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Nassarre. Revista Aragonesa De Musicología, Publicación En La Que Ha Edi- Tado Relevantes Artículos
NASSARRE Revista Aragonesa de Musicología XXI Director honorífico: Pedro CALAHORRA Director: Álvaro ZALDÍVAR Secretario: Luis PRENSA Consejo asesor: María Dolores ALBIAC BLANCO Mª Carmen LACARRA María Rosario ÁLVAREZ MARTÍNEZ Ángel LATORRE Javier ARTIGAS PINA Francisco José LEÓN TELLO Conrado BETRÁN José LÓPEZ CALO Manuel Carlos de BRITO José M. LLORENS CISTERÓ Tomás BUESA Miguel MANZANO ALONSO Domingo J. BUESA CONDE Emilio MORENO Juan José CARRERAS LÓPEZ Jesús M. MUNETA Josep CRIVILLÉ Rafael PÉREZ ARROYO Miguel DEL BARCO GALLEGO Dionisio PRECIADO Aurora EGIDO Vicente ROS Ismael FERNÁNDEZ DE LA CUESTA Jorge FRESNO Andrés RUIZ TARAZONA Pilar FUENTES Ángel SAN VICENTE José L. GONZÁLEZ URIOL Francisco Javier SAYAS GONZÁLEZ José V. GONZÁLEZ VALLE Ángel SESMA Jesús GONZALO LÓPEZ Lothar SIEMENS HERNÁNDEZ John GRIFFITHS Jacinto TORRES MULAS Carles GUINOVART Ana Pilar ZALDÍVAR GRACIA Responsable de Publicaciones de la I.F.C.: Félix SÁNCHEZ Secretaría: Palacio Provincial - Plaza de España, 2 - 50071 ZARAGOZA (España) Tff. [34] 976 288 878 / 879 • Fax. [34] 976 288 869 [email protected] Sigla internacional propuesta: NASS REVISTA ARAGONESA DE MUSICOLOGÍA XXI Actas del VIII Congreso Internacional de la Sociedad Ibérica de Etnomusicología INSTITUCIÓN «FERNANDO EL CATÓLICO» (C.S.I.C.) Excma. Diputación de Zaragoza Zaragoza 2005 Publicación núm. 2.572 de la Institución «Fernando el Católico» Fundación Pública de la Excma. Diputación de Zaragoza Plaza España, 2. 50071 ZARAGOZA Tff.: [34] 976 288 878 / 879 • Fax: [34] 976 288 869 [email protected] El volumen I,1 (1985) comprendía, por razones editoriales, los dos semestres del año, por lo que su correcta numeración ha de ser I, 1-2 (1985) y como tal habrá de citarse en adelante. -
Con Safos --A Chicano's Journey Through Life in California 247
CON SAFOS --A CHICANO'S JOURNEY THROUGH LIFE IN CALIFORNIA 247 Sports Illustrated muffs it! Joe Batiste of Sacramento Junior College 1n the early 1980's, on a weekday afternoon, a friend and I were talking sports in the cocktail lounge of the downtown Holiday Inn, San Jose, Calif. The only other customer was a very large sun-tanned fe llow in a blue suit, who was drinking whiskey and chasing it with beer like he wanted to drown himself. y friend was telling me about Bruce Jenner whom he had seen compete in M track and field some years earlier. He was very impressed with Mr. Jenner. I was championing the talents of Rafer Johnson. About a half hour into our discussion, the barkeep brought us a beer we had not ordered. Soon the sun tanned fellow was standing behind us, his arms resting on our shoulders, and drunkenly saying, "Neither one of those guys could carry Joe Batiste's jockstrap." "Who in the hell is Joe Batiste?" I asked, curious because I have followed track and field from the time I was in the eighth grade and Bob Mathias won the 1948 Olympic decathlon championship. "Look at these guys, Hal!" he yelled at the barkeep, obviously another native Arizonan, "They never heard of Joe Batiste, star of the Tucson High School Badgers! " Joe Batiste He began telling us about this fantastic track and Sacramento Junior College's field athlete who had come out of Arizona back in the One Man Track Team late 30's and competed for Sacramento Junior College. -
Los Nacimientos Del Cine Uruguayo De Ficción
Doctorado en Estudios Artísticos, Literarios y de la Cultura Departamento de Historia y Teoría del Arte Tesis para obtener el título de Doctor presentada por: ÁLVARO LEMA MOSCA Título de la tesis doctoral: LOS NACIMIENTOS DEL CINE URUGUAYO DE FICCIÓN Directora de Tesis: Dra. Valeria Camporesi Madrid, 2020 Título de la tesis: Los nacimientos del cine uruguayo de ficción Programa de Doctorado: Estudios artísticos, literarios y de la cultura Doctorando: Álvaro Felipe Lema Mosca Directora: Dra. Valeria Camporesi Fecha: Junio de 2020 Resumen: El cine uruguayo de ficción tiene una vida particular. Desde sus orígenes en 1920, se ha declarado reiteradamente su “nacimiento”, reflejo de los bien intencionados productores y críticos por dar origen a una industria local. Sin embargo, durante