734 research outputs found
Music for classical guitar by South African composers : a historical survey, notes on selected works and a general catalogue
No full textIncludes abstract.Includes bibliographical references (leaves 296-309).This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet. The body of the dissertation comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa's most prominent composers and guitaristcomposers. The repertoire ranges in style from the traditional and ethnically inspired to the experimental and abstract. As this is an empirical survey, each selected entry includes details on instrumentation, duration, level of difficulty, number of pages, scordatura, commissions or requests, sources or publishers, premières and recordings. A biography of each composer is provided as well as background notes which offer an overview of the selected work. The notes discuss historical, cultural, musical and extra-musical influences, and frequently include references to interview material. The commentaries on the selected works, with musical examples, include an analytical component describing structure, form, stylistic and compositional elements, while the technical observations include performance suggestions and a grading for each work
Correction to: Aotearoa New Zealand’s New National History Curriculum and Histories of Mourning
No full textThe article Aotearoa New Zealand’s New National History Curriculum and Histories of Mourning, written by Avril Bell and Elizabeth Russell, was originally published electronically on the publisher’s internet portal on 24 November, 2021 without open access. With the author(s)’ decision to opt for Open Choice the copyright of the article changed on 02 March, 2022 to © The Author(s). Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/
J. Bell, French Constitutional Law
No full textJ. Bell, French Constitutional Law . In: Revue internationale de droit comparé. Vol. 45 N°2, Avril-juin 1993. pp. 498-500
J. Bell, French Constitutional Law
No full textJ. Bell, French Constitutional Law . In: Revue internationale de droit comparé. Vol. 45 N°2, Avril-juin 1993. pp. 498-500
Edward Bell. Prehellenic architecture in the Aegean
No full textCharbonneaux Jean. Edward Bell. Prehellenic architecture in the Aegean. In: Revue des Études Grecques, tome 42, fascicule 195-196, Avril-juin 1929. p. 218
Experience has no shadow
No full textThis research is situated in the field of practice-led research investigating embodied perspectives on the performance of dance making. \ud
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In the stock of choreographic literature, the celebrated ‘creativity’ label is associated predominantly with the choreographer and is discussed in terms of product rather than process (Lussier-Ley and Durand-Bush 2009; Hennessey 2003). A reliance on the mystery of inspiration or choreographic genius (Penty 1998) for the production of ‘great’ dance works does not acknowledge the complex and timely process common in the creation of dance (Mace and Ward 2002) nor provide a true representation of the creative contributors (Farrer 2014). The failure to attribute creative impulses and skills to dancers is reminiscent of a time when they were thought of only as instruments in the creative process not active participants and collaborators (Jowitt 2001a; H’Doubler 1957). \ud
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This project asked the question, to what end do dancers contribute to choreography and how is this contribution valued and recognised?\ud
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Dancers are integral to the creative process. The research found that the scope of a dancers’ creative involvement in the development of a new work is dependent on: the individual choreographers approach to creating movement; the relationship between dancer and choreographer, and dancer and fellow company members; and the dancers collaborative skills and interpretive skills, versatility, and initiative. Recognition and attribution of dancers’ creative input is dependent on a choreographer’s viewpoint, generosity, and prior creative experiences. \ud
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The work was created as a part of the Ausdance Queensland 2010 Bell Tower III Choreographic Residency program. Applicants were peer reviewed and vetted by a panel of local and national dance producers. The creative work was presented at the Judith Wright Centre for Live Arts. The project was funded by Ausdance Queensland and Arts Queensland. \ud
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https://es-es.facebook.com/events/106661226023025/?hc_location=stream \u
Reverberating Historical Privilege of a “Middling” Sort of Settler Family
No full textCritical family history illuminates societal relations of inequality through focusing on the experiences and trajectories of particular families. Here, I focus on unequal relations between white settler colonizers and indigenous communities within Aotearoa, New Zealand. I use data gathered from family wills and archival research to sketch aspects of the economic privilege of branches of my own ancestral families in contrast to the economic dispossession and injustices faced by the Māori communities alongside whom they lived. The concept of historical privilege forms the analytic basis of this exploration, beginning with the founding historical windfalls experienced by the Bell and Graham families through their initial acquisition of Māori lands and the parallel historical trauma experienced by Māori at the loss of these lands. I then explore how these windfalls and traumas underpinned the divergent economic trajectories on both sides of this colonial relationship, touching on issues of family inheritance and structural and symbolic privilege. Neither the Bells nor the Grahams accumulated significant wealth, but the stories of such “middling” families are helpful in illuminating mechanisms of historical privilege that we inheritors of such privilege find it difficult to “see” or remember
Géographie physique des Lacs des Esclaves et de l'Ours dans le Nord-Ouest Canadien
No full textMackintosh Bell . Géographie physique des Lacs des Esclaves et de l'Ours dans le Nord-Ouest Canadien . In: Bulletin de l'Association de géographes français, N°41, 7e année, avril 1930. pp. 43-44
Forging links with the past : the twelfth-century reconstruction of Anglo-Saxon Peterborough
No full textThe author now publishes under the name of Avril Lumley Prior.EThOS - Electronic Theses Online ServiceGBUnited Kingdo
Revue musicale (15 avril 1860)
No full textTranscript of REVUE MUSICALE, by Édouard Monnais writing as Wilhem, appearing in REVUE CONTEMPORAINE, 15 avril 1860, p. 790. [NB Online author metadata supersedes in-file author metadata.
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