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Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
DOSSIER DE PRESSE 1 Sommaire
DOSSIER DE PRESSE 1 Sommaire Edito 3 Le Festival en chiffres 4 Calendrier 6 Les spectacles et festivités : Festivités du 14 juillet 7 Dansons la carmagnole (etcetera) 8 Concert au kiosque du 15 juillet 13 Russia today - Tchaïkovsky, Chostakovitch 14 Autour de Nina : hommage à Nina Simone 16 Festivités du 21 juillet 22 Festivités et conférences loufoques 23 Werther – J. Massenet 24 A bicyclette le 28 juillet 35 Il Barbiere di Siviglia – G. Rossini 36 Symphonie concertante : Beethoven, Brahms 45 Festival musette du 3 au 5 août 48 Le Pari des Bretelles 49 Tonycello : La migration des tortues 55 Schumann, Haydn, Attahir 58 The rhythm alchemy 62 Bach, Vivaldi, Humel, Dohnanyi 68 Verdi, Trilogia popolare : LaTraviata, Il Trovatore, Rigoletto 72 Tonycello en tournée 78 Concerts au kiosque O.H.V. 79 Ateliers du C.N.C.S. 80 Contacts 81 Partenaires 82 2 EDITO Vichy est une fête ! Au cœur de l’été, au centre de la France, jaillit un nouveau festival aux consonances lyriques, symphoniques, jazz et musiques du monde. A un rythme effréné, tambour battant, du 14 juillet au 15 août, l’Opéra déroule le tapis rouge à un programme pétil- lant, revigorant, où les musiques plurielles s’expriment sans retenue, le savant s’entremêlant avec le traditionnel et le populaire. « Reine des villes d’eaux », « capitale d’été de la musique », Vichy et son opéra se réinventent en puisant aux sources de leur histoire prestigieuse. Fidèle au passé, mais tournée vers l’avenir, la programmation s’adresse au plus grand nombre. Que ce soit dans la prestigieuse salle Art Nouveau de 1400 places, dans les parcs, sous les kiosques, sur les rives du lac d’allier, dans les rues, dans les villages de l’agglomération, la musique surprend, émeut, apaise, transporte… Plus de deux cents artistes s’y produisent en y distillant leur bonne humeur contagieuse, leur passion et leur talent. -
Affiches Et Programmes De Concerts Du Conservatoire National Supérieur De Musique (1959-1984)
Affiches et programmes de concerts du Conservatoire national supérieur de musique (1959-1984). Répertoire analytique détaillé (AJ/37/696-AJ/37/698). Agnès Callu 1996 Archives nationales (France) Pierrefitte-sur-Seine 2016 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_055346 Cet instrument de recherche a été rédigé dans le système d'information archivistique des Archives nationales. Ce document est écrit en français. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales. 2 Mentions de révision : • 10/2016: Océrisation et reprise de l'introduction. Émeline ROTOLO 3 Archives nationales (France) INTRODUCTION Référence AJ/37/696-AJ/37/698 Niveau de description pièce Intitulé Affiches et programmes de concerts du Conservatoire national supérieur de musique (AJ/37/696 à AJ/37/698). Date(s) extrême(s) 1959-1984 Nom du producteur • Conservatoire national supérieur de musique et de danse de Paris Importance matérielle et support 427 affiches Localisation physique Pierrefitte-sur-Seine Conditions d'accès Librement communicable sous réserve de l'état matériel des documents. Conditions d'utilisation Reproduction selon la règle en salle de lecture. DESCRIPTION Présentation du contenu Cet ensemble d'éphémères se constitue principalement d'affiches et de programmes, mais également d'affichettes et de cartons d'invitation. Peu d'affiches subsistent antérieurement à 1966 à l'inverse des programmes. Ceux-ci sont principalement sur papier glacé, parfois illustrés. Quant aux affiches, à la mise en page et au format standardisés (60 cm x 40 cm), exclusivement typographiques avec des caractères noirs sur papier coloré sauf rares exceptions, elles constituent une collection presque continue à partir de 1967. -
WAY out WEST Brochure
