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The History and Usage of the Tuba in Russia
The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. -
On Behalf of the Federal Agency of Culture and Cinematography I
ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı On behalf of the Ministry of Culture and Mass ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰‡ˆËË Communications of the Russian Federation I ÔË‚ÂÚÒÚ‚Û˛ ‚ÒÂı Û˜‡ÒÚÌËÍÓ‚ Ë „ÓÒÚÂÈ XVIII welcome all participants and visitors of the 18th ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ Open Russian Film Festival ´Kinotavrª! ´üËÌÓÚ‡‚ª! This annual event is an integral part of our ≈„Ó ÂÊ„ӉÌÓ Ôӂ‰ÂÌË ˇ‚ΡÂÚÒˇ ÌÂÓÚ˙ÂÏÎÂÏÓÈ State policy on the support of the national ˜‡ÒÚ¸˛ „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÓÎËÚËÍË ÔÓ ÔÓ‰‰ÂÊÍ cinema. ´Kinotavrª can, without exaggeration, ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ´üËÌÓÚ‡‚ª be called the most anticipated event in the ÏÓÊÌÓ ·ÂÁ ÔÂÛ‚Â΢ÂÌˡ ̇Á‚‡Ú¸ Ò‡Ï˚Ï Russian film-season. For the 17 years of its ÓÊˉ‡ÂÏ˚Ï ÒÓ·˚ÚËÂÏ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÒÂÁÓ̇. «‡ existence this main national cinema event has ÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ Ò‚ÓÂ„Ó ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ „·‚Ì˚È gained a strong position, both in the Russian ̇ˆËÓ̇θÌ˚È ÍËÌÓÒÏÓÚ Á‡‚Ó‚‡Î ÔÓ˜Ì˚È film world and abroad. ‡‚ÚÓËÚÂÚ, Í‡Í ‚ ÓÒÒËÈÒÍÓÈ The festival is developing fast, becoming more ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓÈ Ò‰Â, Ú‡Í Ë ‚ Á‡Û·ÂÊÌÓÈ. dynamic and alive, saturated and informative. ‘ÂÒÚË‚‡Î¸ ÒÚÂÏËÚÂθÌÓ ‡Á‚Ë‚‡ÂÚÒˇ, ÒÚ‡ÌÓ‚ˇÒ¸ The success of festival films among Russian ·ÓΠ‰Ë̇Ï˘Ì˚Ï Ë ÊË‚˚Ï, ̇Ò˚˘ÂÌÌ˚Ï Ë audiences once again confirms that there is a ËÌÙÓχÚË‚Ì˚Ï. -
1895. Mille Huit Cent Quatre-Vingt-Quinze, 77 | 2015 [En Ligne], Mis En Ligne Le 01 Décembre 2018, Consulté Le 22 Septembre 2020
1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 77 | 2015 Varia Édition électronique URL : http://journals.openedition.org/1895/5049 DOI : 10.4000/1895.5049 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 décembre 2015 ISBN : 9782370290779 ISSN : 0769-0959 Référence électronique 1895. Mille huit cent quatre-vingt-quinze, 77 | 2015 [En ligne], mis en ligne le 01 décembre 2018, consulté le 22 septembre 2020. URL : http://journals.openedition.org/1895/5049 ; DOI : https://doi.org/ 10.4000/1895.5049 Ce document a été généré automatiquement le 22 septembre 2020. © AFRHC 1 SOMMAIRE Point de vue La critique cinématographique au Brésil et la question du sous-développement économique : du cinéma muet aux années 1970 Eduardo Morettin et Ismail Xavier Documents Petit cinéma ancien Paulo Emílio Sales Gomes La joie du mauvais film brésilien Paulo Emílio Sales Gomes Une célébration très personnelle Paulo Emílio Sales Gomes, Yeo N’Gana et Sheila Maria dos Santos Études Le Brésil et la construction problématique d’un cinéma national (1896-1954) Gabriela Trujillo Ni dolly, ni dollar – Caméra à la main, décolonisation en tête Lilia Lustosa de Oliveira Le cinéma brésilien moderne et la Biennale de São Paulo Adilson Mendes Archives Glauber Rocha, dessinateur François Albera Sur le tournage de Soy Cuba. Lettres de Sergueï Ouroussevski à son épouse Bella Friedman (1961-1962) Alexei Konovalov Chroniques « Il Cinema ritrovato », Bologne, juillet 2015 Jean-Pierre Bleys, Lorenzo Codelli, Jean Antoine Gili, Pierre-Emmanuel Jaques, Myriam Juan et Lucien Logette 1895. -
Cinematic Taganrog