todo el siglo XX se suceden posibles “nacimientos” que reniegan de todo cine anterior, y al mismo tiempo, crean un nuevo período con características diferentes a los demás. Esa tendencia se mantiene hasta el cambio de siglo cuando, debido a políticas de coproducción y financiación estatal, la industria de cine en Uruguay parece, por fin, consolidarse. Paradójicamente, en ese momento deja de proclamarse su nacimiento, en parte porque efectivamente las condiciones están dadas para que la producción se desarrolle de manera continuada, y en parte también por la preeminencia de políticas transnacionales que dificultan las definiciones en torno a los cines nacionales. A este primer eje transversal se suma otro vinculado a la discutida noción de identidad nacional, que hacia los años dos mil deja de ser un asunto central en la temática de las películas uruguayas y es resignificado mediante la reinterpretación de los imaginarios nacionales. -
La Posada Magica ´
JULIANNE ARGYROS STAGE / DECEMBER 7 - 23, 2007 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents LA POSADA MAGICA´ written and directed by Octavio Solis music by Marcos Loya Christopher Acebo Shigeru Yaji Lonnie Rafael Alcaraz Marcos Loya SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN MUSICAL DIRECTOR Linda Kostalik David Leavenworth Jamie A. Tucker* CHOREOGRAPHER PRODUCTION MANAGER STAGE MANAGER Pam and Jim Muzzy HONORARY PRODUCERS CORPORATE PRODUCER The Lila Wallace-Reader’s Digest Fund has provided major support for the commissioning, workshop and production of La Posada Mágica through its New Works for Young Audiences Program. La Posada Mágica • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Horacio ...................................................................................... Miguel Najera* Eli/Bones/Lauro ...................................................................... David DeSantos* Gracie ...................................................................................... Gloria Garayua* Mom/Mariluz ................................................................................ Erica Ortega* Papi/Jose Cruz ............................................................................ Danny Bolero* Refugio/Buzzard .............................................................................. Sol Castillo* Consuelo/Widow ........................................................................ Denise Blasor* Caridad/Widow ......................................................................... -
Dh107.Pdf -.: CODHEM
Instrumentos jurídicos que reconocen los derechos de las mujeres El Estado mexicano frente a las nuevas políticas migratorias Los millenials y su entorno digital A , Las reformas de la Constitución Política de los Estados Unidos Mexicanos A Lola Beltrán, ídolo popular de la música ranchera Año 10, núm. 107, marzo 2017 ISSN: 2007-1280 Contenido Entérate 1 Editorial Fechas significativas demarzo 1 A propósito del Día contra la Cero Discriminación, la ONU pro- 2 Instrumentos jurídicos que reconocen híbe estigmatizar a las personas que viven con el VIH, ya que los derechos de las mujeres inhibe los esfuerzos para poner fin a la epidemia del sida. 8 En el marco del Día Internacional de la Mujer, se insta a superar los prejuicios arraigados, apoyar la participación y el activismo y promover la igualdad de género y el em- poderamiento de la mujer. 20 La Asamblea General de la ONU decretó el Día Internacio- 5 El Estado mexicano frente a las nuevas nal de la Felicidad para reconocer su relevancia como as- políticas migratorias piración universal de los seres humanos y la importancia de su inclusión en las políticas de gobierno. 21 El Día Internacional de los Bosques. La gestión sostenible de los bosques es la clave para aumentar el papel de estos ecosistemas como fuente principal de energía renovable y promoción de la llamada economía verde mundial. 8 Los millenials y su entorno digital En el Día Internacional de la Eliminación de la Discrimi- nación Racial se mencionó que este acto se debe denun- ciar, donde quiera que éste se manifieste y en cualquier forma, desde las pequeñas humillaciones ordinarias, hasta los actos graves de violencia. -
Experimentación En La Canción Rioplatense 1977-2000
