 500–450 BCE—Greek “Old” Comedy (Athens) (Hartnoll 607) 350–300 BCE—Greek “New” Comedy (Athens) (Hartnoll 551) 250–200 BCE—Comedy and tragedy (Rome) (Banham, Cambridge 936) 250–200 BCE—Mime (Rome) (Duckworth 13) 200–100 BCE—Sanskrit Theatre (India) (Richmond et al. 1990: 27) 150–100 BCE—“Horn butting game” (China) (Dolby, “Early” 11) 50–1 BCE—Pantomime (Rome) (Beacham 142) 500–600 CE—Bukagu/gagaku (Japan) (Leiter 1.67) 600–650—Gigaku (Japan) (Leiter 1.227) 700–750—Canjunxi (Adjutant Play) (China) (Dolby, History 7) 700–750—Tayao niang (Stepping and Swinging Women) (China) (Dolby, “Early” 13) 800–900—Robam kbach boran (lakhon kbach boran) (Cambodia) (Ghulam-Sarwar118) * * * 900–1000—Liturgical theatre (Europe) (Hartnoll 674) 900–1000—Wayang kulit purwa (Indonesia) (Ghulam-Sarwar 276) 900–1000—Gambuh (Indonesia) (Ghulam-Sarwar 79) 900–950—Kuttiyatam (India) (Leiter 1.358) 900–950—Wayang beber (Indonesia) (Ghulam-Sarwar 276) © The Author(s) 2020 305 S. Tillis, The Challenge of World Theatre History, https://doi.org/10.1007/978-3-030-48343-2 306 APPENDIX: ROSTER OF EMERGENT THEATRE FORMS 950–1000—Song (dynasty) zaju (China) (Dolby, History 15) 950–1000—Religious literary drama (Europe) (Banham, Cambridge 501) * * * 1000–1100—Dengaku (Japan) (Leiter 1.154) 1000–1100—Khayāl all-zill (Egypt) (Moreh 47) 1000–1050—Cheo (Vietnam) (Brandon 73) 1050–1100—Wayang topeng (Indonesia) (Ghulam-Sarwar 311) 1050–1100—Sangaku/Sarugaku (Japan) (Ortolani 62–63) * * *
    [Show full text]
  • Revealing the Medicine Buddha's Art Windhorse
    PO Box 6483, Ithaca, NY 14851 607-273-8519 WINTER 1999 NEWSLETTER & CATALOG SUPPLEMENT REVEALING THE MEDICINE BUDDHA'S ART H.H. Dalai Lama Opens Groundbreaking Tibetan Medical Conference SETTLING INTO AMERICA by Victoria Huckenpaliler as Harvard Medical School, and Yale cause such a conference had already Interviews with the Four The First International Conference and Oxford Universities, exchanged been held in Tibet in the eighth cen- on Tibetan Medicine, held in the views with Tibetan doctors, including tury, and had included participants Tibetan Employees at Snow Lion nation's capital from 7-9 November the Dalai Lama's past and present from China, Mongolia, Iran and and inaugurated by H.H. the Dalai personal physicians, Dr. Yeshe Greece! Following his statement, Dr. by Julie Totlen main office with huge, silly grins on Lama, brought together notable phy- Donden and Dr. Tenzin Choedrak, in Wayne Jonas, Director of the Office Palden carefully wraps a pair of their faces, probably the result of sicians, scholars, and translators an atmosphere of mutual courtesy of Alternative Medicine at the Na- eternal knot earrings. Gently folding D.D.'s latest wisecrack. As they return from twenty-two nations seeking an and deference. tional Institute of Health, set the tone the plastic cushioning, he glances up to work and begin to regain their integrative approach to healing. The His Holiness opened the plenary by advocating greater receptivity in at a picture of the Dalai Lama at- calm, Kunga gently begins singing Western physicians, whose impec- session by gently reminding partici- the West to indigenous medicines, re- tached to the wall directly in front of an old Tibetan folk tune.
