DOCSLIB.ORG

CD 1 73:15 I, 7 Get Off of My Cloud 1:11 K

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CD 1 73:15 I, 7 Get Off of My Cloud 1:11 K CD 1 73:15 I, 7 Get off of my cloud 1:11 K. + T.: Mick Jagger, Keith Richards Track Buchseite Spielzeit (The Rolling Stones) I, 1 4 Potancu (Istrische Insel Krk) 1:27 © Abkco Music Inc.; Westminster Music Ltd./Essex Musikvertrieb, Hamburg Traditionell ABKCO Records (Josip Čubranić, Ivan Dijanić) I, 8 Think 2:20 Ocora Radio France K. + T.: Aretha Franklin, Ted White I, 2 Wisiratu Shaman Curing Duet 2:32 (Aretha Franklin) Music of the Warao of Venezuela © Fourteenth Hour Music Inc./EMI Songs Musikverlag, Hamburg eastwest (Song People of the Rain Forest. Gainesville: University Press of Florida) I, 9 15 Up above my head (Playback) 1:35 © Dr. Dale A. Olsen, Florida State University Tallahassee/Florida 1996. K.: Reinhold Wirsching, T.: überl. aus USA Used by permission. (Rainer Kotzian) I, 3 5 Hy¯oj¯o netori 1:45 © Reinhold Wirsching, Hart Klett Traditionell (Gagaku) I, 10 16 We will rock you 2:08 Lyrichord K. + T.: Brian Harold May I, 4 8 La donna e mobile aus „Rigoletto“ 1:06 (Queen) K.: Giuseppe Verdi , T.: Francesco Maria Piave © Queen Music Ltd. London/EMI Music Publ. Germany, Hamburg (Luciano Pavarotti) Parlophone Decca I, 11 17 Que sera sera 3:57 I, 5 La Boheme (1. Akt), Duett Mimi/Rodolfo 1:16 K. + T.: Raymond B. Evans, Jay Livingston K.: Giacomo Puccini, T.: Henri Murger, Giuseppe Giacosa (Hermes House Band) (Anna Netrebko + Rolando Villazon, Staatskapelle Dresden, © Jay Livingston Music; St. Angelo Music/Neue Welt MV, Hamburg; Nicola Luisotti) Melodie der Welt J. Michel KG MV, Frankf./M. Deutsche Grammophon Polydor I, 6 Don´t be that way 1:07 I, 12 20/21 Ich gehör nur mir aus dem Musical „Elisabeth“ (Playback) 4:04 K. + T.: Benny Goodman, Edgar Sampson, Mitchell Parish K. + T.: Michael Kunze, Silvester Levay (Ella Fitzgerald) (A. Schleese) © EMI Robbins Catalog Inc. Für D/A/CH: EMI Partnership Musikverlag, Hamburg © Sisi Music/Ed. Butterfly Roswitha Kunze, Hamburg Verve Records Klett I, 13 26 We shall overcome 2:03 I, 21 Notenwerte (Playback) 1:13 K. + T.: Zilphia Horton, Frank Hamilton, Guy Caravan, Pete Seeger (Rainer Kotzian) (Joan Baez) © Klett © Ludlow Music Inc./Essex Musikvertrieb, Hamburg Folkways I, 22 Grooves (Playback) 0:54 (Rainer Kotzian) I, 14 29 Where have all the flowers gone 0:46 © Klett K. + T.: Pete Seeger (Pete Seeger) I, 23 42 It‘s a long way to the top (Playback) 2:40 © Fall River Music, Inc./Essex Musikvertrieb, Hamburg K. + T.: Ronald B. Scott, Agnus McKinnon Young, Malcolm M. Young WEA (Rainer Kotzian) © J. Albert and Son PTY Ltd./EMI Music Publ. Germany, Hamburg I, 15 30 Marseillaise (Orchesterfassung) 1:32 Klett K.: Hector Berlioz (Orchestre de Paris, J.