257 research outputs found
La “pioggia della nostalgia” e la sostanza di Adamo nella letteratura irano-islamica
No full textIl presente articolo si sofferma sulla “sostanza” o materia di Adamo nella fase della sua creazione, in cui la Terra, secondo alcuni testi qui esaminati (al-Ṭabarī/Bal‘amī e Sūrābādī in primis), rifiuta di concedere la sua polvere agli angeli incaricati da Dio. Si tratta di un episodio che dalla tradizione ebraica era penetrato nelle varie “Storie dei Profeti” redatte nel medioevo islamico. La disamina di tale episodio, variamente ripreso nelle opere persiane o arabe scritte da autori iranici, parte dalla “Storia di Bal‘amī” (X sec.). Quindi l'Autrice si sofferma sulla riscrittura di Sūrābādī (sec. XI) che in particolare vi aggiunge un curioso passo secondo cui sulla sostanza d’Adamo “Dio fece piovere quaranta giorni di pioggia di Nostalgia/Dolore e una sola ora di pioggia della Gioia”. Passo intrigante, destinato a riverberarsi pure in altri posteriori autori iranici (inclusi quelli arabografi) quali Najm al-Dīn Rāzī Dayé, Najm al-Dīn Kubrà, al-Sahlajī (che tramanda i detti di Abū Yazīd al-Bisṭāmī), Ḥāfeẓ, Rūmī e ‘Aṭṭār Neyshābūrī, nei quali tuttavia, in virtù della loro vicinanza alla pratica e alla speculazione mistica, la “sostanza” di Adamo si arricchisce di ulteriori aspetti bacchico-amorosi. L’amore quale sostanza e insieme motore/stimolo della creazione d’Adamo trova una diversa declinazione nel poeta laico contemporaneo Aḥmad Shāmlū, il quale però stravolge e originalmente reinterpreta la relazione tra Dio la Terra e Adamo emersa sin dai testi più antichi oggetto della presente analisi.This article focuses on Adam's 'substance' or matter at the stage of his creation, in which the Earth, according to some of the texts examined here (al-Ṭabarī/Bal'amī and Sūrābādī in primis), refuses to concede its dust to the angels appointed by God. This is an episode that had penetrated from Jewish tradition into the various 'Histories of the Prophets' written in the Islamic Middle Ages. The examination of this episode, variously taken up in Persian or Arabic works written by Iranian authors, starts from the 'History of Bal'amī' (10th cent., who translates the 'History of al-Ṭabarī' into Persian and rewrites it). Then the Author dwells on the rewriting of Sūrābādī (11th cent.), who in particular adds a curious passage according to which on the substance of Adam 'God rained down forty days of rain of Nostalgia/Pain and a single hour of rain of Joy'. This is an intriguing passage, destined to reverberate in other later Iranian authors (including the Arabic ones) such as Najm al-Dīn Rāzī Dayé, Najm al-Dīn Kubrà, and al-Sahlajī (who passes on the sayings of Abū Yazīd al-Bisṭāmī), Ḥāfeẓ, Rūmī and 'Aṭṭār Neyshābūrī, in whom, however, by virtue of their proximity to mystical practice and speculation, the 'substance' of Adam is enriched with further bacchic-loving aspects. Love as the substance and at the same time the motor/stimulus of Adam's creation finds a different declination in the contemporary secular poet Aḥmad Shāmlū, who, however, distorts and originally reinterprets the relationship between God the Earth and Adam, that has emerged since the earliest texts that are the subject of the present analysis
Panel Two: Standards Development
No full textFacilitator: Tim Profeta, Director, Nicholas Institute of Environmental Policy Solutions
Sally Collins, Director, Office of Ecosystem Services and Markets, U.S. Department of Agriculture
Larry Elworth, Agriculture Liason, U.S. Environmental Protection Agency
Gail L. Achterman, Institute for Natural Resources, Oregon State University
David Antonioli, CEO, Voluntary Carbon Standard Association
Chris Adamo, Legislative Counselor, Office of Senator Debbie Stabeno
Mark Adamo: The Solo Vocal Works Through 2006
No full textAmerican composer Mark Adamo enjoyed tremendous success with his first two full-scale operatic works, Little Women, and Lysistrata. For both of these works, Adamo served not only as composer, but also as his own librettist. Originally eager to pursue a career as a composer of the Broadway musical, his background and training in playwriting, acting, and musical composition provide him with a unique and well informed perspective on the fundamentals of dramatic and musical form and function which is both simple and ingenious. His gift for setting language to music is extraordinary, and his knowledge of the human singing voice and its expressive capabilities is evidenced by the virtuosic, bel canto informed writing that he produces. Upon seeing and hearing a performance of Adamo’s first opera Little Women, the author of this document was inspired to request a commission for a set of songs by Mr. Adamo. The result was the cycle or solo cantata Garland, music for tenor and piano set to the texts of four poems by Emily Dickinson on themes of death, the loss of a loved one, and the way in which one is either consoled or not by religion and its various agents. Through the process of commissioning Garland, the author corresponded directly with Mr. Adamo; interviewed him about his craft including compositional style and process, harmonic language, form and function of melody, characteristics of a successful libretto, dodecaphony, role models, composing for genres outside of opera, and related topics. Mr. Adamo provided the author with heretofore unavailable manuscripts of several unpublished “early” songs, a one scene opera, and a draft of the outline for Little Women. This document discusses Adamo’s published and unpublished solo vocal works to date, including the operatic works, and solo songs. Discussion focuses on the composer’s own remarks and insights regarding the compositions, and his vocal style in particular. Special attention is given to the song cycle Garland, its genesis, performance notes, and its aesthetic relationship to the operatic works.Adviser: Donna Harler-Smit
