SECRETS in MAKE-UP. of TECHNIQUE Mysteries to Be Divulged

Total Page:16

File Type:pdf, Size:1020Kb

SECRETS in MAKE-UP. of TECHNIQUE Mysteries to Be Divulged I T E TE C " VOL. XXXIII. NO. 159. - -BOSTON, MASS., TUESDAY, MARCH 24, 1914. PRICE TWO CENTS ...-. ._'- - r SECRETS IN MAKE-UP. CLASS DAY COMMITTEE IAPPLICATION BLANKS 'BOSTON Y. M. C. U. GIVES OF TECHNIQUE .BALLOTS DUE TODAY FOR SHOW SEATS DUE PRIVILEGES TO TECH MEN Mysteries To Be Divulged Later 'To Be.Left At The Cage By 5 Must Be In Saturday Afternoon Men Holding Cards May EFnpoy -Likened to Tech's Mr. O'CI0ck-Al Ballots Must -Public Sale To Start The Privileges- Nows Given' Smith. Be Signed. April Fourth. By Y. LC. A. Sunday morning and afternoon the There are two big things that it All Ballots for the-Senior Class Day application cards for securing the General Secretary of the Technel- is not customary for the Technique Committee must be in at the Cage seats at Tech Show were mailed and ogy Christian Association, Mr. L.R_- Board to divulge before the appear- this afternoon by five o'clock. The they should have been received by mond Talbot, -announces that She auce of the book, but Technique 1915, committee in charge of the election now. These must be returned prop- Young Men's Christian Union of-Bos- in order to keep Up with its stan. wishes particularly to call attention to erly filled out as desired before 5 ton has offered the T. C. A. the same dard of progressiveness, has decided the fact that the success of Class p. m. Saturday. Tne applicationswill facilities and privileges that were ar- that it is only proper that the under- Day depends largely upon a full vote be filled as far as possible and held ranged for with the B. Y. M. C. -A. of the class. graduate body should have some idea in the Show office for five days. Un- recently. In this manner the Teeh Several unsigned ballots have been concerning these things. They are men who are members of the T. C. A. handed in. All Seniors should re- such important parts of the book may have upon payment of one dol- member that all these will be thrown that they may really be said to con- lar the privileges offered by both .he out. In case men have not paid their trol the whole publication. Without Y. M. C. A. and the Y, M, C. U, These class dues, they may hand them in at them the book would, in fact, be a privileges include, among others, lhe the Cage with their ballots, and their total failure. use of the gymnasium and the sWIm- votes will be counted. The ballots The corporation has their mysteri- ming pool, at the usual membership may be obtained at the Cage. ous Mr. Smith and last year's board fee. had their mysterious leather cover, The only condition on the part bf but Technique 1915 does not see TECH BOWLING LEAGUE the Tech men at the Institute is tht why there should be so much mys- they be members of the Techno0lgy Garrison Team Still in the Lead tery concerning all good things. Christian Association, and that they -Matches They have stated without hesitation This Week. hold the tickets received from 3he that they are giving the students the At the end of the fourth week of local organization upon payment of best book that has ever been pub- the Tech Bowling League season the the fee of one dollar. This tickst lished and they have enumerated the Garrison team is still in the lead with now entitles them to the privllcges various good points of their publica- the faculty Rogers team second and of not only one of the Boston asso- tion. They- have not merely said that. the Pierce five third with one match ciations, but of the .two. The Boaton their book was the best but they still to roll off. Mr. Mackenzie is now Y. M. C. U. is located at 48 Boylston tied with Vose for the high average street. The president of that UTilon (Continued on Page 4) at 95, both having dropped off a is a Tech man, Mr. Frank Locke. couple of points. Vose's three string Any men wishing to partake of -the opportunities SPECIAL DRILL total is still good. The Garrisons W. P. KEITH thus offered them and have captured the team total rolling claimed orders, after that, will be who are not members of the T, e. .Extra Work Necessary To Pre- 1409 against the Walker team. The sold. A., may become members by-sigfilng pare for Coming Inspection. schedule for this week is Lowell vs. In filling out the blanks the appli- the membership card of the Assola- Union, Tuesday at eight o'clock; cant must be careful to