Marga Richter

2012 ◽  
Author(s):  
Sharon Mirchandani
Keyword(s):  
Twentieth Century ◽  
Large Scale ◽  
Chamber Ensemble ◽  
Modern Dance ◽  
Private Life ◽  
Full Length ◽  
Musical Style ◽  
Secondary Sources ◽  
Musical Works ◽  
American Composer

This is the first full-length introduction to the life and works of American composer Marga Richter (born 1926), who has written more than a hundred works for orchestra, chamber ensemble, dance, opera, voice, chorus, piano, organ, and harpsichord. Still actively composing in her eighties, Richter is particularly known for her large-scale pieces performed by ensembles such as the London Philharmonic Orchestra and the Civic Orchestra of Chicago and for other pieces performed by prominent artists including pianist Menahem Pressler, conductor Izler Solomon, and violinist Daniel Heifetz. Interspersing consideration of Richter's musical works with discussion of her life, her musical style, and the origins and performances of her works, the book documents a successful composer's professional and private life throughout the twentieth century. The book covers Richter's formative years, her influences, and the phases of her career from the 1950s to the present. Drawing extensively on interviews with Richter herself, the book also provides detailed descriptions of Richter's scores and uses reviews and other secondary sources to provide contexts for her compositions, including their relationship to modern dance, to other musical styles, and to 1970s feminism.

War in Social Thought

2012 ◽  
Author(s):  
Hans Joas ◽  
Wolfgang Knöbl
Keyword(s):  
Twentieth Century ◽  
Intellectual History ◽  
Large Scale ◽  
Theoretical Work ◽  
German Idealism ◽  
Social Thought ◽  
Social Progress ◽  
Modern World ◽  
Critical History ◽  
Original Argument

This book provides a sweeping critical history of social theories about war and peace from Thomas Hobbes to the present. It presents both a broad intellectual history and an original argument as it traces the development of thinking about war over more than 350 years—from the premodern era to the period of German idealism and the Scottish and French enlightenments, and then from the birth of sociology in the nineteenth century through the twentieth century. While focusing on social thought, the book draws on many disciplines, including philosophy, anthropology, and political science. It demonstrate the profound difficulties most social thinkers—including liberals, socialists, and those intellectuals who could be regarded as the first sociologists—had in coming to terms with the phenomenon of war, the most obvious form of large-scale social violence. With only a few exceptions, these thinkers, who believed deeply in social progress, were unable to account for war because they regarded it as marginal or archaic, and on the verge of disappearing. This overly optimistic picture of the modern world persisted in social theory even in the twentieth century, as most sociologists and social theorists either ignored war and violence in their theoretical work or tried to explain it away. The failure of the social sciences and especially sociology to understand war, the book argues, must be seen as one of the greatest weaknesses of disciplines that claim to give a convincing diagnosis of our times.

Sweet Mystery

2020 ◽  
Author(s):  
Ellen M. Peck
Keyword(s):  
Twentieth Century ◽  
Musical Theater ◽  
Full Length ◽  
Working Relationships ◽  
Early Twentieth Century ◽  
Professional Theater ◽  
Standard Practices

Rida Johnson Young (ca. 1869–1926) was one of the most prolific female playwrights of her time, as well as a lyricist and librettist in the musical theater. She wrote more than thirty full-length plays, operettas, and musical comedies, five hundred songs, and four novels. Despite her extensive output, no significant study of her work has been produced. This book examines her musical theater works with in-depth analyses of her librettos and lyrics, as well as her working relationships with other writers, performers, and producers, particularly Lee and J. J. Shubert. Using archival materials such as original typescripts, correspondence, and reviews, the book contextualizes Young’s work within the milieu of the early-twentieth-century professional theater and provides a window into the standard practices of writing and production of the era. The works examined are Naughty Marietta, Lady Luxury, The Red Petticoat, When Love Is Young, His Little Widows, Her Soldier Boy, Maytime, Sometime, Little Simplicity, and The Dream Girl.

scholarly journals FlsnRNA-seq: protoplasting-free full-length single-nucleus RNA profiling in plants

2021 ◽  
Vol 22 (1) ◽  
Author(s):  
Yanping Long ◽  
Zhijian Liu ◽  
Jinbu Jia ◽  
Weipeng Mo ◽  
Liang Fang ◽  
...  
Keyword(s):  
Single Cell ◽  
Cell Walls ◽  
Large Scale ◽  
Full Length ◽  
Cell Level ◽  
Root Cells ◽  
Rna Profiling ◽  
Different Types ◽  
Long Read ◽  
Single Nucleus