Alexander Fedorov Cinematic Taganrog Moscow, 2021 Fedorov A.V. Cinematic Taganrog. Moscow: "Information for all", 2021. 100 p. The book provides a brief overview of full–length feature films and TV series filmed in Taganrog (taking into account the opinions of film critics and viewers), provides a list of actors, directors, cameramen, screenwriters, composers and film experts who were born, studied and / or worked in Taganrog. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 2 Table of contents Introduction ……………………………………………………………………………………… 4 Movies filmed in Taganrog and its environs ………………………………………….. 5 Cinematic Taganrog: Who is Who…………………………….…………………………. 69 Anton Barsukov: “How I was filming with Nikita Mikhalkov, Victor Merezhko and Andrey Proshkin.………………………………………………… 77 Filmography (movies, which filmed in Taganrog and its surroundings)…… 86 About the Author……………………………………………………………………………….. 92 References ………………………………………………………………………………………… 97 3 Introduction What movies were filmed in Taganrog? How did the press and viewers evaluate and rate these films? What actors, directors, cameramen, screenwriters, film composers, film critics were born and / or studied in this city? In this book, for the first time, an attempt is made to give a wide panorama of nearly forty Soviet and Russian movies and TV series filmed in Taganrog and its environs, in the mirror of the opinions of film critics and viewers. Unfortunately, data are not available for all such films (therefore, the book, for example, does not include many documentaries). The book cites articles and reviews of Soviet and Russian film critics, audience reviews on the Internet portals "Kino –teater.ru" and "Kinopoisk". I also managed to collect data on over fifty actors, directors, screenwriters, cameramen, film composers, film critics, whose life was associated with Taganrog. -
Freier Download BA 63 Als
BAD 63 ALCHEMY 1 ... Levitation, Levitation! Aufheben den Erdenklumpatsch absolut für einen Augenblick und zwei Personen: die Altersschranken, den Ladenschluß, den Satz vom Widerspruch und alles was da dranhängt, Sie da - ich hier - also alkohologisch gesehen schon sone Art von Utopie, wo der Geist mal für zehn Prozent Chance mehr hat und die Schönheit der Weisheit entgegenfiebert... Peter Rühmkorf: Schnellimbiß 2 INHALT: 4 FREAKSHOW: CHEER-ACCIDENT 6 FRREEEAKSHOW: WALTER - EVANS - HALVORSON 8 w 71: RUPP - PLIAKAS - WERTMÜLLER: ZEN ODER ZENON? 9 MOERS 2009 (von Klaus Grope) 12 w 71: REMPIS PERCUSSION QUARTET 13 SURFING MONKS: SECRET CHIEFS 3 IM NACHTLEBEN 14 NOWJAZZ, PLINK & PLONK: CREATIVE SOURCES 14 - EMANEM 18 - ENGINE STUDIOS 19 - ESP-DISK‘ 20 - FIREHOUSE 12 22 - ALFRED HARTHS LAUBHUETTE 23 - INTAKT 25 - IORRAM 25 - LEO 26 - POTLATCH 27 - RUNE GRAMMOFON 28 - UGEXPLODE 31 - VICTO 32 30 THE THING 45 OVER POP UNDER ROCK OUTER LIMITS: INTERSTELLAR 46 - LAST VISIBLE DOG 47 - MOONJUNE 49 - ReR MEGACORP 51 - TZADIK 57 45 LAND OF KUSH: AGAINST THE DAY 50 NIOBE: AVA GARDNER AT THE SWIMMING POOL 52 HENRY COW - THE ROAD 55 THE REMOTE VIEWERS 56 GHÉDALIA TAZARTÈS 59 VOLCANO THE BEAR / LA STPO 66 DAPHNE ORAM - KOMPONIEREN WIE EINE MALERIN [Teil 2] (von Ingo Techmeier) 66 BEATS, BRUITS, SOUNDS & SCAPES: 12 K 70 - AUF ABWEGEN 71 - CRÓNICA ELECTRONICA 72 - DEKORDER 73 - DOMIZIL74 - HANDS 75 - INTRANSITIVE 76 - LICHT-UNG 77 - MONOTYPE 78 - NV° 79 - TOUCH 80 BAD ALCHEMY # 63 (p) Juli 2009 HERAUSGEBER UND REDAKTION Rigo Dittmann (rbd) (VISDP) REDAKTIONS- UND VERTRIEBSANSCHRIFT R. Dittmann, Franz-Ludwig-Str. 11, D-97072 Würzburg [email protected] – www.badalchemy.de MITARBEITER DIESER AUSGABE: Michael Beck, Klaus Grope, Ingo Techmeier BA sagt allen freiwilligen und unfreiwilligen Mitarbeitern herzlichen Dank Alle nicht näher gekennzeichneten Texte sind von rbd, alle nicht anders bezeichneten Tonträger sind CDs, was nicht ausschließt, dass es sie auch auf Vinyl oder als Digital Download gibt BAD ALCHEMY erscheint ca. -