put his school tion, and thereafter they may obtain The cadet corps is. to have special Pierce vs. Walker, Thursday at 4.30 year after his name and, under the their privilege card from the General drill during the next two weeks, to o'clock; Rogers vs. Garrison, Friday space marked "class," put his rating Secretary at the T. C. A. office In prepare for the inspection which will at 4.30 o'clock and a postponed match as it comles on the pamphlet en- Eng. B. be made by a United States Army between the Pierce and Lowell teams, closed with the application cards; officer on April 6. As this is about the date of which is not yet decided. that is, whether he be Class "A," WEATHER six weeks earlier than the inspection The standing to date is: "B," "C," "D," or "E." If any doubt ;-is' usually made, the work is not as - Team - W. L. P.C. exists as to what the applicant in- For Boston and Vicinity: Un- as it should Garrison ........ 13 iadvanced be. In order 3 5457 tended, the application for seats will settled, generally fair tonight; TMes- ito make up the deficiency, the drill on Rogers .. ......... 11 5 5099 be filled out by arbitrary choice of day 'fair; moderate southwest -to 'Wednesday of this week and next will Pierce .............. ' 7 5 3802 the management. Therefore, care west winds. last from 4 to 5 P. M. The periods Union ............... 6 10 4979 must be used in making out the on Monday and Tuesday will be --as Walker .......... 2 10 3728 T 1 i- cards. The postals must be returned usual. we .............. 7 90 with the applications and with the CALENDAR Later in the Spring, when the Individual averages--Mackenzie 95, name and address on the proper side. weather is warmer, and drill work Vose 95, Hardy 94, Heath 91, Mann Of the two Boston performances, - Tueaday, March 24, 1914. will be less pleasant than it is now, 90, Metz 89, Ring 88, Proctor 87, Yell the afternoon is Intended particular- 4.15--Technique Electoral ComDnt- this extra work will be more than 86, Covitz 85, Lewis 85, Dailey 85. ly for the undergraduates, but there tee. 23 Rogeris. made up for by. letting the men off. 5.00--Glee Club will probably be good opportunity Rehearsal. R0nm GLEE CLUB REHEARSAL for the students to secure good seats B, Union. SHELLS NEARLY READY at the evening presentation. 5.00-Senior Class ay4 Ballots'Due. 8.00-Lowell vs. Union, TechnolQR, Glee Club Members! Tallman urges On April 4th, all seats will be Bowling League, Trinity Place- - Work on the two Technology shells team-work on your part, in view of turned over to Herrick's, and the va- leys. is now progressing -rapidly, Con- the fact that rehearsals are few, and rious theatres where the Show is to structor Davies says they may be time is short, before the next concert be given, for a general sale. The Thursday, March 26, 1914. ready even before April fifteenth, to be given at Chelsea on April 8th prices there will be the regular box 1.30-T. C. A. Union. ,since one is already-planked and will and at Stoneham on the 10th. Prompt- office prices, as the management has 4.30-Mandolin Club. Room B, be finished Saturday, and the other ness and attendance at rehearsals are arranged for their sale without any Union. is about ready for- planking. They highly important. Men who do not extra charge. 5.00--Glee Club. Room B, Uflotn. are forty feet long and twenty inches show up for practice will not be al- Any man who did not receive an 5.00-Technique Electoral Commkt- wide. - lowed to sing at the Spring Concert application blank, or any man who tee. 23 'Rogers. A general- meeting will be held or other intervening concerts. Don't wants another application card, may 7.45--Chemical Society. Unlon. April 1 in order to get together the forget-tonight at 5 o'clock, room A, get them this week at the Show Of- 8.00-C. E. Society. Ladies' Night. Union. flce. Huntington Hall I men who are interested in the crew. I THE TECH, BOSTON, MASS., TUESDAY, MARCH 24, 1914A I - ~~ ~ ~ ENIERN AND - I I ENGINEERING AND" rnI SCIENTIFIC NOTES THE TECH U Wireless Notes. I Mass., under the'. act of ' Congress of U March 3, 1879. Communication was held last week U Published daily, except Sunday. dur- between the wireless station at ing. the..college year by students of the Nauen, Germany, and one at Wind- YMsss ehusetts InStitute of Technology. hoek, Cape of Good Hope, South Afri- i MANAGING BOARD ca, a distance of approximately six U S. -L-- Taylor,. '14. ....General .Manager U E.