P.O. Box 8038 Long Beach, CA 90808-0038 WAY OUT WEST The Los Angeles Jazz Institute presents WAY OUT WEST a celebration of big bands on the west coast past and present THE CROWNE PLAZA REDONDO BEACH & MARINA HOTEL OCTOBER 5-8, 2000 SCHEDULED TO APPEAR MAYNARD B FERGUSON IG BOP ’S WAY OUT NOUVEAU WILSON ’m very pleased to announce a four day jazz festival set to take ERALD I HE G place October 5th through the 8th at the Crowne Plaza Hotel in T WEST ORCHESTRA Redondo Beach, a very popular venue for many of our previous events. T The focus this year is “Way Out West”-Big Bands on the West Coast- HE BILL HOLMAN Past and Present. ORCHESTRA Following in the footsteps of “Back To Balboa”, “Early Autumn”, “Blowin’ Up A Storm”, “Modern Sounds” and “Jazz West Coast I & II”, GIBBS’ “Way Out West” will feature concerts, panel discussions, film showings, TERRY THE BAND vendors offering compact discs, records, memorabilia— and much more! DREAM This incredible gathering includes many of the most outstanding THE CLAYTON big bands in the world, all featuring an amazing array of jazz soloists. -HAMILTON JAZZ ORCHESTRA Full registration is $300.00 which includes admission to all events or, you can purchase individual event tickets which range from $10-$25. DATES October 5-8, 2000 For the first time, full registrants will have reserved seating for all THE BOB FLORENCE concerts. Seats will be assigned in the order registrations are received. LIMITED EDITION PLACE The Crowne Plaza Redondo Beach & Marina Hotel SEND YOUR CHECK OR MONEY ORDER TO: 300 North Harbor Drive THE PHIL NORMAN Redondo Beach, CA 90277 The Los Angeles Jazz Institute TENTET P.O. -
Clarinets - the Tools of Expression
May - June 1991 Volume 18 Number 3 qudinv, It. wiliteilli, 4440ita. Site tile 1991 conk. Buffet Clarinets - The Tools of Expression he tools of expression allow the artist to communicate the essence of the creative spirit. As an artist, you require the proper tools to fully express your creative spirit. The artists of Buffet Crampon have understood this since 1825 — which is why to this day their clarinets, hand crafted in the finest French tradition, continue to breathe life into the musical soul. Buffet Elite A and Bb clarinets are created to elevate the art of expression to new splendor. Their unique thin wall construc- tion and state of the art design permit a resonance and response that open new frontiers of creativity for the accomplished soloist. The perfect marriage of French tradition and 20th century technology, the Buffet Elites will enhance your creative spirit in ways you never thought possible. Boosey & Hawkes/Buffet Crampon Inc. 1925 Enterprise Court, Libertyville, Illinois 60048 708. 816. 2500 the claainet Volume 18, Number 3 May - June 1991 Features INDEX OF ADVERTISERS Albert Alphin 22 THE ELECTRONIC TUNER by Robert Listokin 18 Bay-Gale Woodwind Products 4 HOW TO CHOOSE AN ARTIST CLARINET Boosey and Hawkes/Buffet inside front cover by Jack Snavely 22 Clarinet and Saxophone Society of Great Britain 42 THE CLARINET SECTION OF THE UNITED STATES Clark Woodwinds 51 AIR FORCE ACADEMY BAND 24 Rich Corpolongo 33 THE LYONS C CLAR1NET—A REVIEW by Colin Lawson Crystal Records 23 26 Cygnet 34 FESTIVAL DIRECTOR'S MESSAGE by Charles Aurand 28 Dantalian, Inc 5 DEG Products, Inc. -
FRENCH CONCERTOS from the 19Th Century to the Present A
FRENCH CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-K LOUIS ABBIATE (1866-1933) Born in Monaco. He learned the piano, organ and cello as a child and then attended the Conservatories Turin and Paris where he studied the cello. He worked as a cellist in the Monte Carlo Orchestra and then at Milan's La Scala. He taught the cello at the St. Petersburg Conservatory for some years and after the Russian Revolution returned to Monaco and became the first director of its École Municipale de Musique. He composed orchestral, chamber, instrumental and vocal works. Concerto Italien in A