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The Biography of Vasco De Quiroga (1470- 1565), Bishop of Utopia, by Benjamín Jarnés (1888-1949)
The Biography of Vasco de Quiroga (1470- 1565), Bishop of Utopia, by Benjamín Jarnés (1888-1949) Juan Miguel Zarandona University of Valladolid, Spain Citation: Juan Miguel Zarandona, “The Biography of Vasco de Quiroga (1470-1565), Bishop of Utopia, by Benjamín Jarnés (1888-1949)”, Spaces of Utopia: An Electronic Journal , nr. 3, Autumn/Winter 2006, pp. 69-83 <http://ler.letras.up.pt > ISSN 1646-4729. Introduction In those years of the European Early Modernity an Old Castilian Spanish young man of sixty years of age, Vasco de Quiroga, born in Castilian lands of Ávila in 1470, left the Iberian Peninsula and sailed towards the New World. He arrived in the new colonial Vice-Royalty of New Spain and Mexico City in 1530. His Lord and Emperor, Charles I, wanted him there in the new territories. Vasco de Quiroga was a former student at Salamanca University, a proved humanist and a devoted son of the Renaissance. He probably travelled light but determined to make his favourite reading, Sir Thomas More’s Utopia , a dream come true. He not only promoted, protected against the many abuses, and improved the Indian’s life conditions from the very beginning, but started building his ideal plans. Between 1531 and 1535 Quiroga founded two utopian communities, both named Hospital-Pueblo de Santa Fe (Hospital-Village of the Holy Faith), in the outskirts of Mexico City and Michoacán. A few years after, he became Bishop of Michoacán and from this high position continued struggling for the abused and applying his utopian agenda firmly. Vasco de Quiroga died in 1565 at the venerable age of 95. -
Vasco De Quiroga En El 450 Aniversario De Su Muerte (1565-2015)
Vasco de Quiroga en el 450 aniversario de su muerte (1565-2015) José Luis Soberanes Fernández Eduardo Alejandro López Sánchez Coordinadores Universidad Nacional Autónoma de México Instituto de Investigaciones Jurídicas VASCO DE QUIROGA EN EL 450 ANIVERSARIO DE SU MUERTE (1565-2015) INSTITUTO DE INVESTIGACIONES JURÍDICAS Serie ESTUDIOS JURÍDICOS, núm. 304 COORDINACIÓN EDITORIAL Lic. Raúl Márquez Romero Secretario Técnico Lic. Wendy Vanesa Rocha Cacho Jefa del Departamento de Publicaciones Cristopher Raúl Martínez Santana Cuidado de la edición y formación en computadora Mauricio Ortega Garduño Elaboración de portada VASCO DE QUIROGA EN EL 450 ANIVERSARIO DE SU MUERTE (1565-2015) JOSÉ LUIS SOBERANES FERNÁNDEZ EDUARDO AlejANDRO LÓPEZ SÁNCHEZ Coordinadores UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO INSTITUTO DE INVESTIGACIONES JURÍDICAS MÉXICO, 2017 Primera edición: 7 de abril de 2017 DR © 2017. Universidad Nacional Autónoma de México INSTITUTO DE INVESTIGACIONES JURÍDICAS Circuito Maestro Mario de la Cueva s/n Ciudad de la Investigación en Humanidades Ciudad Universitaria, 04510 Ciudad de México Impreso y hecho en México ISBN 978-607-02-9031-2 CONTENIDO Presentación . IX Eduardo Alejandro LÓPEZ SÁNCHEZ La mentalidad laical en Vasco de Quiroga. 1 Pablo ARCE GARGOllO La catedral perdida de don Vasco. Vasco de Quiroga, inno- vador en arquitectura eclesiástica. 29 Armando Mauricio ESCOBAR OLMEDO Vasco de Quiroga y la repercusión social de sus pueblos- hospital: ayer y hoy. 61 Álvaro LOZANO PLATONOff La teología de la hospitalidad, implícita en el pensamiento y en la praxis de Vasco de Quiroga ................ 87 Manuel GONZÁleZ CRUZ Vasco de Quiroga y los inicios del ius commune en la provin- cia de Valladolid de Michoacán . -
10 Program.03.07.18.PRINT.Indd