-P. Jacquilat) I, 24 48 Ich träumte 1:30 EMI Classics K.: Wolf Biermann © Wolf Biermann, T.: Günter Wallraff © Günter Wallraff (Wolf Biermann) I, 16 31 Die beiden Grenadiere, op. 49, Nr. 1 3:40 CBS K.: Robert Schumann, T.: Heinrich Heine (Olaf Bär, Bar.; Helmut Deutsch, Klav.) I, 25 50 Piano Phase 2:22 EMI Classics K.: Steve Reich (Nurit Tilles, Edmund Niemann) I, 17 Ouvertüre 1812 3:60 © Helicon Music Co./Schott Music International, Mainz K.: Peter Tschaikowsky Nonesuch (Chicago Symphony Orchestra, D. Barenboim) I, 26 52 Saint Agnes 2:50 Deutsche Grammophon K. + T.: Sting (G. M. Summer) I, 18 36 Lied der Hitler-Jugend 1:32 (Sting) T.: Baldur von Schirach © Steerpike (Overseas) Ltd./EMI Music Publ. Germany, Hamburg (hist. Aufnahme) A&M I, 19 39 HYMNEN, 2. Region 3:02 54 Get Busy K.: Karlheinz Stockhausen K. + T.: Sean Paul Henriques, Steven Michael Mardsen © Karlheinz Stockhausen, Stockhausen-Verlag (Sean Paul) Deutsche Grammophon © EMI Music Publ. Ltd.; Greensleeves Publ. Ltd./EMI Music Publ. Germany, Hamburg; Ervolksmusik MV, München I, 20 40 Notenwerte (Playback) 1:13 Nonesuch (Rainer Kotzian) I, 27 Intro 0:30 © Klett I, 28 54/55 Teil A (Strophe) 0:19 CD 2 75:05 I, 29 56/57 Teil B (Refrain) 0:24 Track Buchseite Spielzeit I, 30 Girlspart, Teil A (Strophe) + Wiederholungen bis Ende 2:25 II, 1 63 Omal 2:53 Traditionell I, 31 58 Christ Church Bells 2:44 FidulaFon Traditionell (Playford Consort) II, 2 Livanoi 3:35 Home-Production Traditionell FidulaFon I, 32 59 Rock around the clock 2:12 K. + T.: Max C. Freedman, Jimmy de Knight II, 3 Hava nagila 3:01 (Bill Haley) Traditionell © Myers-Music Inc./Ed. Kassner Musikverlag, Inzlingen (Michael Herman´s Folk Orchestra), Citadel RCA Records I, 33 60 Menuett aus „Il Pastor Fido“ 0:44 II, 4 64/65 Präludium C-Dur, BWV 939 0:47 K.: Georg Friedrich Händel K.: Johann Sebastian Bach (Terpsichore, English Baroque Solists, J. E. Gardiner) (Wolfgang Rübsam) ERATO Naxos I, 34 62 Jovano Jovanke 2:44 II, 5 68/69 Chaconne 1:14 Traditionell K.: Georg Friedrich Händel © Folkraft Records/Syncoop Records. Used by Permission (Rainer Kotzian) I, 35 62 Hassaposerviko: Sirtaki 4:16 Klett K.: Mikis Theodorakis 71 Valses sentimentales, op. 50 (Mikis Theodorakis) K.: Franz Schubert © EMI Miller Catalog Inc./EMI Partnership Musikverlag, Hamburg (Thomas Hauschka) Universe Records Wergo I, 36 Diplos Issios 3:12 II, 6 Nr. 1 0:53 Traditionell II, 7 Nr. 2 0:59 II, 8 72/73 Brandenburgisches Konzert Nr. 3, BWV 1048 , 1. Satz, (Thema) 0:44 (T. 1–15) K.: Johann Sebastian Bach (Musica Antiqua Köln, R. Goebel) Archiv Produktion II, 9 Klaviersonate A-Dur, KV 331, 1. Satz, (Thema ) 0:47 II, 18 A che tormi il ben mio 2:27 (T. 1–8 und Wiederholung) K.: Claudio Monteverdi K.: Wolfgang Amadeus Mozart (The Consort of Musicke, Athony Rooley) (Jenö Jandó) Virgin Classics Naxos II, 19 81 Quis est iste 2:17 II, 10 Klaviersonate c-Moll, op. 10, 1. Satz, (Thema) 0:30 K.: Giovanni Gabrieli K.: Ludwig van Beethoven (R. Ewerhardt, Org.; Rias Kammerchor; Consortium musicu; G. Arndt) (Jenö Jandó) His Master‘s Voice Naxos II, 20 Sonata pian‘ e forte 4:30 II, 11 75 Rock-Feeling 1:29 K.: Giovanni Gabrieli (M. Hanne, C. Hempel) (E. H. Tarr (Zink); H. Jopen (Va).; H. Schmidt, H. Farteld, H. Wendland, © Klett G. Grätzig, J. Feck, K. Federowitz (Pos).; E. Morneweg, (Kb.)) II, 12 Triolen-Feeling 0:49 Columbia (M. Hanne) © Klett II, 21 82/83 Fuge c-Moll (Cembalo-Fassung) 2:26 K.: Johann Sebastian Bach II, 13 Swing-Feeling 0:40 (H. Dreyfus) (M. Hanne) Denon © Klett II, 22 Fuge c-Moll (Klavier-Fassung) 1:30 II, 14 Schlagzeugpattern (Swing-Feeling, Übergang gerade – swing) 0:41 K.: Johann Sebastian Bach (Rainer Kotzian) (G. Gould) © Klett CBS II, 15 76 Alleluia: Pascha nostrum, Gregorianischer Choral 1:36 85 Brandenburgisches Konzert Nr. 2, BWV 1047, 1. Satz Traditionell K.: Johann Sebastian Bach (Joppich) (Musica Antiqua Köln, R. Goebel) Archiv Produktion Archiv Produktion II, 16 78 Now is the month of maying 3:29 II, 23 T. 1–28 1:03 K.: Thomas Morley, T.: Philip Rosseter II, 24 T. 28–40 0:25 (New London Consort, Catherine Bott, Michael George, Philip Pickett) Linn Records II, 25 T. 40–59 0:45 II, 17 79 Kommt, ihr G‘spielen 1:38 II, 26 T. 60–83 0:53 K. + T.: Melchior Franck II, 27 T. 84–102 0:45 (Basler Madrigalisten, Ensemble Galliarda Basel, Fritz Näf) Musicaphon II, 28 T. 103–Schluss 0:42 87 Johannespassion, BWV 245 CD 3 67:14 K.: Johann Sebastian Bach Track Buchseite Spielzeit (H. Gillesberger, Knabensopran; Knabenalt der Wiener Sänger- knaben, K. Equiluz, B. van Hoff, M. Van Egmond, S. Schneeweis, III, 1 93 Sinfonia à 8 D-Dur (La Melodia Germanica Nr. 1) 3:09 J. Villisech, Wiener Sängerknaben, Chorus Viennensis, Concentus K.: Johann Stamitz musicus Wien) (Münchner Kammerorchester, C. Gorvin) Teldec Classics Archiv Produktion II, 29 Nr. 7 Choral: O große Lieb‘ 1:01 Sinfonie Nr. 40, g-Moll, KV 550, 1. Satz II, 30 88 Nr. 1 Chor: Herr, unser Herrscher 4:17 K.: Wolfgang Amadeus Mozart (Royal Concertgebow Orchestra, N. Harnoncourt) II, 31 Nr. 2 Rezitativ: Verrat des Judas/Nr.3 Chor: Jesum von Nazareth 1:19 Teldec Classics II, 32 89 Nr. 9 Arie: Ich folge dir gleichfalls 4:30 III, 2 Hauptsatz 0:27 II, 33 Nr. 18 Rezitativ: Verleugnung Jesu 1:46 III, 3 Überleitung 0:16 II, 34 Nr. 33 Rezitativ/Nr. 34 Chor: Sei gegrüßet 1:36 III, 4 Seitensatz und Schlussgruppe 1:44 II, 35 90 Nr. 37 Rezitativ/Nr. 38 Chor: Wir haben ein Gesetz 1:29 94/95 Streichquartett op. 33, Nr. 5 K.: Joseph Haydn II, 36 Nr. 48 Arie mit Chor: Eilt, eilt 1:40 (quatuor terpsycordes) II, 37 Nr. 53 Rezitativ/Nr. 54 Chor: Lasset uns den nicht zerteilen 1:55 Claves III, 5 Exposition (Thema 1) 0:44 II, 38 Nr. 58 Arie: Es ist vollbracht/Nr. 59 Rezitativ: Jesu Tod 5:41 III, 6 Exposition (Thema 2) 2:02 91 Lukas-Passion K.: Krzysztof Penderecki III, 7 Durchführung (1) 0:31 (H. Czyz/S. Woytowicz, A. Hiolski, B. Ladysz, R. J. Bartsch/ III, 8 Durchführung (2) 0:44 Tölzer Knabenchor, Chor und Sinfonieorchester des WDR, Köln) EMI Classics III, 9 Reprise (1) 0:49 II, 39 Nr. 12 Psalm: Miserere mei, Deus 1:39 III, 10 Reprise (2) 1:10 II, 40 Nr. 3 Arie: Deus meus 2:20 99 Egmont-Ouvertüre op. 84 II, 41 Nr. 25 Jesus stirbt am Kreuz 2:24 K.: Ludwig van Beethoven (Symphonieorchester des Bayerischen Rundfunks, Sir Colin Davis) Sony Masterworks III, 11 T. 1 ff. (Sarabandenrhythmus) 0:29 III, 12 T. 5 ff. (Klage) 0:60 III, 31 105 Wanderers Nachtlied II 2:07 K.: Franz Schubert, T.: Johann Wolfgang v.