Experimentación en la canción rioplatense (1977-2000) Juárez Cossio, Dolores Camila García, Miguel A. 2012 Tesis presentada con el fin de cumplimentar con los requisitos finales para la obtención del título Doctor de la Universidad de Buenos Aires en Artes INTRODUCCIÓN El propósito de esta tesis es estudiar el surgimiento y desarrollo de nuevas propuestas cancionísticas que se manifiestan dentro del medio cultural rioplatense entre los años 1977 y 2000 y que se caracterizan por la experimentación con procedimientos de vanguardia. Dichas propuestas se articulan con el proceso de institucionalización de las poéticas de vanguardia a través de los Cursos Latinoamericanos de Música Contemporánea (CLAMC) y de los Talleres Latinoamericanos de Música Popular (TLAMP), afirmando un proyecto político de izquierda y de renovación estética en la región. Este tipo de producciones culturales forman parte de intensos procesos históricos, políticos y sociales profundizados, a nivel regional, en los años setenta. Se trata de los movimientos de emancipación latinoamericanistas, para los cuales la renovación estética se plantea en términos políticos. El objeto de estudio se compone de un corpus de canciones vinculado con un tratamiento técnico propio de los procedimientos de vanguardia de la música contemporánea del siglo XX. En este sentido, la particularidad principal del corpus se da, entre otras cuestiones, por la articulación de lenguajes provenientes de las denominadas música “culta”, “de concierto” o “académica” y música “popular”, que generan oposiciones estéticas e ideológicas en distintos momentos históricos. La situación de interpenetración, que define al mencionado corpus, produce muchas veces el desdibujamiento de las fronteras tradicionalmente fijadas por dichas distinciones; se 1 genera así un tipo de obra que permite ser pensada desde el concepto de “experimentación”. -
Nassarre. Revista Aragonesa De Musicología, Publicación En La Que Ha Edi- Tado Relevantes Artículos
La versión original y completa de esta obra debe consultarse en: https://ifc.dpz.es/publicaciones/ebooks/id/2421 Esta obra está sujeta a la licencia CC BY-NC-ND 4.0 Internacional de Creative Commons que determina lo siguiente: • BY (Reconocimiento): Debe reconocer adecuadamente la autoría, proporcionar un enlace a la licencia e indicar si se han realizado cambios. Puede hacerlo de cualquier manera razonable, pero no de una manera que sugiera que tiene el apoyo del licenciador o lo recibe por el uso que hace. • NC (No comercial): La explotación de la obra queda limitada a usos no comerciales. • ND (Sin obras derivadas): La autorización para explotar la obra no incluye la transformación para crear una obra derivada. Para ver una copia de esta licencia, visite https://creativecommons.org/licenses/by- nc-nd/4.0/deed.es. NASSARRE Revista Aragonesa de Musicología XXI Director honorífico: Pedro CALAHORRA Director: Álvaro ZALDÍVAR Secretario: Luis PRENSA Consejo asesor: María Dolores ALBIAC BLANCO Mª Carmen LACARRA María Rosario ÁLVAREZ MARTÍNEZ Ángel LATORRE Javier ARTIGAS PINA Francisco José LEÓN TELLO Conrado BETRÁN José LÓPEZ CALO Manuel Carlos de BRITO José M. LLORENS CISTERÓ Tomás BUESA Miguel MANZANO ALONSO Domingo J. BUESA CONDE Emilio MORENO Juan José CARRERAS LÓPEZ Jesús M. MUNETA Josep CRIVILLÉ Rafael PÉREZ ARROYO Miguel DEL BARCO GALLEGO Dionisio PRECIADO Aurora EGIDO Vicente ROS Ismael FERNÁNDEZ DE LA CUESTA Jorge FRESNO Andrés RUIZ TARAZONA Pilar FUENTES Ángel SAN VICENTE José L. GONZÁLEZ URIOL Francisco Javier SAYAS GONZÁLEZ José V. GONZÁLEZ VALLE Ángel SESMA Jesús GONZALO LÓPEZ Lothar SIEMENS HERNÁNDEZ John GRIFFITHS Jacinto TORRES MULAS Carles GUINOVART Ana Pilar ZALDÍVAR GRACIA Responsable de Publicaciones de la I.F.C.: Félix SÁNCHEZ Secretaría: Palacio Provincial - Plaza de España, 2 - 50071 ZARAGOZA (España) Tff. -
Latin American Music Notes© William Little (2008)