“Music of the City” is the 12th installment of Musical Louisiana: America’s Cultural Heritage, an annual series presented by The Historic New Orleans Collection The Historic New Orleans Collection and the Louisiana Philharmonic Orchestra. Dedicated to the study of Louisiana’s contributions to the world of classical music, the award-winning series reaches an audience of nearly 30,000 individuals through and live radio broadcasts and online video streaming of the concert. In addition, the accompanying program and educational materials The Louisiana Philharmonic Orchestra are made available online to middle and high school teachers throughout Louisiana and across the country. A recording of the Carlos Miguel Prieto concert and this printed program are also distributed to the 68 library systems of the State Library of Louisiana, university libraries, Adelaide Wisdom Benjamin Music Director and Principal Conductor music history instructors in Louisiana, and centers throughout the United States concentrating on the study of American music. PRESENT Sponsored by MUSIC OF THE CITY Carlos Miguel Prieto, conductor Norman Robinson, narrator Additional support provided by Doreen Ketchens, clarinet Davide Mariano, organ and piano Dara Rahming, soprano Wednesday, March 21, 2018 This year’s concert is once again streaming live on LPOmusic.com. WWNO is broadcasting the program on 89.9 FM and Classical 104.9 FM in the New Orleans area, Cathedral-Basilica of St. Louis, King of France KTLN 90.5 FM in the Thibodaux-Houma area, and on wwno.org. New Orleans, Louisiana Please silence your cell phone during the performance. The use of recording devices and flash photography is strictly prohibited. -
Redalyc.DON VASCO DE QUIROGA PROMOTOR DE LA EDUCACIÓN INDÍGENA
Revista Historia de la Educación Latinoamericana ISSN: 0122-7238 [email protected] Universidad Pedagógica y Tecnológica de Colombia Colombia Campo del Pozo, Fernando DON VASCO DE QUIROGA PROMOTOR DE LA EDUCACIÓN INDÍGENA Revista Historia de la Educación Latinoamericana, vol. 13, 2009, pp. 67-84 Universidad Pedagógica y Tecnológica de Colombia Boyacá, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=86912384005 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto 67 DON VASCO DE QUIROGA PROMOTOR DE LA EDUCACIÓN INDÍGENA Dr. Fernando Campo del Pozo1 Instituto de Historia de la Orden de San Agustín - Venezuela Grupo de Investigación ILAC [email protected] Recepción: 30/05/2008 Evaluación: 30/07/2009 Aceptación: 14/09/2009 Artículo de Reflexión RESUMEN El objeto de este trabajo es resaltar la actuación docente de los agustinos en México, con Vasco de Quiroga, “Tata Vasco”; fundador de pueblos con escuelas y hospitales, un anticipo de lo que luego se llamó “reducciones.” Se ha utilizado una metodología analítica, complementaria y evolutiva dentro de la investigación, que desde hace unos 40 años se está realizando para la historia de la Orden de San Agustín en Hispanoamérica, teniendo en cuenta la bibliografía existente y la revisión de los archivos. El colegio de San Nicolás se mantuvo floreciente durante la colonia y fue la base de la universidad michoacanesa de San Nicolás de Hidalgo. -
Harpsichord News by Larry Palmer
Harpsichord News By Larry Palmer Words and music harpsichords), William Dowd, Wolfgang Ralph Kirkpatrick: Letters of the Zuckermann, and Alec Hodson. American Harpsichordist and Scholar, Kirkpatrick’s considerable interest in edited by Meredith Kirkpatrick. Uni- contemporary compositions for harp- versity of Rochester Press, November sichord is documented by important 2014, 186 pages, $60. correspondence with American compos- Framed by illuminating and affection- ers Roger Sessions, Elliott Carter, Otto ate foreword and afterword essays from Luening, Quincy Porter, Vincent Persi- guitarist Eliot Fisk and harpsichordist chetti, Henry Cowell, and Mel Powell, Mark Kroll (both writers Yale University as well as Europeans Frank Martin and students who treasured Professor Ralph Bengt Hambraeus. Kirkpatrick’s musical mentoring), this Literary connections include a letter slim volume goes a long way toward flesh- to music critic Olin Downes and two ing out our knowledge about one of the (apparently unpublished) well-argued most prominent and respected figures in missives on musical topics addressed “to the 20th-century American harpsichord the editor” of the New York Times. Corre- revival. Widely known for his pioneer- spondence with author Thornton Wilder, ing study of the composer Domenico arts administrator Oliver Daniel, patrons Scarlatti and as a prominent harpsichord Alexander Mackay-Smith, Elizabeth performer and recording artist, Kirkpat- Sprague Coolidge, Lincoln Kirstein, Paul Ralph Kirkpatrick: Letters of the Ameri- Frank Ferko: Triptych -