Load more

Recommended publications
  • Pdf Liste Totale Des Chansons
    40ú Comórtas Amhrán Eoraifíse 1995 Finale - Le samedi 13 mai 1995 à Dublin - Présenté par : Mary Kennedy Sama (Seule) 1 - Pologne par Justyna Steczkowska 15 points / 18e Auteur : Wojciech Waglewski / Compositeurs : Mateusz Pospiezalski, Wojciech Waglewski Dreamin' (Révant) 2 - Irlande par Eddie Friel 44 points / 14e Auteurs/Compositeurs : Richard Abott, Barry Woods Verliebt in dich (Amoureux de toi) 3 - Allemagne par Stone Und Stone 1 point / 23e Auteur/Compositeur : Cheyenne Stone Dvadeset i prvi vijek (Vingt-et-unième siècle) 4 - Bosnie-Herzégovine par Tavorin Popovic 14 points / 19e Auteurs/Compositeurs : Zlatan Fazlić, Sinan Alimanović Nocturne 5 - Norvège par Secret Garden 148 points / 1er Auteur : Petter Skavlan / Compositeur : Rolf Løvland Колыбельная для вулкана - Kolybelnaya dlya vulkana - (Berceuse pour un volcan) 6 - Russie par Philipp Kirkorov 17 points / 17e Auteur : Igor Bershadsky / Compositeur : Ilya Reznyk Núna (Maintenant) 7 - Islande par Bo Halldarsson 31 points / 15e Auteur : Jón Örn Marinósson / Compositeurs : Ed Welch, Björgvin Halldarsson Die welt dreht sich verkehrt (Le monde tourne sens dessus dessous) 8 - Autriche par Stella Jones 67 points / 13e Auteur/Compositeur : Micha Krausz Vuelve conmigo (Reviens vers moi) 9 - Espagne par Anabel Conde 119 points / 2e Auteur/Compositeur : José Maria Purón Sev ! (Aime !) 10 - Turquie par Arzu Ece 21 points / 16e Auteur : Zenep Talu Kursuncu / Compositeur : Melih Kibar Nostalgija (Nostalgie) 11 - Croatie par Magazin & Lidija Horvat 91 points / 6e Auteur : Vjekoslava Huljić
    [Show full text]
  • Imagination. Innovation. Excellence. Printed on Recycled Paper
    IMAGINATION. INNOVATION. EXCELLENCE. printed on recycled paper The American Turkish Society salutes the leadership of GE and Doğuş Group in sustainability efforts and presents an environmentally responsible celebration. IMAGINATION. INNOVATION. EXCELLENCE. The American Turkish Society Gala Dinner 2008 Honoring Jeffrey R. Immelt and Ferit F. Şahenk April 16, 2008 Starlight Roof The Waldorf=Astoria New York DINNER COMMITTEE Honorary Chairwoman Mrs. Ahmet Ertegün Co-Chairmen Mr. Charles O. Holliday, Jr. and Mr. David J. Stern Ms. Emily Altman Mr. Koray Arıkan Ms. Aslı F. Başgöz Mr. İzzet Benadrete Mr. Richard J. Bressler and Ms. Lisa Gersh Mr. Stuart V. Brown Mr. Edward T. Cloonan Mr. Lyor Cohen Mr. and Mrs. Kemal Derviş Mr. Haluk Dinçer and Mrs. Suzan Sabancı Dinçer Mr. M. Ergil Ersü Dr. Jacob A. Frenkel Ms. Sule Haskell Mr. Mehmet Emin Karamehmet Mr. and Mrs. Lawrence M. Kaye Mr. and Mrs. Muhtar Kent Mr. Murat Köprülü and Mrs. Nina Joukowsky Köprülü Mr. Korhan Kurdoğlu Mrs. Latife Mardin Mr. Murad Megalli Mr. and Mrs. Metin Negrin Mr. Benjamin E. Ostrom Dr. and Mrs. Mehmet Öz Hon. Peter G. Peterson Mr. and Mrs. Laurence Pettit Mr. I. Martin Pompadur Dr. Howard A. Riina Mr. Nick Rohatyn Mr. Lindsay Rosenwald Dr. and Mrs. Tamer Seçkin Ms. Çiğdem Simavi Mr. A. Ümit Taftalı Mr. Robert Trainer and Mrs. Shirin Devrim Trainer Ms. Heidi Ueberroth Mr. Erol Üçer Ms. Linda Wachner Mr. Nicholas Walsh Mr. Jeff Zucker The American Turkish Society Gala Dinner 2008 Honoring Jeffrey R. Immelt and Ferit F. Şahenk PROGRAM Film GE and Doğuş Group: Imagination. Innovation. Excellence Welcome Murat Köprülü Chairman, The American Turkish Society Gala Co-Chairman’s Greeting David J.