Recommended publications
  • Goethe, the Japanese National Identity Through Cultural Exchange, 1889 to 1989
    Jahrbuch für Internationale Germanistik pen Jahrgang LI – Heft 1 | Peter Lang, Bern | S. 57–100 Goethe, the Japanese National Identity through Cultural Exchange, 1889 to 1989 By Stefan Keppler-Tasaki and Seiko Tasaki, Tokyo Dedicated to A . Charles Muller on the occasion of his retirement from the University of Tokyo This is a study of the alleged “singular reception career”1 that Goethe experi- enced in Japan from 1889 to 1989, i. e., from the first translation of theMi gnon song to the last issues of the Neo Faust manga series . In its path, we will high- light six areas of discourse which concern the most prominent historical figures resp. figurations involved here: (1) the distinct academic schools of thought aligned with the topic “Goethe in Japan” since Kimura Kinji 木村謹治, (2) the tentative Japanification of Goethe by Thomas Mann and Gottfried Benn, (3) the recognition of the (un-)German classical writer in the circle of the Japanese national author Mori Ōgai 森鴎外, as well as Goethe’s rich resonances in (4) Japanese suicide ideals since the early days of Wertherism (Ueruteru-zumu ウェル テルヅム), (5) the Zen Buddhist theories of Nishida Kitarō 西田幾多郎 and D . T . Suzuki 鈴木大拙, and lastly (6) works of popular culture by Kurosawa Akira 黒澤明 and Tezuka Osamu 手塚治虫 . Critical appraisal of these source materials supports the thesis that the polite violence and interesting deceits of the discursive history of “Goethe, the Japanese” can mostly be traced back, other than to a form of speech in German-Japanese cultural diplomacy, to internal questions of Japanese national identity .
    [Show full text]
  • Chicago Symphony Orchestra
    Pittsburgh Symphony Orchestra 2015-2016 Mellon Grand Classics Season April 1, 2 and 3, 2016 MANFRED MARIA HONECK, CONDUCTOR EMANUEL AX, PIANO / , BOY SOLOIST / , SOPRANO / , BASS THE ALL UNIVERSITY CHOIR CHRISTINE HESTWOOD AND ROBERT PAGE, DIRECTORS / CHILDREN’S CHORUS / , DIRECTOR JOHANNES BRAHMS Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Mr. Ax Intermission CARL ORFF “Fortuna imperatrix mundi” from Carmina Burana for Chorus and Orchestra LEONARD BERNSTEIN Chichester Psalms for Chorus, Boy Soloist and Orchestra I. Psalm 108, vs. 2 (Maestoso ma energico) — Psalm 100 (Allegro molto) II. Psalm 23 (Andante con moto, ma tranquillo) — Psalm 2, vs. 1-4 (Allegro feroce) — Meno come prima III. Prelude (Sostenuto molto) — Psalm 131 (Peacefully flowing) — Psalm 133, vs. 1 (Lento possibile) boy soloist GIUSEPPE VERDI Overture to La forza del destino GIUSEPPE VERDI “Te Deum” (No. 4) from Quattro Pezzi Sacri April 1-3, 2016, page 2 for Chorus and Orchestra soprano soloist ARRIGO BOITO Prologue to Mefistofele for Bass Solo, Chorus, Children’s Chorus and Orchestra bass soloist April 1-3, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA JOHANNES BRAHMS Born 7 May 1833 in Hamburg, Germany; died 3 April 1897 in Vienna, Austria Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 (1878, 1881) PREMIERE OF WORK: Budapest, 9 November 1881; Redoutensaal; Orchestra of the National Theater; Alexander Erkel, conductor; Johannes Brahms, soloist PSO PREMIERE: 15 January 1909; Carnegie Music Hall; Emil Paur, conductor and soloist APPROXIMATE DURATION: 50 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, timpani and strings In April 1878, Brahms journeyed to Goethe’s “land where the lemon trees bloom” with two friends, the Viennese surgeon Theodor Billroth and the composer Carl Goldmark.