On the External Relations of Purepecha: an Investigation Into Classification, Contact and Patterns of Word Formation Kate Bellamy
On the external relations of Purepecha: An investigation into classification, contact and patterns of word formation Kate Bellamy To cite this version: Kate Bellamy. On the external relations of Purepecha: An investigation into classification, contact and patterns of word formation. Linguistics. Leiden University, 2018. English. tel-03280941 HAL Id: tel-03280941 https://halshs.archives-ouvertes.fr/tel-03280941 Submitted on 7 Jul 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Cover Page The handle http://hdl.handle.net/1887/61624 holds various files of this Leiden University dissertation. Author: Bellamy, K.R. Title: On the external relations of Purepecha : an investigation into classification, contact and patterns of word formation Issue Date: 2018-04-26 On the external relations of Purepecha An investigation into classification, contact and patterns of word formation Published by LOT Telephone: +31 30 253 6111 Trans 10 3512 JK Utrecht Email: [email protected] The Netherlands http://www.lotschool.nl Cover illustration: Kate Bellamy. ISBN: 978-94-6093-282-3 NUR 616 Copyright © 2018: Kate Bellamy. All rights reserved. On the external relations of Purepecha An investigation into classification, contact and patterns of word formation PROEFSCHRIFT te verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van de Rector Magnificus prof. -
Recovering the Clavichord for the Modern Pianist
Recovering the Clavichord for the Modern Pianist A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2012 by Albert Mühlböck Magister Artium, University of Music and Performing Arts Vienna, Austria, 1996 Committee Chair: Steven Cahn, Ph.D. ABSTRACT This document examines the history of the clavichord, explores similarities between clavichord and piano technique, and makes suggestions about the respects in which traditional principles of clavichord playing can improve the playing of pianists and piano students. For centuries the clavichord was considered the basis from which all other keyboard instruments could be approached. After a time of relative obscurity in the second half of the nineteenth century, followed by a revival in the twentieth century, the clavichord again enjoys enough dissemination and familiarity to resume that noble role. This study finds, through examination of ancient and contemporary sources, that especially a pianist’s sensitivity of touch and clarity of playing can be improved by playing the clavichord. Practical suggestions are also given. For future, extended versions of this thesis, please check www.albert-muhlbock.com. ii iii TABLE OF CONTENTS ABSTRACT ii TABLE OF CONTENTS iv TABLE OF FIGURES vi CHAPTER 1 – INTRODUCTION 1 CHAPTER 2 – THE CLAVICHORD 4 Construction of the Clavichord 4 History of the Clavichord 13 Before 1500 13 The 16th Century 15 The 17th Century 17 The 18th Century 18 Individual Composers 23 J.S. Bach 23 Joseph Haydn 26 W. -
DOMENICO SCARLATTI 6 CD Set the Complete Sonatas DOMENICO Other Titles in This Series SCARLATTI Volumes I • III • IV • V • VI • VII VOLUME II
DOMENICO SCARLATTI 6 CD set The Complete Sonatas DOMENICO other titles in this series SCARLATTI Volumes I • III • IV • V • VI • VII VOLUME II DOMENICO DOMENICO DOMENICO Venice III – V (1753) SCARLATTI SCARLATTI SCARLATTI VOLUME I VOLUME III VOLUME IV (K206 – 295) Essercizi per Gravicembalo Venice VI – VIII (1753-4) Venice IX – XI (1754-6) (K1-30) (K296 – 355, K358 – 387) (K388 – 451, K454 – 483) Venice I & II (1752) (K49, K98, K99, K129, K148-201) RICHARD LESTER RICHARD LESTER Harpsichord RICHARD LESTER Harpsichord & Organ Harpsichord & FORTEPIANO RICHARD LESTER Harpsichord DOMENICO DOMENICO DOMENICO & organ SCARLATTI SCARLATTI SCARLATTI VOLUME V VOLUME VI VOLUME VII Venice XII – XIII (1756-7) Appendices & Diversities Venice XIV (1742) (K484 – 543) 57 Sonatas (K3, 10-12, 17, 31, 36-38, Continuo Sonatas 