AbstractThe broad application of single-cell RNA profiling in plants has been hindered by the prerequisite of protoplasting that requires digesting the cell walls from different types of plant tissues. Here, we present a protoplasting-free approach, flsnRNA-seq, for large-scale full-length RNA profiling at a single-nucleus level in plants using isolated nuclei. Combined with 10x Genomics and Nanopore long-read sequencing, we validate the robustness of this approach in Arabidopsis root cells and the developing endosperm. Sequencing results demonstrate that it allows for uncovering alternative splicing and polyadenylation-related RNA isoform information at the single-cell level, which facilitates characterizing cell identities.

scholarly journals Large-Scale Collection and Analysis of Full-Length cDNAs from Brachypodium distachyon and Integration with Pooideae Sequence Resources

PLoS ONE ◽  
2013 ◽  
Vol 8 (10) ◽  
pp. e75265 ◽  
Author(s):  
Keiichi Mochida ◽  
Yukiko Uehara-Yamaguchi ◽  
Fuminori Takahashi ◽  
Takuhiro Yoshida ◽  
Tetsuya Sakurai ◽  
...  
Keyword(s):  
Large Scale ◽  
Brachypodium Distachyon ◽  
Full Length

Italian Minor Theatre, 2000–14: the Development of ‘Short Forms’ and the Politics of the Stage

2019 ◽  
Vol 35 (03) ◽  
pp. 195-208
Author(s):  
Silvia Mei
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Modern Dance ◽  
Minor Literature ◽  
Philosophical Concept ◽  
Short Forms ◽  
Research Fellow ◽  
History Of ◽  
Expressive Dimension ◽  
The University

Brevity in experimental Italian theatre is not merely an expressive dimension of scenic creation, but a forma mentis, a conceptual vocation of young companies. The 2000s produced a minor theatre in Italy – first because of the reduced stage size, and second because of the brevity of works such as installation pieces. Moving from the linguistic disintegration of the historical avant-gardes of the twentieth century, this theatre is especially inspired by the visual arts, even though its historical roots remain fragmented and art is still seen in the synthetic language of modern dance and Futurist variety. Short forms actually become a tool for crossing artistic genres and languages. Starting from Deleuze’s and Guattari’s philosophical concept of minor literature, in this article Silvia Mei explores and analyzes work by such Italian contemporary companies as gruppo nanou, Città di Ebla, Anagoor, Opera, ErosAntEros, and Teatro Sotterraneo – all representative of what can be called installation theatre, a new theatrical wave that crosses the boundaries and specificities of artistic language, leading to the deterritorialization of theatre itself, a rethinking of the artistic work as well as its relationship with the audience. Silvia Mei is Adjunct Professor of the History of Theatre Directing and Theatre Iconography at the University of Bologna, having been a Research Fellow at the University of Turin. Her recent publications include ‘La terza avanguardia: ortografie dell’ultima scena italiana’, in Culture Teatrali, No. 14 (2015), and Displace Altofest (Valletta: Malta 2018 Foundation).

scholarly journals Large-scale collection of full-length cDNA and transcriptome analysis inHevea brasiliensis

DNA Research ◽  
2017 ◽  
pp. dsw056 ◽  
Author(s):  
Yuko Makita ◽  
Kiaw Kiaw Ng ◽  
G. Veera Singham ◽  
Mika Kawashima ◽  
Hideki Hirakawa ◽  
...  
Keyword(s):  
Transcriptome Analysis ◽  
Large Scale ◽  
Full Length ◽  
Full Length Cdna

scholarly journals Seasonal Forecasts of the Twentieth Century

2020 ◽  
Vol 101 (8) ◽  
pp. E1413-E1426 ◽  
Author(s):  
Antje Weisheimer ◽  
Daniel J. Befort ◽  
Dave MacLeod ◽  
Tim Palmer ◽  
Chris O’Reilly ◽  
...  
Keyword(s):  
Twentieth Century ◽  
Large Scale ◽  
Seasonal Forecast ◽  
Forecast Skill ◽  
Seasonal Forecasts ◽  
Climate Anomalies ◽  
Global Circulation Models ◽  
Skill Scores ◽  
Physically Based ◽  
Forecast Models