major for Piano and Orchestra, Op. 96 (1922) Maurice Bousquet (piano)/Louis Frémaux/Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Monaecencis) ECCE MUSICA CM 306 (LP) (1970s) Concerto for Cello and Orchestra in D minor, Op. 35 (1895) Elaine Magnan (cello)/Louis Frémaux/Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Les Elfes and Le Songe d'Or) ECCE MUSICA CM 312 (LP) (1970s) Monaecencis for Piano and Orchestra, Op. 110 (1925) Maurice Bousquet (piano)/Richard Blareau /Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Concerto Italien) ECCE MUSICA CM 306 (LP) (1970s) JEAN-LOUIS AGOBET (b. 1968) Born in Blois, Loir-et-Cher, Centre. He studied composition and electronic music at the Ecole Normale de Musique in Aix-en-Provence, followed by further studies at the Conservatoire National à Rayonnement in Nice and then with Philippe Manoury at the Conservatoire de Lyon. -
M L^ZZ K&Lxt B„ Rtrnt, \X~
gome posi-ôrar m l^ZZ k&lxt b„ rtrnt, \x~ When Jesus Christ began preaching his gospel to the world, the Bible informs us that the local sages couldn't believe "anything good" could have come out of a hick-town like Nazareth.1 According to Dr. George W. Pierce,2 the most avant-garde cacophony being produced will not be heard tonight in some Harlem loft. Nay friends, the most "far out" combo will be blowing improvised solos around the summer world in your local field or hedge! Put another way, did you ever pay any attention while the grasshopper, click beetle, cicada and katydid bantered back and forth? Not until I spent a night in the Paraguayan Chaco being sere naded by thousands of insects, did Pierce's argument take on the aura of credibility. L l\\z txmz of tln> Impprg 1945-50 Jazz buffs and historians would listen to such stories respectfully, then confidently reply that they could top such paradoxical tales. For example, they might relate how the initial step in the development of post-World War II jazz styles occurred in 1939, by accident, in an obscure Harlem chile house. The man upon whom this supernatural flash was bestowed was Charles Christopher Parker, Jr., better known to all his legions as "Yardbird" or "Bird." Parker had become bored with the hackneyed chords employed by most of his contemporaries, and was seeking some thing new. One night in December, while playing "Cherokee" with guitarist Biddy Fleet, Parker discovered that by running higher intervals of a chord as a melody line and backing these with appropriately related changes, he could play what he had been hearing. -
UNIVERSITY of CALIFORNIA Los Angeles Aporia of Omotenashi
UNIVERSITY OF CALIFORNIA Los Angeles Aporia of Omotenashi: Hospitality in Post-Oriental and Post-Imperial Japan A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Anthropology by Ryoko Nishijima 2017 © Copyright by Ryoko Nishijima 2017 ABSTRACT OF THE DISSERTATION Aporia of Omotenashi: Hospitality in Post-Oriental and Post-Imperial Japan by Ryoko Nishijima Doctor of Philosophy in Anthropology University of California, Los Angeles, 2017 Professor Mariko Tamanoi, Chair The Japanese tourism industry, from its formation in the early 20th century to today, bears in many ways the postcolonial contradictions of Japan as a nation that has been at once the colonizer and the Orient. Engaging with the complex power dynamics inherent in the seemingly friendly gestures of “hospitality,” my dissertation analyzes the inconsistent ways in which the Japanese tourism industry has defined and dealt with foreign visitors, comparatively looking at tourists from the “West” and “Asia.” I divide the dissertation into four chapters: “Hospitality Infrastructure: Pursuing the Civilized,” which uncovers the mixed sentiment of national pride and shame behind the ardent discourse of hospitality in Japan, “Tourist Gaze: Searching for the Oriental,” in which I illustrate how Orientalist imaginings of Japan have continued to transform and endure in the tourist gazes today, “Roles of a Host: Performing the Hospitable,” which takes an ethnographic look at social relations between hosts and guests, and “Guests from Greater China: Welcoming the Ex-Colonized,” where I identify the legacy of Japan’s colonial history in the increasing number of visitors from the Greater China Region. KEYWORDS: Tourism, Japan, Postcolonialism, Techno-Orientalism, Hospitality ii The dissertation of Ryoko Nishijima is approved. -