Simply Stravinsky
Simply Stravinsky Simply Stravinsky PIETER VAN DEN TOORN SIMPLY CHARLY NEW YORK Copyright © 2020 by Pieter van den Toorn Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-32-2 Brought to you by http://simplycharly.com Contents Praise for Simply Stravinsky vii Other Great Lives ix Series Editor's Foreword x Preface xi Acknowledgments xiii Introduction 1 1. Years of Apprenticeship 11 2. To The Firebird (1910) 21 3. Petrushka (1911) 35 4. The Rite of Spring (1913) 47 5. The Swiss Years (I); The Wedding (Les Noces) 60 (1917-23) 6. The Swiss Years (II): Renard (1916) 76 7. The Swiss Years (III): The Soldier’s Tale (1918) 82 8. Stravinsky the Rhythmic Genius 89 9. Performance Practice and Aesthetic Belief 98 10. Neoclassicism Born 106 11. Neoclassicism (I); Early Years 114 12. Neoclassicism (II): High Watermarks 126 13. Neoclassicism (III): Late Years 139 14. The Serial Period 149 15. Stravinsky's Legacy 165 Endnotes 169 Suggested Reading 174 About the Author 176 A Word from the Publisher 177 Praise for Simply Stravinsky “This is a short book but a teeming one, boiling over with the insights that have accrued over forty years and more, ever since Pieter van den Toorn set the musicological world on its ear with his revelations about Stravinsky’s creative methods, deduced from an unprecedentedly close and fruitful examination of the published scores. -
Toccata Classics TOCC 0121 Notes
TOCCATA CLASSICS SHOSTAKOVICH Songs for the Front Arrangements of 27 songs by Beethoven, Bizet, Blanter, Dargomyzhky, Dunaevsky, Gurilyov, Ippolitov-Ivanov, ℗ Leoncavallo, Musorgsky, Pokrass, Rimsky-Korsakov, Rossini and others Soloists of the Russkaya Conservatoria Chamber Capella FIRST RECORDINGS SHOSTAKOVICH’S SONGS FOR THE FRONT by Larisa Miller, Florentina Panchenko, Tamara Skvirskaya and Elvira Fatykhova he Manuscripts Department of the Academic Music Library of the St Petersburg Conservatoire contains 27 original manuscripts by Shostakovich: 66 pages of transcriptions of music by various composers arranged for voice, violin and cello in July 1941 for military concert-parties drawn from what was then the Leningrad Conservatoire. In the early days of the Great Patriotic War,1 the higher-educational establishments of the city dealing with one or other branch of the arts, along with theatres and other performing organisations, began forming parties or units2 of artists whose purpose was to take performances into call-up centres, the front line, into hospitals, and so on. Preserved in the archive of the St Petersburg/Leningrad Conservatoire are several documents relating to its activities: ‘Orders published by the Rector of the Leningrad Conservatoire on 30 June and 21 July 1940 call for “services to be provided to units of the Workers’ and Peasants’ Red Army (WPRA) and the Red Flag Baltic Fleet”’.3 On 29 June 1941 the wide-circulation Conservatoire newspaper Musical Cadres wrote: Since 23 June our Order of Lenin State Conservatoire has been actively engaged in providing concerts of music to mobilised recruits and active-service units of the WPRA. Professors and students have made up concert parties. -
The Relevance of Husserl's Theory to Language Socialization
