‘Le Paradis Perdu’: in its time

Tempo ◽  
1980 ◽  
pp. 58-60
Author(s):  
Serge Moreux
Keyword(s):  
Chamber Music ◽  
Music Criticism ◽  
Or Groups ◽  
Small Orchestra

In Paris, between 15 October 1935 and 1 July 1936 there were:246 symphony concerts with full orchestra,30 with small orchestra (which is incredibly few),57 with chorus,115 chamber music concerts, not counting either sonata evenings or recitals by various instrumental soloists or groups, which make something like 700 performances to add to the above. Altogether, then, if I am to believe the Guide du Concert (from which I have taken these figures, adding a few concerts that were missed there), 1,144 occasions to exercise the reprehensible and avowedly useless profession of music criticism.

Dallapiccola: A Programme-Planner's Guide

Tempo ◽  
1975 ◽  
pp. 27-31
Author(s):  
Calum MacDonald
Keyword(s):  
Chamber Music ◽  
Chamber Orchestra ◽  
Luigi Dallapiccola ◽  
Small Orchestra ◽  
Solo Instrument

A catalogue raisonnée of the works of Luigi Dallapiccola is planned for the next issue of TEMPO, as a tribute to the memory of the Italian master a year after his death. The following instrumentation-chart is a preliminary measure designed to elucidate the practical problems of mounting performances of his vocal and non-vocal chamber music (from solo instrument to chamber orchestra—here defined as small orchestra without full string body).

scholarly journals “En komponerende Dame”. Modtagelsen af Nancy Dalbergs musik i samtiden

2014 ◽  
Vol 45 ◽  
Author(s):  
Lisbeth Ahlgren Jensen
Keyword(s):  
Chamber Music ◽  
Women Artists ◽  
Large Scale ◽  
Musical Language ◽  
Music Criticism ◽  
Musical Life ◽  
Sexual Ideology ◽  
Orchestral Works ◽  
The One ◽  
In The Beginning

The article takes the form of an examination of the newspaper reviews of the first performances of Nancy Dalberg’s compositions in the years 1915 to 1937. In doing so, the aim was to find out why on the one hand she was considered one of her time’s foremost female composers but on the other hand has almost completely vanished from view in subsequent musical life. Newspaper reviewers generally devoted her great attention and in the beginning offered constructive criticism, considering her both talented and skilled in composition. But when in 1918 she offered herself as a symphonic composer, the critical tone became sharper, even though there was amazement that a woman should try her strength with such a prestigious musical genre as the symphony. However, lack of performance opportunities meant that she ceased to express herself in large-scale orchestral works but concentrated on composing chamber music and songs. The criticism of the songs in particular reveals an expectation that as a woman she should be expressing herself in a particularly feminine musical language, with an emphasis on the emotional and singable, but as she did nothing to meet these expectations, she was subjected to a rough ride. Close reading of newspaper critics shows that it was acceptable in society for a woman to manifest herself as an artist but that she was expected to express herself in a particular way which would not assail the prevailing conception of femininity. In other words, music criticism was characterised by a sexual ideology which prevented it from evaluating Nancy Dalberg’s compositions objectively. As a result her creative efforts were not taken seriously and gradually she lost the confidence to present herself as a composer. Apparently value-neutral criticism thus proves to be both a communicator of sexual ideology and responsible for maintaining a particular view of women artists.

1. Sándor Veress

Tempo ◽  
1969 ◽  
pp. 19-22
Author(s):  
János Demény
Keyword(s):  
Chamber Music ◽  
String Quartets ◽  
Violin Concerto ◽  
Mixed Chorus ◽  
Violin Sonata ◽  
Small Orchestra ◽  
Magic Flute

Sándor Veress, who was born in 1907 at Kolozsvár, a major town of Transylvania (now Cluj, Rumania), studied at the Liszt Academy of Music in Budapest, with Kodály for composition, Bartók for piano, and Lajtha for folksong research. From the age of twenty he was a prolific composer, of marked individuality—already strongly evident in the works of his first period, written in a very distinctive neo-classical contrapuntal idiom with strong national inflexions. By 1939 he had produced an impressive body of works, including two powerful and concentrated string quartets, a series of witty chamber-music sonatinas (1931–33) and the more expansive Violin Sonata No.2 (1939), a Partita for small orchestra (1936), the lyrical and poetic two-movement Violin Concerto (1937–39), a ‘Transylvanian Cantata’ for mixed chorus (1935), anda ballet The Magic Flute(1937).