Transparitions of Time in Space in Four Fiction Films by Knut Erik Jensen
STOCKHOLMS UNIVERSITET MKI/ Vt.2005 Filmvetenskapliga Institutionen Handledare:Bo Florin Transparitions of time in space in four fiction films by Knut Erik Jensen M K - u p p s a t s framlagd av AuroreBerger Titel: The transparitions of time in space in four fiction films by Knut Erik Jensen Författare: Aurore Berger Institution : Filmvetenskapliga institutionen, Stockholms Universitet Handledare: Bo Florin Nivå: Magisterkurs 1 Framlagd: Vt. 2005 Knut Erik Jensen’s oeuvre is often described from a typical Norwegian point of view. The corpus of films studied is restricted to his documentary production and to the breakthrough of Stella Polaris in 1993. But as I discovered Knut Erik Jensen through his posterior fiction films, I had to focus on this under esteemed production, even if I remain convinced that the dichotomy between the documentary and fiction films is not very pertinent. As Passing Darkness had blurred my reading of Gilles Deleuze’s books dedicated to cinema, I started to focus on both this film and Deleuze’s philosophical approach. I linked then Knut Erik Jensen’s films to other filmmakers who in my sense had the same concerns. As history is first a matter of geography, I based the reflection on the works by Alain Resnais, Jean-Daniel Pollet and the texts by Jean Epstein. But as the study went on, I realized that a classical study could not validate Jensen’s aesthetic as the alchemical concerns of both Jean Epstein, Edgar Morin or Gilles Deleuze were dealing with either a source or a result. Living at the era of the networks and influenced by some seminars in France regarding the figure and the networks inside the image, I focused on the philosopher stone in order to find an alternative to the crystal image and other postulates. -
Title Director V1886-04 7 Hoppe, W
Item Title Director V1886-04 7 Hoppe, W. Joe D1955-00 8.5 Fellini, Federico L1027-00 8.5 Fellini, Federico D6199-00 8 1/2 Fellini, Federico V1924-01 9.11 Independent Media Center D2432-03 422 Li, Jennifer D6045-00 2046 Wai Wong, Kar D5069-00 [Rec] Balaguero, Jaume and Paco Plaza D2266-07 100% American Rosson, Arthur D2255-00 101 Reykjavik Kormakur, Baltasar D2295-00 12 Monkeys Gilliam, Terry D4041-00 12 Monkeys Gilliam, Terry B1174-00 12 Years a Slave McQueen, Steve D2539-00 13 Most Beautiful … Songs for Andy Warhol's ScreenWarhol, Tests Andy D2976-00 1-800-India: Importing a White-collar EconomyUberoi, Safina D2607-00 1939 World's Fair: New York Var. D4032-00 2 or 3 Things I Know About Her Godard, Jean-Luc D1981-00 20 Centimeters (20 Centímetros) Salazar, Ramon V1629-00 200 Motels Zappa, Frank D1953-00 2001: A Space Odyssey Kubrick, Stanley L1026-00 2001: A Space Odyssey Kubrick, Stanley V1000-00 2001: A Space Odyssey Kubrick, Stanley D6187-00 2001: A Space Odyssey Kubrick, Stanley ST1054-00 2005 Media Arts Student Show (Tape 1 of 3) Various ST1055-00 2005 Media Arts Student Show (Tape 2 of 3) Various ST1056-00 2005 Media Arts Student Show (Tape 3 of 3) Various D2037-00 21 Grams Inarritu, Alejandro Gonzalez D6022-00 24 Hour Party People Winterbottom, Michael D1840-00 25 Watts Rebella, Juan Pablo; Stoll, Pablo V1879-00 26 Bathrooms Greenway, Peter B1207-00 28 Days Later Boyle, Danny B1118-00 28 Weeks Later Fresnadillo, Juan Carlos D2530-13 3 Out of $ Slappe, Steven D2096-00 300 Spartans, The Mate, Rudolph D1160-00 39 Steps, The Hitchcock, -