Alessandro Duranti UNIVERSITY OF CALIFORNIA, LOS ANGELES The Relevance of Husserl’s Theory to Language Socializationjola_1031 205..226 This article suggests that the theory of language socialization could benefit from adopting some key concepts originally introduced by the philosopher Edmund Husserl in the first part of the twentieth century. In particular, it focuses on Husserl’s notion of “(phenomenological) modification,” to be understood as a change in “the natural attitude” that humans have toward the phenomenal world, their own actions included. After providing examples of different kinds of modifications in interpreting language and listening to music, Husserl’s notion of “theoretical attitude” (a modification of “the natural attitude”) is introduced and shown to be common in adult conversations as well as in interactions between adults and young children. A reanalysis of an exchange previously examined by Platt (1986) between a Samoan mother and her son is provided to show the benefits of an integration of phenomeno- logical and interactional perspectives on adult-child discourse. Finally, it is suggested that the failure sometimes experienced by children and adults to adopt new ways of being may be due to the accumulated effects of modifications experienced earlier in life which make it difficult if not impossible to retrieve earlier, premodificational ways of being. [language socialization, phenomenology, jazz aesthetics, Samoan child language] n this article I will suggest that the theory of language socialization could benefit from adopting some of the concepts originally introduced by the philosopher IEdmund Husserl in the first part of the twentieth century to account for changes in the phenomenal world, that is, the world as meaningful for us. -
Durham E-Theses
Durham E-Theses A survey of new trends in English musical life 1910 - 1914 Hall, Richard Charles How to cite: Hall, Richard Charles (1981) A survey of new trends in English musical life 1910 - 1914, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7459/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk •A SURVEY OF NEW TRENDS IN ENGLISH MUSICAL LIFE 1910 - 191'+' A thesis based on research undertaken in the Music Department of the University of Durham and submitted to the University of Durham for the qualification of Ph D by Richard Charles Hall In two volumes VOLUME TWO September I98I The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and bformation derived from it should be acknowledged. -
Journal of Film Preservation
Film Preservation Journal of Revue de la Fédération Internationale des Archives du Film 62 Revista de la Federación Internacional de Archivos Fílmicos 4/2001 Published by the International Federation of Film Archives Journal of Film Preservation N° 62 Film Preservation Around the World La conservation à travers le monde Conservación en el mundo 2 Fragile Heritage and Promising Outlook: Asian Film Archives Look Ahead While Looking Back Sam Ho 9 América Latina, Europa y Estados Unidos, relaciones triangulares en la historia del cine Paulo Antonio Paranaguá Cover: Kenji Mizoguchi, Taki no Shiraito (1933), by Courtesy of National Film Center/The 15 Film Archives of the National Archives of Zimbabwe National Museum of Modern Art, Tokyo M.C. Mukotekwa 17 Lighting Out A Collective Past: to Find, Preserve and Research Flemish Non-fiction Films Daniel Biltereyst & Roel Vande Winkel Historical Column / Chronique historique Columna histórica 22 Nitrate Film Production in Japan: a Historical Background of the Early Days Hidenori Okada 25 The Novels and Rediscovered Films of Michel (Jules) Verne Brian Taves Documentation / Documentación 40 ‘What You Don’t See and Don’t Hear’: Subject Indexing Moving Images Olwen Terris Technical Column / Chronique technique Columna técnic 44 El Proyecto Madrid. Una investigación sobre la historia de la fabricación de película virgen para la conematografía The Madrid Project. Researching the History of Raw Stock Manufacture for Cinematography (page 51). Alfonso del Amo García April / avril / abril 2001 Journal of Film