    [Show full text]
  • The Turkish Cosmopolitan Magazine As Translation: an Analysis of Representations of Women
    THE TURKISH COSMOPOLITAN MAGAZINE AS TRANSLATION: AN ANALYSIS OF REPRESENTATIONS OF WOMEN FATOŞ IŞIL CİHAN BOĞAZİÇİ UNIVERSITY 2011 THE TURKISH COSMOPOLITAN MAGAZINE AS TRANSLATION: AN ANALYSIS OF REPRESENTATIONS OF WOMEN Thesis submitted to the Institute for Graduate Studies in the Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Translation by Fatoş Işıl Cihan Boğaziçi University 2011 Thesis Abstract Fatoş Işıl Cihan, “The Turkish Cosmopolitan Magazine as Translation: An Analysis of Representations of Women” This study aims to analyze the usage of the representations of women in the famous women’s magazine Cosmopolitan, which has been published since the end of the nineteenth century and evolved into a women’s magazine in the United States and its Turkish edition which has been published in Turkey since 1992. The source magazine’s target reader can be depicted as young, professional women who care for her career and sexual life. The Turkish Cosmopolitan addresses a similar profile. However, it is assumed that the representations which are used in Turkish Cosmopolitan magazine are somewhat different from the representations used in the source magazine. Thus, comparing and contrasting Turkish Cosmopolitan with the source magazine, the study explores the differences between the two magazines and considers that these different representations may be the indicator of the differences between the Turkish and American cultures. It is argued that translation plays a crucial role in constructing new
    [Show full text]
  • Festival Eurovisão Da Canção: 60 Anos
    121 Veredas da História, [online], v.8, n.1, 2015, p. 121--139, ISSN 1982-4238 FESTIVAL EUROVISÃO DA CANÇÃO: 60 ANOS: MULTICULTURALISMO, DIVERSIDADE E ALTERIDADE. José Fernando Saroba Monteiro1 Universidade Federal Rural do Rio de Janeiro. Resumo: Um dos mais assistidos programas de entretenimento no mundo, o Festival Eurovisão da Canção chega em 2015 ao seu sexagenário. Criado para fazer competir canções representantes de diferentes países europeus, o Festival Eurovisão da Canção hoje se apresenta muito mais do que uma simples competição musical. Hoje, com proporções globais, o Festival Eurovisão da Canção tem no multiculturalismo, na diversidade e na alteridade palavras-chave para a sua compreensão, abrigando diferentes grupos e promovendo a inclusão e a interação em seu certame, que também a cada ano e cada vez mais levanta a bandeira da igualdade e da unificação entre os povos. Palavras-chave: Festival Eurovisão da Canção, multiculturalismo, diversidade. Abstract: One of the most watched entertainment programs in the world, the Eurovision Song Contest, comes, in 2015, to their sixties. Created as contest among songs from different European countries, Eurovision Song Contest today presents much more than a single musical competition. Nowadays, with global proportions, the Eurovision Song Contest has multiculturalism, diversity and alterity keywords for your understanding, joining different groups and promoting inclusion and interaction in your contest, which also each year and increasingly raises the banner of iguality and unity among peoples. Keywords: Eurovision Song Contest, multiculturalism, diversity. Apresentação O Festival Eurovisão da Canção (Eurovision Song Contest – ESC) completa em 2015 sessenta anos de existência, sendo um dos mais antigos concursos televisivos do mundo e o programa favorito entre os europeus.