43-77, 79, 80, 82-87, 92, 93) (K78, K81, K88 – 91) Venice XV (1749) RICHARD LESTER (K96, K98-138) Richard Lester Harpsichord Harpsichord & Fortepiano RICHARD LESTER Harpsichord For availability and complete track details please visit www.wyastone.co.uk/nrl/scarlatti.html NI 1726 DOMENICO SCARLATTI near the jack rail. The length of the instrument (8ft as a virtuoso harpsichordist. His piano teachers have 3ins) allows for a rich and resonant bass and the included Bernard Roberts - and on the harpsichord, The Complete Sonatas tapering of the soundboard in certain areas produces George Malcolm - who sponsored his London debut a sonorous treble.The case is of pine with tulipwood recital. His many solo engagements have included Volume II NI 1726 veneer, spruce soundboard with walnut bridges and broadcasts for BBC radio and television, recitals at the the keys, like Queen Maria Barbara’s instruments are Royal Festival Hall Purcell Room, Wigmore Hall, Venice III – V (1753) of ebony and mother of pearl. -
Investigating and Collecting the Music of C.P.E. Bach, by Elias N. Kulukundis
We recently asked Elias N. Kulukundis, one of our contributing editors and perhaps the foremost collector of C. P. E. Bach source materials today, about his long association with the composer’s music: how this involvement came about, what characterized it, and what has sustained this deep engagement over the years. He has kindly indulged us, providing an opportunity to learn more about his particular vantage point as scholar, admirer, and collector. Mr. Kulukundis edited several keyboard concertos for CPEB:CW, including Wq 11, 14, 25 (III/7); Wq 15–17 (III/9.5); Wq 26–27 (III/9.8); and Wq 35 (III/9.11). He has contributed articles to Bach-Jahrbuch and other scholarly journals and Festschrifts, including his own, The Sons of Bach: Essays for Elias N. Kulukundis. Investigating and Collecting the Music of C. P. E. Bach Discovering Bach through the Back Door I have often been asked what led me to become involved with C. P. E. Bach, as I have been for much of my life. I came to his music, you might say, through the back door. From my early teenage years I had developed a great liking for the music of Mozart, and read Alfred Einstein’s biography so many times I almost knew it by heart. I developed a special fondness for Mozart’s piano concertos. As an undergraduate at Yale majoring in History of Music in the 1950s, I was exposed to the keyboard concertos of J. S. Bach among much other music. I was struck by the structural and stylistic differences between Bach’s and Mozart’s concertos, and I began to wonder how the one evolved into the other. -
1 INTRODUCTION the Emotions That Led to the Mexican Revolution Of
INTRODUCTION The emotions that led to the Mexican Revolution of 1910 also inspired Mexican composers to write works that reflected strong nationalistic character. Leading this nationalistic movement, Miguel Bernal Jiménez developed a unique Mexican style that blended the colonial Spanish culture and the folkloric native Mexican Indian heritage. Furthermore, Bernal Jiménez wrote music that incorporated religious aspects into the music, representing the faith and ideology of the vast majority of the Mexican population of the period.1 This religiously influenced style of composition is now known as Sacred Nationalism, a movement set forth by Pope Pio X in his Motu Propio of 1903 directing each diocese in the world to establish a formal school for sacred music.2 The first chapter of this paper comprises a study of Bernal’s life based on diaries kept by the composer. These diaries and other primary sources consulted for this study are not available in English and have not been published in Spanish. Relevant passages have been presented in this document with a translation by the author. 1 Alvarez Coral, Juan. Compositores Mexicanos. México: EDAMEX, 1993. 2 Alcaraz, José Antonio. En la más honda música de selva. México: Lecturas Mexicanas, 1998. 1 BIOGRAPHY 1910-1956 José Ignacio Miguel Julián Bernal Jiménez, generally known as Miguel in honor of his father, was born in the small rural town of Morelia Michoacan, México on February 16, 1910, ten months before the beginning of the Mexican Revolution. Within this tranquil community embellished by numerous churches, stone paved streets and abundant local lore, the Bernal family attained high social status partially on account of their financial stability, but for the most part, due to their strong ties to the Catholic Church through two ordained family members. -