Abstract Forecasts of seasonal climate anomalies using physically based global circulation models are routinely made at operational meteorological centers around the world. A crucial component of any seasonal forecast system is the set of retrospective forecasts, or hindcasts, from past years that are used to estimate skill and to calibrate the forecasts. Hindcasts are usually produced over a period of around 20–30 years. However, recent studies have demonstrated that seasonal forecast skill can undergo pronounced multidecadal variations. These results imply that relatively short hindcasts are not adequate for reliably testing seasonal forecasts and that small hindcast sample sizes can potentially lead to skill estimates that are not robust. Here we present new and unprecedented 110-year-long coupled hindcasts of the next season over the period 1901–2010. Their performance for the recent period is in good agreement with those of operational forecast models. While skill for ENSO is very high during recent decades, it is markedly reduced during the 1930s–1950s. Skill at the beginning of the twentieth century is, however, as high as for recent high-skill periods. Consistent with findings in atmosphere-only hindcasts, a midcentury drop in forecast skill is found for a range of atmospheric fields, including large-scale indices such as the NAO and the PNA patterns. As with ENSO, skill scores for these indices recover in the early twentieth century, suggesting that the midcentury drop in skill is not due to a lack of good observational data. A public dissemination platform for our hindcast data is available, and we invite the scientific community to explore them.

scholarly journals "Exoticism” in the opera Gilgamesh by Rudolf Brucci in Ralph Locke’s “All the music in the full context” paradigm

Muzikologija ◽  
2013 ◽  
pp. 105-125
Author(s):  
Nemanja Sovtic
Keyword(s):  
Third World ◽  
Visual Representations ◽  
Musical Language ◽  
Musical Style ◽  
Creative Behavior ◽  
Musical Tradition ◽  
Musical Works ◽  
French Composers ◽  
The Third World ◽  
Horizon Of Expectations

In this text, Rudolf Brucci?s opera Gilgamesh is viewed in the light of Ralph Locke?s ?All the Music in the Full Context? Paradigm which promotes the approach that one should search for the exotic elements in musical works first in the discursive components (title, program, accompanying notes), visual representations (costume, scenery) and a ?horizon of expectations? of a particular culture, and only then to observe exoticism as the aspect of a musical style. In the light of this Paradigm, ?exoticism? of the opera Gilgamesh is detected at the level of the music material and compositional procedures, but not in the dramaturgical profiling of characters, narrative adaptation of the Sumerian epic, costumes and scenery. The plot, costumes and the scenery of the opera do not construct the Orient with either positive or negative projections attributed to it by the Western European Orientalist discourse, but portray Gilgamesh and Enkidu as ancient mythic protagonists on the margin of the (not-always) exoticist once/now binarism. The musical language of the opera, which abounds in the usage of oriental musical scales and citations, indicates that oriental/exotic was one of the author?s ?target levels? when conceiving and composing Gilgamesh. Brucci, however, did not build the ?ethnological model? in his opera, but gave oriental scales and ?exotic? musical citations their meaning within the Western musical tradition, which is why his approach can be compared with the ?veiled exoticism? of the French composers of the late nineteenth and the early twentieth centuries. In the light of the self/other binarism, reaching for the exotic in Gilgamesh can be presented as an auto-exotic creative behavior of Brucci as a composer who perceives his ?minority identity? in a relation to an imaginary referential system of the Center. However, I am more inclined to see Brucci?s identificational intention in his advocacy of the Yugoslav NAM (Non-Aligned Movement) project, and his dealing with the ?exotic? as part of his strategy to support cultural achievements of the Third World which predominantly participated in that project.

scholarly journals Having a Ball With the Sphere

2020 ◽  
pp. 98-100
Author(s):  
Dirk Johan Stromberg ◽  
Robert Casteels
Keyword(s):  
Large Scale ◽  
European Tradition ◽  
Musical Works

Robert Casteels has composed a growing corpus of more than 100 musical works cross cultures, genres and disciplines. These range from miniature to large-scale works in the European tradition, as well as multidisciplinary works which combine European, Chinese and Indian instruments, as well as the gamelan, together with computer-generated sound and images. Instances of space for creative interaction between the performers in these compositions have been far and few between. The work, time:space:, has unveiled new possibilities for interaction and a blurring the line between performer and composer creating an artistic interconnectivity and interdependency.

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