    [Show full text]
  • 'Gülseren'e Bu Puan Çok Bile' YAZARLAR ŞENAY DÜDEK SİYASET Yunanistan'ın 1., Türkiye'nin 13
    MİLLİYET İNTERNET - MAGAZİN 1/2 ページ Sık Kullanılanlara Ekle Açılış Sayfası Yap İletişim Kurumsal 23 Mayıs 2005 / Pazartesi Milliyet Online Kariyerim Business Arabam Cumartesi Pazar Ege Seri İlanlar Haber İndeksi Arşiv Haberci Üyelik Bülten Hızlı Erişim Arşiv Arama » Detaylı Arama SON DAKİKA ANA SAYFA 'Gülseren'e bu puan çok bile' YAZARLAR ŞENAY DÜDEK SİYASET Yunanistan'ın 1., Türkiye'nin 13. olduğu Eurovision finali sonrasında 'işin bilenleri', yarışan şarkı ve şovların 'taklit' olduğu görüşünde birleşti; Gülseren'in EKONOMİ yorumu beğenilmedi FİNANS DÜNYA BİRSEN ALTUNTAŞ / İLKNUR GÜLMEZ SPOR Ukrayna'nın başkenti Kiev'de düzenlenen 50. GÜNCEL Eurovision Şarkı Yarışması'na, Doğu'nun otantik YAŞAM kıyafetleri, dans ve vurmalı çalgıları damgasını vurdu. Türkiye'yi 'Rimi Rimi Ley' ile temsil eden MAGAZİN Gülseren Gomez'in 13. olduğu yarışmada, 1. olan ASTROLOJİ Yunanlı şarkıcı Helena Paprizou'nun seslendirdiği TEKNOLOJİ 'My Number One' adlı şarkı ise tartışma yarattı. HAVA DURUMU Yarışmaya yorumlarıyla renk katan Bülent Osma başta, bazı müzik otoriteleri, şarkının Hint melodisi OMBUDSMAN 'Avaremu'ya benzediğini iddia etti. ÇİZERLER Bilişim Rimi Rimi Ley'in bestecisi Erdinç Eğitim Tunç: 'Hayal kırıklığı yaşadık' TV Rehberi "Balkan ve İskandinav ülkeleri birbirlerine oy verdi. En azından ilk 10'a gireriz diyorduk. Yarışmada şarkımız çalınırken rejideki Rusça sesler yayına yansımış. Bu da talihsiz bir durum." Sertab Erener: 'Yanılmadım' "Favorim Yunanistan'dı. Eurovision'da bu şarkının şansının olamayacağını söylemiştim. Yanılmadım." Demir Demirkan: 'Sertab taklitleri' "Sertab ve Ruslana'dan sonra 2'sinin karışımı şarkı ve şovlar ortaya çıkmış. Herkes onlar gibi olmaya çalışmış. Gülseren'i beğenmedim. Kendi eklediği çığlıklar yersiz, sahte ve zorlamaydı. En kötüsü ise gelecek yıl yarı finale gidecek olmamız." Semiha Yankı: 'Yunanistan şarkısı çalıntı' "Yunanistan'ın şarkısı 'Averamu'nun aynısı.
    [Show full text]
  • Download Download
    CULTURAL ANTHROPOLOGY THE CIVILIZATIONS CHOIR OF ANTAKYA: The Politics of Religious Tolerance and Minority Representation at the National Margins of Turkey SEÇİL DAĞTAȘ University of Waterloo https://orcid.org/0000-0001-8037-9855 We are not “us and them.” We are “one,” on Earth and under the sun! At the end of their Biriz (We Are One) concert, the performers assembled on- stage to repeat the above verse in Turkish, Kurdish, and Laz. Organized in 2010 by the Turkish rock singer Demir Demirkan, this concert, which formed part of the events scheduled for the European Capital of Culture series in Istanbul, featured the Kurdish singer Aynur Doğan, the Laz folk singer Ayşenur Kolivar, the Euro- vision-winning Turkish pop singer Sertab Erener, and the multireligious Civiliza- tions Choir of Antakya. Before going onstage, Kolivar explained to the cameras the idea behind the event and the meaning of its concluding verse: Nowadays, Turkey is going through a period where the importance of oneness [birlik] and togetherness [beraberlik] is being discussed in a new way. We have always said, “We are united” or “We need to be united,” but before, unity meant something different. It meant becoming the same. Today, however, we will be “one” onstage without denying our differences. We will listen to each other and sing in each other’s languages. We will give the message that if we can find union in our differences onstage, we can do so in our lives as well. CULTURAL ANTHROPOLOGY, Vol. 35, Issue 1, pp. 167–195, ISSN 0886-7356, online ISSN 1548-1360.