Combining audio and visual information while videorecording in the field: methodological and technical problems
No full textThe paper deals with the specific problems arising while documenting music events through audiovisual equipment. Methodological differences between audio and video recording are examined. On the base of the personal fieldwork experience of the author, pros and cons of several ways of recording audio while making videos are presented and discussed. The conclusion is that no particular method of audio-visual recording can be considered the right one in general terms, it seems rather advisable to adopt particular technical solutions according to the aim of the research and the specific given context
I Canti del Lazio di Giggi Zanazzo. Per una lettura etnomusicologica
No full textThe paper presents a critical review of the collection of folk song texts published by Giggi Zanazzo at the beginning of XX Century. Methodological problems of evaluating historical literary sources transcribed from oral tradition without sound recording are emphasized and discussed. Nevertheless, the author shows how a carefull analysis of the way the texts are transribed (with interesting rendering of the phonetics of the dialect), the metrical forms and the literary themes can highlight significant clues for the ethnomusicological knowledge of the song repertoires and their social context
Vedere la musica. Film e video nello studio dei comportamenti musicali
No full textThe book presents a report of the personal experience of the author in the use of films and videos in the study of ethnomusicology, the teaching of the discipline and, especially, the field research. Both methodological and technical questions are presented and discussed. The book is structured in three parts: the first one, Introduction, deals in general and theoretical sense with the role of the visual experience both in music and ethnomusicology. The second and larger part, Researches, presents specific studies based on the use of video documentation in the field, emphasizing how audiovisual material can provide deeper understanding of musical structures and behaviour. The third part, Methods and techniques, presents some remarks on theoretical and practical questions related to the field work. The fourth and last part, Materials, introduces and comments a 35' film included in the attached DVD. The same DVD provides other edited videos and audiovisual examples as a necessary integration of the chapters in the book
Il volto di Adamo, "quaderno" della parola di Dio, nel Divan persiano del poeta-hurufi 'Emad al-din Nasimi di Shirvan (1368-1418)
No full textIl presente contributo si propone di analizzare la lettura di una figura-chiave della tradizione biblica e coranica, Adamo, fornita da ‘Emād al-din Nasimi di Shirvān
(1368-1418 ca.). Autore di un canzoniere turco e di un bellissimo canzoniere persiano – sul quale si sofferma l’autore dell'articolo che ne ha pure fornito la prima traduzione integrale in una lingua europea – Nasimi è considerato il poeta-martire dell’Hurufismo, una setta eretica musulmana fondata da Fazl Allāh di Asterābād (m. 1394) che si sviluppò a cavallo tra il XIV e il XV secolo in Persia, Caucaso e Anatolia, il cui lascito spirituale attraverso complesse vicende di persecuzione e “camuffamento” sopravvive nelle confraternite turche dei Bektashi
e degli Aleviti.This paper aims to analyze the reading of a key-figure in the biblical and Qur'anic tradition, Adam, provided by 'Emād al-din Nasimi of Shirvān (c. 1368-1418). Author of a Turkish songbook and a beautiful Persian songbook- the latter translated by the author of this article into Italian - Nasimi is considered the poet-martyr of Hurufism, a Muslim heretical sect founded by Fazl Allāh of Asterābād (d. 1394) that developed at the turn of the 14th and 15th century in Persia, Caucasus and Anatolia, whose spiritual legacy through complex vicissitudes of persecution and "camouflage" survives in the Turkish brotherhoods of the Bektashi
and the Alevites
Music - body - movement, An "African" perspective applied to the analysis of South Italian dances
No full textThe complex realationship between music, body and movement in the case of the Calabrian tarantella is explored through an innovative method of frame by frame analysis of digital videos. Basic concepts derived from the studies of African music published by Gerhard Kubik have proved particularly useful. The original method of analysis has revealed unexpected aspects of the music-body relationship: on this base a new theory of rhythm as movement, in contrast to rhythm as sound, is proposed by the author
Malawi: History, culture, and geography of music
No full textThe contribution presents a survey of the music traditions documented in Malawi since the second half of the last Century. It is based both on updated international bibliography and the moat recent fieldwork by the author
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