    [Show full text]
  • Early Faust Literature and Skepticism in the Reformation
    Dustin Lovett 20 Polemical Magic: Early Faust Literature and Skepticism in the Reformation Dustin Lovett (University of California, Santa Barbara) Richard Popkin’s epochal work on the history of skepticism in the Early Modern period1 identifies the seminal gesture of the Reformation, Luther’s rejection of the Catholic church’s entire framework of authority at the Diet of Worms, as the opening of a “Pandora’s Box” that sparked a skeptical crisis, or “crise pyrrhonienne,” which soon engulfed the Western world (5). Popkin’s narrow understanding of the term skepticism and his emphasis on the role of the printed Latin translations of Sextus Empiricus’s work in the 1560s in the birth of modern science have become controversial, but whether one adopts Popkin’s view of an acute crisis in the sixteenth and seventeenth centuries or takes a longer and broader view of skepticism,2 the Reformation marks a moment of profound transformation in the history of European thought. As Stuart Clark notes, the temptation “to think of the [Early Modern] period as one of radical epistemological instability” does not exist without reason (1997, 257). In rejecting the authority of the pope and church councils, which had previously arbitrated the nature of truth, in favor of “what conscience is compelled to believe on reading Scripture” (Popkin 3) Luther was redefining the criteria for religious orthodoxy. For centuries, the Catholic church alone had defined the nature of and means of achieving theological principles such as grace or repentance. The spiritual confusion that resulted from Luther’s repudiation of numerous Catholic doctrines finds its reflection in many literary works of the time but perhaps nowhere more potently than in the legend of Faust, which emerged and developed in the early Reformation era into a vehicle for Luther’s radical skepticism toward Catholic doctrines ranging from intercession and repentance to the saints’ cults and miracles.
    [Show full text]
  • Doktor Faust Doctor Faust Page 1 of 2 Opera Assn
    San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 1 of 2 Opera Assn. Opera House Doktor Faust (in German) Opera in two acts by Ferruccio Busoni Libretto by Ferruccio Busoni Conductor CAST Donald Runnicles Faust Rodney Gilfry Stage Direction and dramaturgy Wagner Friedemann Röhlig Jossi Wieler A Student from Krakow Dennis Petersen Sergio Morabito Joshua Bloom Production designer Ricardo Herrera Anna Viebrock Gravis/Jurist Gregory Stapp Lighting Designer Levis/Theologian William Pickersgill David Finn Asmodus/Natural Philosopher Jere Torkelsen Sound Designer Belzebuth/A Student Daniel Harper Roger Gans Magäros/A Platonist Richard Walker Chorus Director Mephistopheles/Night Watchman Chris Merritt Ian Robertson A Voice Dvora Djoraev Musical Preparation Virginia Pluth Paul Harris Sally Mouzon William Hobbs John Parr Gretchen's Brother (A Soldier) Johannes Martin Kränzle Sara Jobin Lieutenant Todd Geer Ernest Fredric Knell Master of Ceremonies Oren Gradus Organ Duke of Parma Jay Hunter Morris James Welch Duchess of Parma Hope Briggs Supertitles The Shy One Michael Rogers Philip Kuttner A Student from Wittenberg Todd Geer Assistant Stage Director John Ames Roy Rallo Thomas Glenn Costume supervisor Lucas Meachem Keena Golden Chris Dickerson Stage Manager Brett Finley *Role debut †U.S. opera debut PLACE AND TIME: The room where Faust works, lives and dies; a place of memory, daydreaming and obsession. Tuesday, June 15 2004, at 7:30 PM Sunday, June 20 2004, at 2:00 PM Tuesday, June 22 2004, at 7:30 PM Friday, June 25 2004, at 8:00 PM Wednesday, June 30 2004, at 7:30 PM Saturday, July 3 2004, at 8:00 PM San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 2 of 2 Opera Assn.