    [Show full text]
  • 2013 Editor Lindsay Shen, Phd
    Journal of the royal asiatic society china Vol. 75 no. 1, 2013 Editor Lindsay Shen, PhD. Copyright 2013 RAS China. The Journal of the Royal Asiatic Society China is published by Earnshaw Books on behalf of the Royal Asiatic Society China. Contributions The editors of the Journal invite submission of original unpublished scholarly articles and book reviews on the religion and philosophy, art and architecture, archaeology, anthropology and environment, of China. Books sent for review will be donated to the Royal Asiatic Society China Library. Contributors receive a copy of the Journal. Subscriptions Members receive a copy of the journal, with their paid annual membership fee. Individual copies will be sold to non-members, as available. Library Policy Copies and back issues of the Journal are available in the library. The library is available to members. www.royalasiaticsociety.org.cn Journal of the Royal Asiatic Society China Vol. 75 No. 1, 2013 978-988-8422-44-9 © 2013 Royal Asiatic Society China The copyright of each article rests with the author. EB086 Designed and produced for RAS China by Earnshaw Books Ltd. (Hong Kong) Room 1801, 18F, Public Bank Centre, 120 Des Voeux Road Central, Hong Kong All rights reserved. No part of this book may be reproduced in material form, by any means, whether graphic, electronic, mechanical or other, including photocopying or information storage, in whole or in part. May not be used to prepare other publications without written permission from the publisher. The Royal Asiatic Society China thanks Earnshaw
    [Show full text]
  • Untitled (Human Mask), Mostra O Poder Transforma- O Saber Raso Da Indexação
    2 3 4 5 Ministério da Cidadania e GetNet apresentam CURADORIA DE MARCELLO DANTAS FAROL SANTANDER 8 DE OUTUBRO DE 2019 A 5 DE JANEIRO DE 2020 Convidamos a todos para um passeio pela cultura de cinco continentes por meio da exposição ETNOS – Faces da Diversidade. A mostra apresenta 150 máscaras que expressam a multiplicidade da representação facial como instrumento de reconhecimento da identidade humana. Ao considerar que as máscaras nos dão a possibilidade de falar uma linguagem universal que não depende de idiomas, a exposição nos convida a refletir sobre a existência de uma comunicação não verbal que se estabelece, primordial- mente, por meio de símbolos. A sensação de mistério e encantamento propor- cionados pela evidência de uma linguagem capaz de prescindir do discurso, desconstrói convicções e concepções prévias e nos estimula à formulação de perguntas para as quais podem existir várias e distintas respostas. Um olhar atento e curioso para a multiplicidade de expressões que o ser humano se habilitou a produzir desde tempos ancestrais até a contempora- neidade foi o que nos conduziu para a construção desse projeto tão singular que agora trouxemos ao Farol Santander em São Paulo. PATRICIA AUDI Vice-Presidente de Comunicação, Marketing, Relações Institucionais e Sustentabilidade Santander 8 ETNOS FACES DA DIVERSIDADE MARCELLO DANTAS 12 MÁSCARAS – ANCESTRALIDADES EM CONSTRUÇÃO MARIA CATARINA DUNCAN 24 EXPOSIÇÃO EXHIBITION 99 TEXTOS EM INGLÊS ENGLISH TEXTS 10 ETNOS FACES DA DIVERSIDADE MARCELLO DANTAS CURADOR “Os mitos são sonhos públicos; os sonhos são mitos privados”. Joseph Campbell O que diferencia uma etnia de outra não são os cor- de mil faces,2 sobre o papel que tais instrumentos pos, não são os anseios de felicidade e nem o ins- desempenham na vivência dos mitos (algo próximo tinto de vida e de amor.
    [Show full text]
  • Introduction: the Ingredients of a Masterpiece
    Music Survey Courses: Approaches to Teaching Introduction: The Ingredients of a Masterpiece By Daniel N. Thompson In the sciences, research receives its justification and its support-despite all the lip service to 'pure' knowledge-from the exploitable discoveries or patents to which it may lead. In the humanities, research receives its justification­ despite all the lip service to the advancement of learning-from its applicabil­ ity to teaching. [172J -Robert Scholes Introduction Perhaps because I practice the discipline of ethnomusicology, I believe that the study of music can justifiably include the study of any aspect of musical behavior, including the study of the teaching of music as well as the study of the teaching about music. l With this in mind, some time ago I had the idea that it would be an interesting departure for Current Musi­ cology to examine the teaching of music survey courses, with particular at­ tention paid to "masterpieces" courses-of the type that constitutes the music component of Columbia's undergraduate Core Curriculum (partic­ ularly because the teaching of the Core survey course is the endeavor most commonly shared among the music department's professors and graduate­ student instructors). I wanted views from outside Columbia-indeed, from outside the re­ search university setting-as well, so I solicited articles from scholar­ administrators at a conservatory and at a liberal arts college. I am there­ fore pleased to present, in this special section of Current Musicology #65, the viewpoints of Peter Rojcewicz, from The Juilliard School in Manhattan, and of Sean Williams, from The Evergreen State College in Olympia, Washington.
    [Show full text]
  • A Content Analysis of the Depiction of Shaoshu Minzu in Three Chinese Elementary Curriculum
    Standardizing Minzu: A Content Analysis of the Depiction of Shaoshu Minzu in Three Chinese Elementary Curriculum Standards and Textbooks Yiting Chu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: James A. Banks, Chair Geneva Gay Stevan Harrell Walter C. Parker Program Authorized to Offer Degree Curriculum and Instruction ©Copyright 2016 Yiting Chu ii University of Washington Abstract Standardizing Minzu: A Content Analysis of the Depiction of Shaoshu Minzu in Three Chinese Elementary Curriculum Standards and Textbooks Yiting Chu Chair of the Supervisory Committee: Dr. James A. Banks College of Education This study analyzes the depictions of shaoshu minzu, or ethnic minority groups in China, in elementary curriculum standards and textbooks that are used in Chinese schools for three subjects—Moral Education and Life/ Society (MEL/S), Chinese Language (CL), and Minzu Solidarity Education (MSE). Previous studies of textbook representation of minority groups in culturally diverse societies indicate that these groups are often systematically excluded from the curriculum materials and that their depictions often reinforce the dominant ideologies and unequal power relationships between minority and majority social groups. This study draws from the theoretical frameworks of critical studies of education and multicultural education, particularly the relationships between power and the knowledge construction process. Methodologically, this study uses a combination of quantitative and qualitative content analysis. A sample of 74 textbooks published by three different publishers and the national curriculum standards for the three subjects was selected for analysis. Two electronic coding instruments were used to quantitatively code the texts and visuals in the iii textbooks and qualitative analysis was performed on all identified content that was related to the Chinese concepts of minzu.
