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Antagonist Images of the Turk in Early Modern European Games
ANTI/THESIS 87 The earliest representation of the Turk in art appeared in Venetian Quattrocento ANTI-THESIS Antagonist paintings as a result of the increasing com- Images of mercial activities of Venice, which played a role as the main connection between the Turk in Europe and the Levant (Raby 17). The per- ception of the image of the Turk varied Early Modern depending on the conflicts between Venice and the Ottomans, usually pro- European Games voked by religious and political propa- ganda. Gentile Bellini’s circa 1480 portrait of Mehmed the Conqueror, who con- quered Constantinople, is one of such rare early examples that reflected an apprecia- tion of an incognito enemy before the early modern period, which had faded Ömer Fatih Parlak over the course of time as tensions increased. Bellini, who started a short- “The Turk” is a multifaceted concept that perspective to the image of the Turk by lived early Renaissance Orientalism, was emerged in the late Middle Ages in shedding light on its representations in commissioned by Mehmed II, whose pri- Europe, and has gained new faces over early modern European board games and vate patronage was “eclectic with a strong the course of time until today. Being pri- playing cards; thus, contributing to a nou- interest in both historical and contempo- marily a Muslim, the Turk usually con- velle scholarly interest on the image of rary Western culture” (Raby 7).1 The forma- noted the antichrist, infidel, and the ulti- the Turk. It argues that, belonging to a tion of the Holy League of 1571 against the mate enemy. -
Number 33. HARRISON BURG, VA., THURSDAY, MAY 24, 1877. $2.00 a Year in Advance
Volume XII.—Number 33. HARRISON BURG, VA., THURSDAY, MAY 24, 1877. $2.00 a Year in Advance The Taking of C-neUntinopIe. itself. Tbe rich and beautiful orna- Tke Three Southern Heroes. For tke Commonwealth. ful Russia is the best antidote; and Tho Tartar HofSe. ments and jewels of that most sumptu- Geg Umagog:. among these "some,'' there urq tbe em- The Tartar horse is described ae firiia I CONBTANTINK DEFEATED BY THE TURKS OTEB ous and magnificent church—tbe state- John Estcn Cooke famishes the fol- perors, kings, princes aud tbe whole POUR HUNDRED YEARS AGO—GRAPHIC A0- lowing for the columns of tbe Phila- The political regeneration of West- having a "large bead, well set ot*, a ly building of Justiuianns, tbe Emper- 1 host of high born men aud women, R. y. POOL PnimMK*. OOUNT OF A DESPERATE STRUGGLE BK- or—were, in the turning of a band, delphia Weekly limes; ern and Central Europe, between 1790 whose echoes and slaves reach into all big barrel welt ribbed up, short legs, P. B. nELAhT- SKO. * Sor'r. TWEKN THE MOHAMMEDANS AND THE and 1876, bas overcome tbe absolutism and dense mane aod tail.'' He r» a 0. H. TANDEBFORD TRKASTTHER, plncked down and carried away by tbe The death of tbe famous cavalry man stratas of society. Some are poisoned O. Ji. BAA8 Atioshgt. CHRISTIANS. Turks; and tbe church itself, built for produced a deep and painful sensation of State and Cbnrcb, to the extent of and blindfolded by religious prejudices weight-carrier and accostomed to hard- BOOTH k QARRETT. -
2015 Regional Music Scholars Conference Abstracts Friday, March 27 Paper Session 1 1:00-3:05
2015 REGIONAL MUSIC SCHOLARS CONFERENCE A Joint Meeting of the Rocky Mountain Society for Music Theory (RMSMT), Society for Ethnomusicology, Southwest Chapter (SEMSW), and Rocky Mountain Chapter of the American Musicological Society (AMS-RMC) School of Music, Theatre, and Dance, Colorado State University March 27 and 28, 2015 ABSTRACTS FRIDAY, MARCH 27 PAPER SESSION 1 1:00-3:05— NEW APPROACHES TO FORM (RMSMT) Peter M. Mueller (University of Arizona) Connecting the Blocks: Formal Continuity in Stravinsky’s Sérénade en La Phrase structure and cadences did not expire with the suppression of common practice tonality. Joseph Straus points out the increased importance of thematic contrast to delineate sections of the sonata form in the beginning of the nineteenth century. Igor Stravinsky exploited other musical elements (texture, range, counterpoint, dynamics, etc.) to delineate sections in his neoclassical works. While theorists have introduced large-scale formal approaches to Stravinsky’s works (block juxtaposition, stratification, etc.), this paper presents an examination of smaller units to determine how they combine to form coherence within and between blocks. The four movements of the Sérénade present unique variations of phrase construction and continuity between sections. The absence of clear tonic/dominant relationships calls for alternative formal approaches to this piece. Techniques of encirclement, enharmonic ties, and rebarring reveal methods of closure. Staggering of phrases, cadences, and contrapuntal lines aid coherence to formal segments. By reversing the order of phrases in outer sections, Stravinsky provides symmetrical “bookends” to frame an entire movement. Many of these techniques help to identify traditional formal units, such as phrases, periods, and small ternary forms. -
The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. -
Pdfdownload April/May/June 2021 MMTA Newsletter