    [Show full text]
  • DAGTAS DISSERTATION Final
    Heterogeneous Encounters: Tolerance, Secularism and Religious Difference at Turkey’s Border with Syria by Mahiye Seçil Dağtaş A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Anthropology University of Toronto © Copyright by Mahiye Seçil Dağtaş 2014 Heterogeneous Encounters: Tolerance, Secularism and Religious Difference in Turkey’s Border with Syria Mahiye Seçil Dağtaş Doctor of Philosophy Department of Anthropology University of Toronto 2014 Abstract This dissertation is an ethnographic investigation into the politics of religious difference in Turkey. Drawing on fieldwork in Antakya, a city near Turkey’s Syrian border populated by Arabs and Turks of Sunni, Alawi, Jewish, and Orthodox Christian backgrounds, it explores the mundane, political, and aesthetic representations of religious difference and demonstrates how such difference is constructed, lived, and configured in everyday realms of sociality. Four such realms are focused on: a multi-religious choral ensemble, Antakya’s historical marketplace, domestic and communal sitings of guesthood (misafirlik), and places and discourses of common worship. Official representations of Antakya’s religious diversity imply a pluralist and “tolerant” form of national citizenship as compared to Turkey’s Republican secularist model. I argue, however, that daily practices, artistic expressions, and networks of exchange between different denominations of Muslim, Christian, and Jewish residents of the city inhabit a more heterogeneous field characterized by interpersonal relations of negotiation, hospitality, intimacy, and hostility. These interrelations are further informed and delimited by structures of power embedded in local, national, and transnational regimes of diversity management and implicated in the minoritization ii of non-Sunni and non-Turkish communal identities.
    [Show full text]
  • Spring 2013 Calendar of Events
    School of Communication at Northwestern spring 2013 Calendar of events Northwestern University Commencement June 21, 9:30 a.m. Ryan Field School of Communication Convocations Theatre faculty member Cindy Gold (left) June 22, 1 and 5:30 p.m. and School of Communication alumna Pick-Staiger Concert Hall Cloris Leachman (C48) compare notes Johnny Mercer Foundation at the Kennedy Center in Washington, Songwriters Project DC, where Gold appeared as Parthy in June 29, 8 p.m. Show Boat this spring. Leachman played Josephine Louis Theater the same role in the musical’s 1994 US tour. She stars in the television series National Theatre Live: The Audience July 1, 7 p.m. Raising Hope and is heard in the recently August 6, 7 p.m. released animated film The Croods. Ethel M. Barber Theater Imagine U Family Series: Wiley and the Hairy Man by Susan Zeder DIRECTED BY BETSY QUINN July 12–28 Hal and Martha Hyer Wallis Theater Once Upon a Wildcat: Stories from the Swamp FEATURING RIVES COLLINS July 16, 7 p.m. July 20, 4 p.m. All Shook Up Inspired by and featuring the songs of Elvis Presley Book by Joe DiPietro DIRECTED BY MATT RAFTERY MUSIC DIRECTED BY RYAN T. NELSON School of Communication alumnus Brad Kushner (C95) July 19–August 4 visited campus to share “Hollywood 101” insights with Ethel M. Barber Theater students in April. Kushner is a partner and cofounder of Creative Convergence, a company specializing in the Viva Las Vegas film broadcast intersection of entertainment, technology, and advertising. July 23, 7 p.m.