Latin American Music Notes© William Little (2008) Introductory Notes Unfortunately very little is known about the music of the inhabitants of the region of the world that has come to be known as Latin America. However, some of that music found its way into the music the Latin European explorers, conquistadors, and colonists brought with them to this—to their—New World. Furthermore, due to isolation, accident, and a strong will to preserve their traditions, people from the pre-Columbian cultures that survived war, disease, oppression, and suppression were able keep some of their music alive throughout the first four centuries of contact. Then, in the twentieth century, ethnomusicologists, cultural progressives, folk humanists, and indigenous musicians themselves were able to begin performing and recording their own music again in public. Clearly, since all cultural practices change over time, much of what seems to be authentic pre-Columbian music is more likely latter-day versions of older traditions; nevertheless, it is fair to say that music scholars in the twenty-first century are able to authenticate some aspects of the pre-Latin musical traditions that prospered in the Western Hemisphere from pole to pole. When the principal Latin European countries—Spain, Portugal, and France—arrived in the Americas, they brought their own fifteenth-century music with them. For four centuries, official music in church, palace, and theater was derived from and remained closely aligned with European musical styles and tastes. As there are several themes that thread their way through the fabric of Latin American humanities, so too are there several distinctive unifying features of Latin American music. -
Performing Gender in Mariachi Music a Dissertation Submitted in Pa
UNIVERSITY OF CALIFORNIA Los Angeles How Musical is Woman?: Performing Gender in Mariachi Music A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Leticia Soto Flores 2015 © Copyright Leticia Soto Flores 2015 ABSTRACT OF THE DISSERTATION How Musical is Woman?: Performing Gender in Mariachi Music by Leticia Soto Flores Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2015 Professor Susan K. McClary, Co-Chair Professor Timothy Rice, Co-Chair In this dissertation, I engage in the ongoing discussion between popular music and gender scholarship through an ethnographic and archival investigation of women's performances in mariachi music, a musical expression originating in eighteenth-century Western Mexico. Historical evidence and ethnographic accounts referenced in this study reveal that women have indeed performed with mariachi ensembles since at least the turn of the twentieth century. While they were not encouraged to perform as mariachi musicians, those who did were occluded from historical representations or dismissed as trivial or novel. By presenting a critical analysis of women's socio-musical contributions, this dissertation situates the impact of gendered stereotypes in historical, social, and individual contexts. Presenting this analysis, however, calls for first understanding the mariachi tradition historically. As with other popular musics that confronted the coming of the mass media, mariachi music evolved also alongside the globalizing culture industry. Since the early twentieth century, ii select groups from Western Mexico traveled to Mexico City to secure their space in a promising performance scene. The music became such an important expression that it was featured in all emerging media technologies: the first commercial phonograph recordings in 1908, live national radio programs since 1925, the first sound film in 1931, touring caravans since the 1950s, and pioneer broadcast television programs since the late 1960s (Chapter Two). -
Ricardo Muã±Oz Papers
http://oac.cdlib.org/findaid/ark:/13030/kt3489q97t No online items Finding Aid for the Ricardo Muñoz Papers 1900 - 2005 Processed by Michael Aguilar II and Rosa Meza. UCLA Chicano Studies Research Center UCLA Chicano Studies Research Center 144 Haines Hall Box 951544 Los Angeles, CA 90095-1544 Phone: (310) 206-6052 Fax: (310) 206-1784 URL: http://www.chicano.ucla.edu/ ©2016 The Regents of the University of California. All rights reserved. Finding Aid for the Ricardo Muñoz 64 1 Papers 1900 - 2005 Descriptive Summary Title: Ricardo Muñoz Papers, Date (inclusive): 1900 - 2005 Collection number: 64 Creator: Muñoz, Ricardo 1940 - Repository: University of California, Los Angeles. Library. UCLA Chicano Studies Research Center Los Angeles, California 90095-1490 Abstract: Ricardo Muñoz was a Los Angeles lawyer and later an