MMTA Newsletter January, February, March 2021 10800 Lyndale Ave S, Ste. 120 Bloomington, MN 55420 MMTA President’s Letter (952) 345-0629 www.mnmusicteachers.com Dear MMTA Friends and Colleagues, [email protected] It’s late April. The grass is the lush, deep green of first spring, and MMTA Board of Directors simultaneously there are snow flurries on the Western Minnesota Dr. Ann DuHamel, NCTM prairie. Over last three weeks I’ve eagerly examined the tulips I President planted last fall. First, verifying the bulbs weren’t devoured by Camille Buddecke, NCTM President-Elect squirrels during the winter and will, in fact, sprout. Now, Inese Krievans, NCTM inspecting their progress daily and spraying natural deterrents to VP-Piano Contests discourage the rampant bunny population of Morris from Doug Rohde feasting on them before they bloom. If I’m a bit obsessive, it’s VP-Convention because tulips are my favorite flowers. Beyond their sheer beauty, I love their Barbara Kennedy, NCTM VP-Piano Educational symbolism. Tulips herald spring—a new season, a new start. A time for growth, for Programs re-birth and transformation. Moreover, optimism is required to plant these tiny, onion- Siri Caltvedt, NCTM like bulbs in the darkening days of autumn—knowing that if we cultivate patience, hope, VP-Voice & Instrumental Programs and faith as we wait through the long, dark night of the winter, our anticipation will be Dr. Jacob Fitzpatrick NCTM rewarded when we see the emerging buds awaken. VP-Finance Nancy Van Kampen The last fourteen months have been a real challenge for us all, there is no doubt about VP-Marketing it. -
Sabiha Gökçen's 80-Year-Old Secret‖: Kemalist Nation
UNIVERSITY OF CALIFORNIA, SAN DIEGO ―Sabiha Gökçen‘s 80-Year-Old Secret‖: Kemalist Nation Formation and the Ottoman Armenians A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Fatma Ulgen Committee in charge: Professor Robert Horwitz, Chair Professor Ivan Evans Professor Gary Fields Professor Daniel Hallin Professor Hasan Kayalı Copyright Fatma Ulgen, 2010 All rights reserved. The dissertation of Fatma Ulgen is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _______________________________________________________________ _______________________________________________________________ _______________________________________________________________ _______________________________________________________________ _______________________________________________________________ _______________________________________________________________ Chair University of California, San Diego 2010 iii DEDICATION For my mother and father, without whom there would be no life, no love, no light, and for Hrant Dink (15 September 1954 - 19 January 2007 iv EPIGRAPH ―In the summertime, we would go on the roof…Sit there and look at the stars…You could reach the stars there…Over here, you can‘t.‖ Haydanus Peterson, a survivor of the Armenian Genocide, reminiscing about the old country [Moush, Turkey] in Fresno, California 72 years later. Courtesy of the Zoryan Institute Oral History Archive v TABLE OF CONTENTS Signature Page…………………………………………………………….... -
The History of the Clarinet in South Africa
The History of the Clarinet in South Africa by Becky L. Steltzner M.Mus. (University of Southern California) Thesis Presented in partial fulfilment of the Degree of DOCTOR OF PHILOSOPHY in the South African College of Music Faculty of Humanities University of Cape Town February 2016 Supervisor: Prof. Dr. Rebekka Sandmeier University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Copyright © 2016 Becky L. Steltzner The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non-commercial research purposes only. Abstract This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers’ journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet’s South African history is within it. -
The Hungarian Historical Review New Series of Acta Historica Academiae Scientiarum Hungaricae
The Hungarian Historical Review New Series of Acta Historica Academiae Scientiarum Hungaricae Volume 4 No. 2 2015 Cultures of Christian–Islamic Wars in Europe (1450–1800) Gabriella Erdélyi Special Editor of the Thematic Issue Contents Articles ANASTASIJA ROPA Imagining the 1456 Siege of Belgrade in Capystranus 255 SUZANA MILJAN and The Memory of the Battle of Krbava (1493) and HRVOJE KEKEZ the Collective Identity of the Croats 283 GABRIELLA ERDÉLYI Turning Turk as Rational Decision in the Hungarian–Ottoman Frontier Zone 314 BRIAN SANDBERG Going Off to the War in Hungary: French Nobles and Crusading Culture in the Sixteenth Century 346 ZOLTÁN PÉTER BAGI The Life of Soldiers during the Long Turkish War (1593–1606) 384 BALÁZS LÁZÁR Turkish Captives in Hungary during Austria’s Last Turkish War (1788–91) 418 DOMAGOJ MADUNIĆ Taming Mars: Customs, Rituals and Ceremonies in the Siege Operations in Dalmatia during the War for Crete (1645–69) 445 CRISTINA BRAVO LOZANO Madrid as Vienna, Besieged and Saved. The Ceremonial and Political Dimensions of the Royal Cavalcade to Atocha (1683) 471 http://www.hunghist.org ttartalomjegyzek.inddartalomjegyzek.indd 1 22015.09.22.015.09.22. 115:58:305:58:30 Book Reviews The European Tributary States of the Ottoman Empire in the Sixteenth and Seventeenth Centuries. Edited by Gábor Kármán and Lovro Kunčević. Reviewed by Tetiana Grygorieva. 502 What Is Microhistory? Theory and Practice. By István M. Szijártó and Sigurður Gylfi Magnússon. Reviewed by Kisantal Tamás. 512 Imagináció és imitáció Zrínyi eposzában [Imagination and Imitation in Zrínyi’s Epic]. By Farkas Gábor Kiss. Reviewed by Levente Nagy. -