    [Show full text]
  • Artist Album Type Label Num Tracks URI 200 the Breakdown Single Mental Madness Records 3 200 the Darkness Single Mental Madness
    Num Artist Album Type Label tracks URI Mental Madness 200 The Breakdown single Records 3 http://open.spotify.com/album/1Cje7L9u6ps7JscQjLwf26 Mental Madness 200 The Darkness single Records 6 http://open.spotify.com/album/7zxaIBSDmaS7Aq4P02ESJn KONTOR 666 Atencion single RECORDS 5 http://open.spotify.com/album/2e3w31RJ3Mr4aqhqFfGzDg Mental Madness 666 Progressive D.E.V.I.L. single Records 2 http://open.spotify.com/album/1Xz0fUaZdOo8aG24sPMUES !wagero! Anata Ni Love Letter single BMG Japan 1 http://open.spotify.com/album/2QAuNGLWX2uOExdrz1FqDl *NSYNC Celebrity album Jive 13 http://open.spotify.com/album/7zBue2Vuzg4Z3ncRXaIkJg RCA Records *NSYNC Home For Christmas album Label 14 http://open.spotify.com/album/642MvjqEgywTy3nMsUe3Xk RCA Records *NSYNC Home For Christmas album Label 14 http://open.spotify.com/album/6uIB97CqMcssTss9WrtX8c *NSYNC Home For Christmas album Transcontinental 14 http://open.spotify.com/album/2jhsj4flihVGi0Wx44VRls Beton Kopf :wumpscut: Boeses Junges Fleisch album Media 13 http://open.spotify.com/album/3KBT4eI3esZYzWSKjlN904 Boeses Junges Fleisch - 7th Beton Kopf :wumpscut: Anniversary Edition album Media 15 http://open.spotify.com/album/0fl9xtq8566yMquWJap3Vn Beton Kopf :wumpscut: Bunkertor 7 album Media 12 http://open.spotify.com/album/58qNTStR1ihlvWHj5gg24a Beton Kopf :wumpscut: Cannibal Anthem album Media 11 http://open.spotify.com/album/4AYJ5ZCfCYRjxyNKxTgXKc Dried Blood Of Gomorrha Beton Kopf :wumpscut: Remastered album Media 10 http://open.spotify.com/album/241SguWSt4jFNf3mdyDpoY Dried Blood Of Gomorrha Beton
    [Show full text]
  • Rice's Shanty Town
    OP-ED P. 3 AAE • p. |2 SPORTS P. 16 You might as well call Twitter cage match Let the tailgates begin OMG, ru so excited abt the # ofppl who txt while driving? All of the Thresher sections now have Twitter accounts. Was Rice's football season starts today at the University of Alabama Because we're not. Srsiy. this our best or worst move? Find out in our head-to-head. at Birmingham. Beat dem Blazers! thVolume XCVII, Issuee No. 3 RiceStudent-Ru n since 1916 Friday, September 4, 2009 Rice's shanty town: from riches to rags Levyleaves Makeshift shelters A • * provost post erected to raise BY JOCELYN WRIGHT poverty awareness THRESHER EDITORIAL STAFF Without Howard Hughes Provost BY JACLYN YOUNGBLOOD Eugene Levy's influence, Rice, as both THRESHER EDITORIAL STAFF a university and a campus, would be noticeably different. Levy's work with •V. AV' TWO dollars will not buy you a the Passport to Houston program, the latte from the Raymond and Susan Vision for the Second Century and Brochstein Pavilion, but it will be the Bioscience Research Collabora- the per-diem budget for a group of tive has shaped Rice into the institu- students next week who will mimic tion it is today. poverty firsthand. As such, his announcement Tues- In a simulation of Third World day that he will be stepping down at shanty towns, dozens of Rice stu- the end of this academic year marks V • • * dents will be encamped in make- . ' the end of a remarkable and pro- shift housing near Brochstein longed career, President David Lee- Pavilion next week.
    [Show full text]
  • Deutsche Nationalbibliografie
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2010 T 07 Stand: 21. Juli 2010 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main, Berlin) 2010 ISSN 1613-8945 urn:nbn:de:101-ReiheT07_2010-0 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie Katalogisierung, Regeln für Musikalien und Musikton-trä- auf der Sachgruppenübersicht angegeben, entsprechend ger (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD
    [Show full text]
  • Art Works Discipline/Field Listings
    National Endowment for the Arts December 2013 Grant Announcement Art Works Discipline/Field Listings Some details of the projects listed are subject to change, contingent upon prior Endowment approval. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk and Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Endowment approval. Page 1 of 154 Artist Communities Number of Grants: 33 Total Dollar Amount: $580,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists will receive a stipend, access to studio space, and equipment as part of the Artist Labs program. One residency will also be devoted to a curator. Alliance of Artists Communities $40,000 Providence, RI To support the research and publication of "Artist Residencies and Social Practice." This study will focus on artist residencies supporting social practice artists and how they engage communities. Anderson Center for Interdisciplinary Studies (aka The Anderson Center) $10,000 Red Wing, MN To support residencies for Deaf artists and writers. The center will create an environment for Deaf artists and writers to gather, work, and share freely in their own native or adoptive language and culture.
    [Show full text]