    [Show full text]
  • Frontline Feminisms: Women, War, and Resistance/Edited by Marguerite R
    FRONTLINE FEMINISMS GENDER, CULTURE, AND GLOBAL POLITICS CHANDRA TALPADE MOHANTY, Series Editor INTERVENTIONS Feminist Dialogues on Third World Women’s Literature and Film Edited by Bishnupriya Ghosh and Brinda Bose WOMEN’S MOVEMENTS AND PUBLIC POLICY IN EUROPE, LATIN AMERICA, AND THE CARIBBEAN Edited by Geertje Lycklama à Nijeholt, Virginia Vargas, and Saskia Wieringa CHINESE WOMEN TRAVERSING DIASPORA Memoirs, Essays, and Poetry Edited by Sharon K.Holm GENDER, RELIGION, AND “HEATHEN LANDS” American Missionary Women in South Asia, 1860s–1940s Maina Chawla Singh FRONTLINE FEMINISMS Women, War, and Resistance Edited by Marguerite R.Waller and Jennifer Rycenga FRONTLINE FEMINISMS WOMEN, WAR, AND RESISTANCE EDITED BY MARGUERITE R.WALLER JENNIFER RYCENGA Routledge NEW YORK/LONDON To activist women…everywhere Published in 2001 by Routledge 29 West 35th Street New York, NY 10001 Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” First hardback edition published in 2000 by Garland Publishing, Inc. First paperback edition published by Routledge, 2001. Copyright © 2000 by Marguerite R.Waller and Jennifer Rycenga All rights reserved. No part of this book may be printed or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • Tidwell Dissertation FULL
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: ___________________________________ ____________________ Tawni Lynn Tidwell Date Imbibing the Text, Transforming the Body, Perceiving the Patient: Cultivating Embodied Knowledge for Tibetan Medical Diagnosis By Tawni Lynn Tidwell Doctor of Philosophy Anthropology ______________________________________ Carol M. Worthman, Ph.D. Advisor ______________________________________ Sienna R. Craig, Ph.D. Committee Member ______________________________________ Melvin J. Konner, Ph.D. Committee Member ______________________________________ Chikako Ozawa-de Silva, Ph.D. Committee Member Accepted: ______________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies __________________ Date Imbibing the Text, Transforming the Body, Perceiving the Patient: Cultivating Embodied Knowledge for Tibetan Medical Diagnosis By Tawni Lynn Tidwell T.M.D. (Kachupa-equivalent), Tibetan Medical College, Qinghai University, 2015 M.A., Emory University, 2013 B.S., Stanford University, 2004 Advisor: Carol M. Worthman, Ph.D., Harvard, 1978 An abstract of A dissertation submitted to the Faculty of the James T.
    [Show full text]
  • Tibet Chic: Myth, Marketing, Spirituality and Politics in Musical
    “TIBET CHIC”: MYTH, MARKETING, SPIRITUALITY AND POLITICS IN MUSICAL REPRESENTATIONS OF TIBET IN THE UNITED STATES by Darinda J. Congdon BM, Baylor, 1997 MA, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Darinda Congdon It was defended on April 18, 2007 and approved by Dr. Nicole Constable Dr. Evelyn S. Rawski Dr. Deane L. Root Dr. Andrew N. Weintraub Dr. Bell Yung Dissertation Director ii Copyright © by Darinda Congdon 2007 iii “TIBET CHIC”: MYTH, MARKETING, SPIRITUALITY AND POLITICS IN MUSICAL REPRESENTATIONS OF TIBET IN THE UNITED STATES Darinda Congdon, PhD University of Pittsburgh, 2007 This dissertation demonstrates that Tibetan music in the United States is directly related to multiple Western representations of Tibet in the United States, perpetuated from the 1800s to the present, and that these representations are actively utilized to market Tibetan music. These representations have also impacted the types of sounds most often used to musically represent Tibet in the United States in unexpected ways. This study begins with the question, “What is Tibetan music in the United States?” It then examines Tibetan music in the United States from a historical, political, spiritual and economic perspective to answer that question. As part of this investigation, historical sources, marketing sources, New Age religion, the New York Times, and over one hundred recordings are examined. This work also applies marketing theory to demonstrate that “Tibet” has become a term in American culture that acts as a brand and is used to sell music and other products.
    [Show full text]