Chapter 1: from Autonomy to Heteronomy: a Change of Paradigm in South African Art Music, 1980-2006
Chapter 1: From autonomy to heteronomy: A change of paradigm in South African art music, 1980-2006 Introduction Composition in South Africa has been an increasingly contested artistic and ideological space since the early 1980s. In this dissertation I argue that the demise of apartheid and the rise of democracy resulted in an institutional and aesthetic crisis for the field of composition, embodied in musical terms by a shift away from a Eurocentric paradigm to a cross-cultural one that embraced various ‘African elements’ within a framework of modernism and discourse of accessibility. In this chapter I consider the factors – both internal to the field of art music and those resulting from larger societal changes – that contributed to this artistic and ideological shift. Partly I am concerned with the politics of the field itself: the struggle for power within a highly contested cultural space. More broadly I am interested in the position of the field relative to changes in society at the macro level, in terms of race, class, and economic imperatives. A central question is, to what extent did the restructuring of the field in response to these changed imperatives affect the aesthetic choices of composers? The autonomy of art music during apartheid was challenged by the politicization of the field during the 1980s. The extent and rapidity of social and institutional change, and the new self-consciousness that it evoked in composers previously only concerned with “production for producers” (Bourdieu 1993:15), resulted in a crisis that foreshadowed an aesthetic revolution, or change of paradigm. In this chapter I present the theoretical basis for this claim and explain some of the historical reasons for its emergence. -
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Baruch Remembers Zation in the Current Environment.” Tom Graf, Executive Director of MEFA, Said the Halt on Loans Was a Result of Disruptions in the Capital Markets
Tropic Thun- der proves to be a big hit. Page 15. theBARUCH COLLEGE, ticker THE CITY UNIVERSITY OF NEW YORK VOLUME 94 • ISSUE 1 WWW.THETICKER.ORG SEPTEMBER 2, 2008 Baruch carpets nowhere near flying Student BY JANA KASPERKEVIC loans face SENIOR STAFF WRITER Before the end of the Spring crisis 2008 semester, clubs and organiza- tions occupying the offi ces in the west wing of the Vertical Campus’ <Loan industry third fl oor were asked to make the proper arrangements so that new suffers loss of carpeting could be installed over the summer. Various club memo- funds due to rabilia went into the boxes and the fl oors were, for the most part, to be failing economy cleared off , leaving the heavy lifting and moving out of the larger furni- BY LILIAN RIZZO ture up to the custodial and school SENIOR STAFF WRITER staff on the day that the carpets were to be changed. Th e downturn of the economy However, the summer came and has aff ected Americans in many went, and the old carpets stayed. ways and now it will be hitting col- With school back in session and the lege students specifi cally. Over the club fair fast approaching, student past few months, major private clubs are getting a head start on the lenders have been stopping or cut- new academic year while facing ting back on college loans. the possibility of changing carpets According to Th e Wall Street within the fi rst two weeks. Journal, since the beginning of the Th e Student Center budget allo- last school year Citigroup Inc. -
Ernestine White-Mifetu
20 2018 Festival Curators Visual and Performance Art Ernestine White-Mifetu ERNESTINE WHITE-MIFETU is currently the curator of Contemporary Art at Iziko’s South African National Gallery. Her experience within the arts and culture sector spans a period of fifteen years. She holds a Bachelors degree in Fine Art (1999) cum CURATED PROGRAMME laude from the State University of Purchase College in New York, a Master Printer degree in Fine Art Lithography (2001) from the Tamarind Institute in New Mexico, a Masters degree in Fine Art (2004) from the Michaelis School of Fine Art, Cape Town, and a Honours degree in Curatorship (2013) from the University of Cape Town’s Michaelis School of Fine Art. Ms White-Mifetu obtained her initial curatorial experience working as the Exhibitions Coordinator (2004-2006) and thereafter as Senior Projects Coordinator for Parliament’s nation building initiative, the Parliamentary Millennium Programme. Prior to this she worked as the Collections Manager for Iziko’s South African National Gallery. As an independent artist her work can be found in major collections in South Africa as well as in the United States. Ernestine White’s most recent accomplishment was the inclusion of her artwork into permanent collection of the Museum of Modern Art, US. Music Samson Diamond SAMSON DIAMOND is the appointed leader of the Odeion String Quartet at the University of the Free State and concertmaster of the Free State Symphony Orchestra (FSSO). He has appeared as violin soloist with all premier South African orchestras and has played principal second of Europe’s first black and ethnic minority orchestra, Chineke! Orchestra, since its inception.