    [Show full text]
  • Johann Georg Faust
    Johann Georg Faust Dr. Johann Georg Faust (approx. 1480 – 1540) was a German alchemist who was born in the village of Knittlingen, Württemberg (it is also claimed in Roda in the province of Weimar, and also in Helmstadt near Heidelberg in 1466). He has alternatively been known by the names “Johann Sabellicus” and “Georg Faust.” In 1507, Johannes Trithemius of Sponheim wrote that Faust was a con-man and a drifter who preyed on the gullible. He said he had fled a teaching position in Kreuznach after molesting several of the boys there. He may have then gone on to the University of Heidelberg to study, obtaining a degree in divinity from Heidelberg University in 1509, and then to Poland where a friend of Martin Luther, Philip Melanchthon, says Faust studied magic at the University of Kraków. Martin Luther and Philipp Melanchthon are said to have alleged Faust’s companionship with the devil. After that, he appears at the University of Ehrfut in central Germany. It is said that when he lectured on Homer he conjured up Homer’s heroes for his students. He was expelled from Ehrfut by the Franciscan monk Dr. Klinge (who was the cathedral preacher from 1520-1556). Dr. Klinge asked for Faust’s repentance. Faust refused the monk’s offer of intervention and admitted having signed a pact with the Devil, and said that he trusted the Devil more than God. In 1523 he is said to have visited Auerbach’s Tavern in Leipzig where he conjured wine out of a table, and rode a barrel of wine.
    [Show full text]
  • 31- Selected Works of Louis Spohr, Volume 1: Faust (Edltion And
    -31- MUSIC REVIEW Selected Works of Louis Spohr, Volume 1: Faust (edltion and editorial matters by Jonathan Stracey; Introduction by Clive Brown). Garland Publishing, 136 Madison Avenue, New York, NY 10016, March 1990. Price $155 in preliminary announcement in 1986. We have not been inforned of the present price. The final volume to be published in Garlandis ten-voLume selection of Spohrrs works is the one scheduled as VoLume One. This new edition of _ Faust goes much further than other volumes in the series which lrere either facsimiles of the composerrs autographs, reproductions of - early printed editions or j-n a few cases facsj-miLes of nodern scores nade from early seEs of parts. Ilere we have a genuinel-y critical edition which presents both SpohrIs original texr of 1813 and his revlsed version wilh recitatives of 1852 in such a clear way that it would be possible to perform either version from this score. In fact, the phrase rttwo versionstt rather begs the question as, quite early on in Faustrs stage 1ife, aLterations were nade which it becane commonplace to use. For the Frankfurt performance of 1818 Spohr added the well-known aria "Liebe ist die zarte Blllthe" as r,re11 as 1if ti-ng the scena and aria "Ich bin alLeinrr f rorn his earl j-er opera, Der Zweikanpf mit der Geliebten. Spohr gave later authority to them by uti.lising then for his 1852 Grand Opera version. The volume also incLudes facsimiLes of the printed German Libretti of both the 18L3 and 1852 versions although the point is made that the spoken dialogue was aLnost al"ways nodified from production to production.
