11,577 research outputs found
SHEPHERD SCHOOL SYMPHONY ORCHESTRA Friday, February 11, 2005 8:00 p.m. Stude Concert Hall
No full textPlaylist: Oil Well / Samuel Jones (b.1935) -- Iberia / Claude Debussy (1862-1918) -- Symphony No. 7 in D Minor, Op. 70 / Antonín Dvořák (1841-1904)
DIANA I. BURSON Mezzo-Soprano SENIOR RECITAL Tuesday, April 17, 1990 8:30 p.m. in the Shepherd School Recital Hall
No full textPROGRAM: Non so più cosa son / Wolfgang Amadeus Mozart -- Le Spectre de la Rose / Hector Berlioz -- Romance / Claude Debussy -- Les Cloches / Claude Debussy -- Chevaux de Bois / Claude Debussy -- At St. Patrick's Purgatory / Samuel Barber -- The Crucifixion / Samuel Barber -- A Monk and his Cat / Samuel Barber -- The Desire for Hermitage / Samuel Barber -- Morgentau / Hugo Wolf -- Wiegenlied im Sommer / Hugo Wolf -- Wiegenlied im Winter / Hugo Wolf -- Anakreons Grab / Hugo Wolf -- Ich hab in Penna einen Liebsten / Hugo Wolf -- Orlofsky's Aria / Johann Strauss -- Cinco Canciones Negras / Xavier MontsalvatgeThis recital is given in partial fulfillment of the requirements for the degree Bachelor of Music
C. Samuel, The Raven's Tail
No full textLévi-Strauss Claude. C. Samuel, The Raven's Tail. In: L'Homme, 1989, tome 29 n°110. pp. 155-156
Claude Simon
No full textDeux souvenirs, parmi d’autres : - En 1973, Maurice Schumann, ministre des Affaires étrangères, me demande, après l’attribution du Prix Nobel à Samuel Beckett, les noms de deux écrivains français qui auraient pu et pourraient être lauréats. Compte tenu des critères particuliers, plausibles des choix de l’Académie suédoise, je cite Nathalie Sarraute et Claude Simon. Le ministère des Affaires étrangères où je fus responsable des missions culturelles, s’honore d’avoir souvent aidé ces deux géant..
Portfolio of recorded performances and exegesis: Messiaen’s musical language for the jazz pianist - an exploration through performance.
No full textMoving beyond Gunther Schuller’s Third Stream amalgamation of classical and jazz, this study explores whether the musical language of Olivier Messiaen can make a valid contribution to jazz piano performance. Initially, my project sought to answer such questions as: What elements of the musical language of Messiaen already exist in the jazz vocabulary? Am I able to extend this further? What are the timbral structures and pianistic effects within Messiaen’s musical language? What will be the most effective application of Messiaen’s musical language to jazz piano performance? Endeavouring to answer the final question led me to consider such aspects as whether the project should be limited to quoting Messiaen motifs, arranging Messiaen melodies, replacing jazz harmonic structures on standards with examples from Messiaen’s musical language or whether it would be better to approach the research conceptually. The work of Hubert Nuss provided encouraging reassurance that this was not an impossible task. In order to articulate this conception, the initial challenge was to decide how the classical and jazz worlds might meet in a ‘Messiaen’ technique. The approach adopted was similar to that used for undergraduate jazz study, namely, immersion in the piano scores and recordings of Messiaen’s music as well as by live performances. This was followed by the development and assessment of a contrived approach when specific techniques, such as tonal colourings or harmonic structures, were developed through prepared exercises and consciously included in my performance. It was then compared with an intuitive approach when no such precise parameters were established. This submission consists of CD recordings of two public recitals and an exegesis. It documents the development of this Messiaen technique and discusses its application in my performances. It also demonstrates the ways that Messiaen’s musical language can be used within jazz piano performance to provide a colour that distinguishes jazz piano performance in a competitive field.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 201
Claude Simon
No full textDeux souvenirs, parmi d’autres : - En 1973, Maurice Schumann, ministre des Affaires étrangères, me demande, après l’attribution du Prix Nobel à Samuel Beckett, les noms de deux écrivains français qui auraient pu et pourraient être lauréats. Compte tenu des critères particuliers, plausibles des choix de l’Académie suédoise, je cite Nathalie Sarraute et Claude Simon. Le ministère des Affaires étrangères où je fus responsable des missions culturelles, s’honore d’avoir souvent aidé ces deux géant..
R. Samuel, ed., Village Life and Labour
No full textPingaud Marie-Claude. R. Samuel, ed., Village Life and Labour. In: L'Homme, 1977, tome 17 n°4. pp. 118-120
R. Samuel, ed., Miners, Quarrymen and Saltworkers
No full textPingaud Marie-Claude. R. Samuel, ed., Miners, Quarrymen and Saltworkers. In: L'Homme, 1979, tome 19 n°2. pp. 122-129
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
No full textThe thesis critically evaluates Jacques Derrida's conferral of the rights of reality on writing, focussing on his theory of an arche-text in light of the speculative nature of this theory. The theory is initially considered in the context of Derrida's elucidation of the usurpatory status of writing within the Platonic and Nietzschean texts. This consideration reveals an admission of writing's usurpatory status by both writers while at the same time demonstrating their awareness of the intrinsically speculative nature of this view, the significance of writing lying in its ability to exteriorise the radically indeterminate status of consciousness m relation to reality rather than its ability to displace consciousness or reality The analyses, therefore, not only bring the Derridean hypothesis of a repressive or phonocentric metaphysical episteme into question but also exhibit the historical and philosophical role of potentiality in relation to writing, writing's ultimate significance lying in its capacity to exteriorise our existence as a mode of potentiality. Accordingly, in the second half of the thesis the Derridean theory of writing is countered with a specifically Aristotelian theory of the text as it is exhibited in the prose of Samuel Beckett, an author whose significance lies in his close alignment with Derridean theory within contemporary criticism. It is demonstrated that this identification has obviated an awareness of the significance of potentiality within the Beckettian text, his work consequently being appraised in the previously neglected context of Aristotelian metaphysics
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
- …