Livretetudiantmusique2015-2016 0
PRÉAMBULE La culture et les arts forment le ciment d’une société, d’une histoire, d’une civilisation. Les expressions artistiques les plus diverses tissent un lien social unique, léger et profond dont nos vies ont tant besoin. Les événements dramatiques en France de janvier 2015 comme les crises et les différents conflits actuels nous montrent combien l’ineffable de l’Art demeure fragile et doit être au cœur de la construction du monde à venir. Nos établissements supérieurs d’enseignement artistique ont un rôle déterminant à jouer dans ce projet de société pour former les futurs professionnels, qui demain, seront les acteurs d’un mieux vivre ensemble. Le Pôle d’Enseignement Supérieur de la Musique et de la Danse, unique établissement d’Enseignement Supérieur d’Aquitaine en danse et en musique, dispense des formations aboutissant au Diplôme National Supérieur Professionnel de Musicien (DNSPM), au Diplôme d’État (DE) de Professeur de Danse et de Musique en parallèle d'une Licence Arts en musique et en danse (en convention avec l’Université Bordeaux Montaigne) et du Diplôme Universitaire de Musicien Intervenant (DUMI) en partenariat avec l’IFMI – Université Toulouse le Mirail ou le CFMI de Poitiers – Université de Poitiers. Succédant à 20 ans d’existence du CEFEDEM Aquitaine, le PESMD Bordeaux Aquitaine accueille les cursus et stages de formation continue pour les métiers de la pédagogie, en musique, danse et de nouveaux parcours diplômants en interprétation musicale. Notre structure travaille sur l’ensemble de ses missions en coréalisation avec ses tutelles (État, Région Aquitaine, ville de Bordeaux) et les grandes institutions régionales, en particulier, le Conservatoire de Bordeaux, l’Opéra National de Bordeaux et l’Université Bordeaux Montaigne. -
Program, Asked His Three New Students to Bring in a Scene Featuring a Person from History
Qpower. struggle. Book, Music & Lyrics By Michael Mitnick Directed by Tomé Cousin • Music Direction by Douglas Levine June 4-27, 2021 theater that moves Qyou. Quantum Theatre Never underestimate the power of a great performance. We are proud to support Quantum Theatre. BCD-SYS-15214_quantum_theatre_sponsorship_print_5x7.875_c.indd 1 5/18/21 4:38 PM Quantum Theatre Presents Book, Music, and Lyrics by Michael Mitnick Directed by Tomé Cousin Music Direction by Douglas Levine CAST in order of appearance Daniel Krell*………........... Thomas Edison Quinn Patrick Shannon*…. Francis Upton Billy Mason*………............. George Westinghouse Melessie Clark*………........ Marguerite Westinghouse Connor McCanlus*……….. Franklin Pope, Mister Talbot, Various Roles Tru Verret-Fleming*………. Alfred Black J. Alex Noble*……….......... Silas Boocock, Charles Durston Jerreme Rodriguez*……….. William Kemmler Drew Leigh Williams*………Gertrude Durston, Tillie Kemmler, Mrs. Talbot THE BAND Douglas Levine………Piano • Simon Cummings………Cello Cello/Piano/Vocal Arrangement by Douglas Levine Scenic Design: Tony Ferrieri • Lighting Design: C. Todd Brown Costume Design: Karen J. Gilmer • Sound Design: Steve Shapiro Director of Production: Michelle Engleman • Technical Director: Cubbie McCrory Production Stage Manager: Cory F. Goddard* ASM & Health and Safety Supervisor: Piper Clement Puppet Consultant: Nick Lehane • Audio Engineer and Technical Specialist: Peter Brucker Scenic Artist: Leah Blackwood • Scenic Assistant: Noah Glaister • Sound Assistant: Anna Hanson *Appearing through an agreement between Quantum Theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The work of the design and production artists is supported by the Philip Chosky Design and Production Fund. THE PERFORMANCE WILL LAST APPROXIMATELY 95 MINUTES WITH NO INTERMISSION. he first scene of The Current War was written the night before my first day of drama graduate school – September 12, 2007.