    [Show full text]
  • Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
    Listen to Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of Discoveries every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, April 5th, 2008, 5:00-6:00 p.m. • Louis Spohr (1784-1859). Symphony No. 4 in F, Op 86 “The Consecration of Sound” (1832). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 38:49 • Spohr. Overture to Faust, Op. 60 (1813/23). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 7:35 An experimental composer, the first conductor to use a baton, and the inventor of the violin chin-rest (someone had to invent it!) was Louis Spohr. His program music was considered avant-garde in the 1830s, and many considered him the most important German composer between Beethoven and Brahms. The New York Philharmonic, at its founding in 1843, stated that its mission was to be an American orchestra that could play the music of Mozart, Beethoven, Haydn, and Spohr. He was the leading conductor of his day, an unparalleled orchestrator, and one of the top violin soloists on the continent. His legacy includes 15 violin concertos, 35 string quartets, 10 symphonies, four clarinet concertos, 90 lieder, dozens of operas, and a school of violin performance reaching well into the 20th century. We don’t hear his music today with nearly the same frequency that mid-19th-century audiences did, but it’s worth considering what the attraction might have been. He titled his fourth symphony—the most popular of his symphonies during his lifetime—Die Weihe der Töne (“The Consecration of Sound”).
    [Show full text]
  • Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
    Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life.
    [Show full text]
  • To Obtain His Soul’: Demonic Desire for the Soul in Marlowe and Others
    Early Theatre 5.2(2002) john d. cox ‘To obtain his soul’: Demonic Desire for the Soul in Marlowe and Others ‘O, what will I not do to obtain his soul?’ exclaims Mephistopheles in Dr Faustus, at a moment of fearful doubt on Faustus’s part.1 The exclamation is a rare revelation of the devil’s purpose in this play. For the most part, Mephistopheles appears to be a courteous servant to a gentleman scholar: suave and anxious to please. His exclamation of desire for Faustus’s soul, however, betrays an unexpressed craving to dominate Faustus completely and forever. Mephistopheles has demanded that Faustus sign over his soul to the devil, but in the midst of signing Faustus has begun to waver, and the blood in the wound that he made to sign his name has ceased to flow. Surely this must be a providential warning against apostasy! Then Mephistopheles fetches a chafer of coals: ‘Here’s fire. Come, Faustus, set it on’ (2.1.70); the blood ‘begins to clear again’ (71); and Faustus signs. This is the moment at which Mephistopheles exclaims, in obvious self-congratulation, about his longing for Faustus’s soul. The exclamation seems to imply Mephistopheles’ glee at successful misdi- rection. Making the blood flow by warming the body reduces the problem of congealing blood to mere physiology, erasing Faustus’s fear of peril to his soul. Mephistopheles thus prevents Faustus from going back on his determination to serve the devil, so the demonic servant exults at having fooled Faustus into submission. This inference is confirmed when Mephistopheles uses the same technique immediately afterwards.
    [Show full text]
  • Gunter E. Grimm
    GUNTER E. GRIMM Faust-Opern Eine Skizze Vorblatt Publikation Erstpublikation Autor Prof. Dr. Gunter E. Grimm Universität Duisburg-Essen Fachbereich Geisteswissenschaften, Germanistik Lotharstr. 