Beyond internal OR groups

1998 ◽  
Vol 49 (4) ◽  
pp. 420-429 ◽  
Author(s):  
R J Ormerod
Keyword(s):  
Or Groups

PERANCANGAN SISTEM INFORMASI MANAJEMEN KEUANGAN DI AMIK GARUT

2020 ◽  
Vol 2 (2) ◽  
pp. 128-143
Author(s):  
Tedi Budiman
Keyword(s):  
Information System ◽  
Information Systems ◽  
Financial Management ◽  
Financial Information ◽  
Financial Problems ◽  
Technological Advances ◽  
Design Program ◽  
Or Groups ◽  
The Cost ◽  
Financial Information Systems

Financial information system is an information system that provides information to individuals or groups of people, both inside and outside the company that contains financial problems and information about the flow of money for users in the company. Financial information systems are used to solve financial problems in a company, by meeting three financial principles: fast, safe, and inexpensive.Quick principle, the intention is that financial information systems must be able to provide the required data on time and can meet the needs. The Safe Principle means that the financial information system must be prepared with consideration of internal controls so that company assets are maintained. The Principle of Inexpensive, the intention is that the cost of implementing a financial information system must be reduced so that it is relatively inexpensive.Therefore we need technology media that can solve financial problems, and produce financial information to related parties quickly, safely and cheaply. One example of developing information technology today is computer technology and internet. Starting from financial problems and technological advances, the authors make a website-based financial management application to facilitate the parties that perform financial management and supervision.Method of development application program is used Waterfall method, with the following stages: Software Requirement Analysis, Software Design, Program Code Making, Testing, Support, Maintenance.

PENERAPAN ALGORITMA K-MEANS UNTUK PENGELOMPOKAN DAERAH RAWAN BENCANA DI INDONESIA

2019 ◽  
Vol 1 (2) ◽  
pp. 1-10
Author(s):  
Amril Mutoi Siregar
Keyword(s):  
Natural Disasters ◽  
Accurate Data ◽  
Disaster Victims ◽  
Central Java ◽  
North Sulawesi ◽  
Natural Beauty ◽  
Or Groups ◽  
Disaster Data ◽  
The Government ◽  
Almost All

Indonesia is a country located in the equator, which has beautiful natural. It has a mountainous constellation, beaches and wider oceans than land, so that Indonesia has extraordinary natural beauty assets compared to other countries. Behind the beauty of natural it turns out that it has many potential natural disasters in almost all provinces in Indonesia, in the form of landslides, earthquakes, tsunamis, Mount Meletus and others. The problem is that the government must have accurate data to deal with disasters throughout the province, where disaster data can be in categories or groups of regions into very vulnerable, medium, and low disaster areas. It is often found when a disaster occurs, many found that the distribution of long-term assistance because the stock for disaster-prone areas is not well available. In the study, it will be proposed to group disaster-prone areas throughout the province in Indonesia using the k-means algorithm. The expected results can group all regions that are very prone to disasters. Thus, the results can be Province West java, central java very vulnerable categories, provinces Aceh, North Sumatera, West Sumatera, east Java and North Sulawesi in the medium category, provinces Bengkulu, Lampung, Riau Island, Babel, DIY, Bali, West Kalimantan, North Kalimantan, Central Sulawesi, West Sulawesi, Maluku, North Maluku, Papua, west Papua including of rare categories. With the results obtained in this study, the government can map disaster-prone areas as well as prepare emergency response assistance quickly. In order to reduce the death toll and it is important to improve the services of disaster victims. With accurate data can provide prompt and appropriate assistance for victims of natural disasters.

ERRORS ASSOCIATED WITH HERBAGE DISSECTION ANALYSES 2. Problems of species identification

1976 ◽  
pp. 213-225
Author(s):  
I.M. Ritchie ◽  
C.C. Boswell ◽  
A.M. Badland
Keyword(s):  
New Zealand ◽  
Dry Weight ◽  
Analytical Tool ◽  
Species Level ◽  
Weight Basis ◽  
Plant Identification ◽  
Leaf Fragment ◽  
Research Division ◽  
Or Groups ◽  
Botanical Analysis

HERBACE DISSECTION is the process in which samples of herbage cut from trials are separated by hand into component species. Heavy reliance is placed on herbage dissection as an analytical tool ,in New Zealand, and in the four botanical analysis laboratories in the Research Division of the Ministry of Agriculture and Fisheries about 20 000 samples are analysed each year. In the laboratory a representative subsample is taken by a rigorous quartering procedure until approximately 400 pieces of herbage remain. Each leaf fragment is then identified to species level or groups of these as appropriate. The fractions are then dried and the composition calculated on a percentage dry weight basis. The accuracy of the analyses of these laboratories has been monitored by a system of interchanging herbage dissection samples between them. From this, the need to separate subsampling errors from problems of plant identification was, appreciated and some of this work is described here.

Pablo Neruda's Transnational Modernist Networks: Colombo-Madrid-London-Buenos Aires (1927–1933)

2017 ◽  
Vol 12 (2) ◽  
pp. 198-225
Author(s):  
Patricia Novillo-Corvalán
Keyword(s):  
Chamber Music ◽  
Latin American ◽  
Buenos Aires ◽  
Cultural Institutions ◽  
Complex Composition ◽  
British Colonial ◽  
The One ◽  
Composition Process ◽  
In Transit ◽  
Standing Question

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

Sign in / Sign up

Export Citation Format

Share Document