Survivor, Pioneer and Classical Music Living Legend Zuzana Růžičková at 90
SURVIVOR, PIONEER AND CLASSICAL MUSIC LIVING LEGEND ZUZANA RŮŽIČKOVÁ AT 90 NEW COMPLETE BACH BOX SET TO CELEBRATE THE ART AND LIFE OF ZUZANA RŮŽIČKOVÁ ALL RECORDINGS REMASTERED IN 24 BIT-96 KHZ FROM ORIGINAL TAPES NEW DOCUMENTARY FILM COMING SOON IN 2017 Zuzana RůžičkOvá Bach: The Complete Keyboard Works Release date: Friday, 21st October 20CD bOx set ● 0190295930448 A musician Of searching intellect, generOus spirit and fOrmidable purpOse, Zuzana RůžičkOvá is One Of the 20th century’s mOst influential harpsichOrdists. Central tO her career, the music Of Bach also helped her tO transcend with grace the extraOrdinary adversity she faced during WOrld War II and the COmmunist era. “There is something abOve us, near tO us, which makes absolute sense, but we dOn’t see it. Bach tells yOu: ‘DOn’t despair, there is a sense in life and in the world.’” Zuzana RůžičkOvá, who turns 90 on January 14th is one of the most influential harpsichordists of her time. The Bach recordings she made for EratO between 1965 and 1975, now released in a 20-CD box set, are central to her achievement. RůžičkOvá was the first person in the world to record the complete works of JOhann Sebastian Bach. Like her contemporaries Ralph Kirkpatrick (1911-1984) and Gustav LeOnhardt (1928-2012), RůžičkOvá was a major force in reviving the harpsichord’s fortunes in the latter half of the 20th century, but she is also an extraordinary witness to the history of Europe, in particular to the evolution of her Czech homeland, and to the transformative power of music. -
Music of Domenico Scarlatti Innovation and Style of His Keyboard Sonatas
Advances in Social Science, Education and Humanities Research, volume 554 Proceedings of the 7th International Conference on Humanities and Social Science Research (ICHSSR 2021) Music of Domenico Scarlatti Innovation and Style of His Keyboard Sonatas MingChih Hsieh 1,* 1School of Music, Zhaoqing University, Guangdong, China *Email: [email protected] ABSTRACT Domenico Scarlatti (Napes, 26 October, 1685- Madrid, 23 July, 1757) is one of the most significant Italian music composers in the eighteenth century late Baroque period. Although he is a prolific composer who has composed a great deal of music in wide variety of forms and genres, he is best known for his 550 keyboard sonatas written mostly for the harpsichords (although they are mostly played on modern pianos these days). His keyboard sonatas are single movements, in binary or sonata allegro form, that show innovative virtuosic display on the keyboard with early classical influence. Some of his most important musical attributes of the keyboard works include the influence of Portuguese and Spanish folk music, the adoption of the early eighteenth century Galant style, the inspiration of guitar music by using rapid notes being played repetitively, the revolutionary harmonic devices by using unresolved dissonant chords, the usages of extreme dynamic contrasts, the technique of involving constantly hand-crossing over each other, and the complexity of finger works by applying fast running notes of arpeggios moving back and forth from extreme register of the keyboard. Except for his limited eighteenth-century English publications of his earlier sonatas and a few Continental reprints, the bulk of his keyboard music was almost unknown beyond his immediate circle and exercised little direct influence on these later generation Italian and German composers such as Carl Philipp Emanuel Bach (1714-1788), Joseph Haydn (1732-1809), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1782-1791), and Ludwig van Beethoven (1770-1827).