65 47057 Duisburg Emailadresse: [email protected] Homepage: <http://www.uni-duisburg-essen.de/germanistik/mitarbeiterdaten.php?pid=799> Empfohlene Zitierweise Beim Zitieren empfehlen wir hinter den Titel das Datum der Einstellung oder des letzten Updates und nach der URL-Angabe das Datum Ihres letzten Besuchs die- ser Online-Adresse anzugeben: Gunter E. Grimm: Faust Opern. Eine Skizze. In: Goethezeitportal. URL: http://www.goethezeitportal.de/fileadmin/PDF/db/wiss/goethe/faust-musikalisch_grimm.pdf GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 2 von 20 Gunter E. Grimm Faust-Opern Eine Skizze Das Faust-Thema stellt ein hervorragendes Beispiel dar, wie ein Stoff, der den dominanten Normen seines Entstehungszeitalters entspricht, bei seiner Wande- rung durch verschiedene Epochen sich den jeweils herrschenden mentalen Para- digmen anpasst. Dabei verändert der ursprüngliche Stoff sowohl seinen Charakter als auch seine Aussage. Schaubild der Faust-Opern Die „Historia von Dr. Faust“ von 1587 entspricht ganz dem christlichen Geist der Epoche. Doktor Faust gilt als Inbegriff eines hybriden Gelehrten, der über das dem Menschen zugestandene Maß an Gelehrsamkeit und Erkenntnis hinausstrebt und zu diesem Zweck einen Pakt mit dem Teufel abschließt. Er wollte, wie es im Volksbuch heißt, „alle Gründ am Himmel vnd Erden erforschen / dann sein Für- GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 3 von 20 witz / Freyheit vnd Leichtfertigkeit stache vnnd reitzte jhn also / daß er auff eine zeit etliche zäuberische vocabula / figuras / characteres vnd coniurationes / damit er den Teufel vor sich möchte fordern / ins Werck zusetzen / vnd zu probiern jm fürname.”1 Die „Historia“ mit ihrem schrecklichen Ende stellte eine dezidierte Warnung an diejenigen dar, die sich frevelhaft über die Religion erhoben.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 113, 1993-1994
    Boston Symphony Orchestra Twentieth Anniversary Season 19 9 3-94 *,* 'K> ye €B€L the architects of ti m e beluQO Soft and elegant. Hand sculpted in Switzerland exclusively in 18 karat gold. Water resistant Five year international limited warranty. Intelligently priced. E.B. HORN Jewelers Since 1839 Positively The Best Value In Jewelry 429 WASHINGTON ST BOSTON 02108 ALL MAJOR CREDIT CARDS ACCEPTED • BUDGET TERMS MAIL OR PHONE ORDERS 542-3902 • OPEN MON. AND THURS. TIL 7 Seiji Ozawa, Music Director One Hundred and Thirteenth Season, 1993-94 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman andTreasurer David B. Arnold, Jr. Nina L. Doggett George Krupp Peter A. Brooke Dean Freed R. Willis Leith, Jr. James F. Cleary Avram J. Goldberg Mrs. August R. Meyer John F. Cogan, Jr. Thelma E. Goldberg Molly Beals Millman Julian Cohen Julian T. Houston Mrs. Robert B. Newman William F. Connell Mrs. BelaT. Kalman Peter C. Read William M. Crozier, Jr. Allen Z. Kluchman Richard A. Smith Deborah B. Davis Harvey Chet Krentzman Ray Stata Trustees Emeriti Vernon R. Alden Archie C. Epps Irving W. Rabb Philip K. Allen Mrs. Harris Fahnestock Mrs. George Lee Sargent Allen G. Barry Mrs. John L. Grandin Sidney Stoneman Leo L. Beranek Mrs. George I. Kaplan John Hoyt Stookey AbramT. Collier Albert L. Nickerson John L. Thorndike Nelson J. Darling, Jr. Thomas D. Perry, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G.
    [Show full text]
  • Audio Signal Processing in Faust
    Audio Signal Processing in Faust Julius O. Smith III Center for Computer Research in Music and Acoustics (CCRMA) Department of Music, Stanford University, Stanford, California 94305 USA jos at ccrma.stanford.edu Abstract Faust is a high-level programming language for digital signal processing, with special sup- port for real-time audio applications and plugins on various software platforms including Linux, Mac-OS-X, iOS, Android, Windows, and embedded computing environments. Audio plugin formats supported include VST, lv2, AU, Pd, Max/MSP, SuperCollider, and more. This tuto- rial provides an introduction focusing on a simple example of white noise filtered by a variable resonator. Contents 1 Introduction 3 1.1 Installing Faust ...................................... 4 1.2 Faust Examples ...................................... 5 2 Primer on the Faust Language 5 2.1 Basic Signal Processing Blocks (Elementary Operators onSignals) .......... 7 2.2 BlockDiagramOperators . ...... 7 2.3 Examples ........................................ 8 2.4 InfixNotationRewriting. ....... 8 2.5 Encoding Block Diagrams in the Faust Language ................... 9 2.6 Statements ...................................... ... 9 2.7 FunctionDefinition............................... ...... 9 2.8 PartialFunctionApplication . ......... 10 2.9 FunctionalNotationforOperators . .......... 11 2.10Examples ....................................... 11 1 2.11 Summary of Faust NotationStyles ........................... 11 2.12UnaryMinus ..................................... 12 2.13 Fixing
    [Show full text]