administrative law judge with the California Unemployment Insurance Appeals Board. His collection includes photographs, sound recordings, correspondence, and personal papers that document his family history, and organizational papers that reflect his juridical work in Los Angeles from 1972-2004. This collection also includes extensive personal papers of Muñoz's father, mother, and paternal grandparents. This collection documents approximately nine decades of family history. Researchers who would like to indicate errors of fact or omissions in this finding aid can contact the research center at www.chicano.ucla.edu Physical location: COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Use the archival research application http://www.chicano.ucla.edu/archival-research-application to page materials. Allow 72 hours for materials to be delivered. Contact the UCLA Chicano Studies Research Center Library for further paging information. -
P&W Leads Engine
iianrilpalpr) Manchester — A City ol Village Charm HpralJi 30 Cents Saturday, Jan. 30,1988 P&W LEADS ENGINE WAR Air Force splits order, 55% to 45% By Norman Black The Associated Press WASHINGTON - The Pratt & Whitney Division of United Tech nologies Corp. on Friday won the largest share of the Air Force’s fiscal 1989 jet engine business, beating out General Electric Co. for the second straight year. The Air Force, in a brief announcement, said Pratt k Whitney would be asked tobuild 55 percent of the jetengines required for its fighters during fiscal 1989 while GE would produce the remaining 45 percent. All together, the service said it planned to acquire 289 jet engines during the fiscal year starting next Oct. 1. The 55-45 split would give Pratt ft Whitney 159 of those engines and GE 130. The percentage split for each company was decided on the basis of bids submitted last year. The Air Forcedeclinedtooffera dollar estimate of the value of eachdeal, noting final contracts must stillbe negotiated. The two contracts together, however, will easily exceed $500 million. The Air Force launched what has been called the "great engine war” in 1983 when it decided to stage annual competitions for the right to supply engines for its two front-line fighters, the F-15 Eagle and the F-16 Fighting Falcon. Until that point, Pratt k Whit ney held a monopoly on providing the high-performance engines. During the first round of the UPHILL BATTLE — Eight-year-old Edward Leonard, left, of 1 1 5 Reginald Plnto/ManotiwMr Hanid competition, GE shattered Pratt Hemlock St., walks uphill with Eric Demonte, 10 , of 1 1 7 Hemlock St., Tom to page 2 during a Friday afternoon of sledding at Center Springs Park. -
Endorsements & Reviews
ENDORSEMENTS & REVIEWS LOS ANGLES TIMES (Kenneth Herman)… “A new breed of Mariachi, José Hernandez is expanding the Mariachi idiom into symphonic Mariachi repertoire.” JOSÉ FELICIANO… “Mariachi Sol de Mexico de José Hernandez is one of the finest Mariachi ensembles to be found anywhere. In fact, I do know that they are one of the best, if not THE best ensemble with which I have ever had the pleasure to perform. Their founder, Maestro José Hernandez, is a dear, dear friend of mine and I am proud to have had the opportunity to work with him on numerous occasions. I look forward to the next invitation to work with José again as he presides over a highly skilled group of musicians who are very professional and good people. I wish for them only the very best.” BILLBOARD MAGAZINE (Ramiro Burr)… “Mariachi Sol De Mexico is one of the most prolific recording Mariachis in the world – [and has] evolved into a versatile top performing troop.” VIKKI CARR… “It has been an honor and a joy to work with Mariachi Sol de Mexico de José Hernandez. José’s innovation of bringing Mariachi into every genre of music from Big Band, Broadway, Symphony, Classical, Beatles, Pop Songs and even Rap, is to be commended. He is a consummate professional who is not afraid to breathe new and exciting life into a classic or traditional song.” SAN FRANCISCO SYMPHONY… “Incredibly easy to work with… everyone in the group are fantastic, high level, music-making musicians... We had a great time.” LOS ANGLES TIMES (Enrique Lopetegui)… “Mariachi Sol De Mexico a show stopping performance