892 research outputs found
Currents, Vol.14, No.4 (Dec.1995)
Greenwood Ends Years of Service at USM--Looking Back on LA College Years--Ken Brooks: 1917-1995--Professional Staff New in 1995--Alternative View of Economicshttps://digitalcommons.usm.maine.edu/currents/1048/thumbnail.jp
Jacques Labrecque et la diffusion de la chanson traditionnelle : Quand le rĂ©pertoire folklorique prend des airs dâopĂ©ra
Cet article rend compte du parcours de Jacques Labrecque (1917-1995), un diffuseur de la chanson folklorique quĂ©bĂ©coise. De la fin des annĂ©es 1930 au dĂ©but des annĂ©es 1990, Labrecque chante un rĂ©pertoire dâinspiration traditionnelle sur plusieurs scĂšnes quĂ©bĂ©coises et Ă©trangĂšres, dĂ©laissant graduellement lâimage de lâartiste lyrique au profit de celle dâun personnage colorĂ© Ă©voquant la tradition. Au cours de sa carriĂšre, Labrecque entretient des rapports tantĂŽt Ă©troits et tantĂŽt plus conflictuels avec le milieu artistique, avec lâinstitution universitaire â dont il sâapproprie les travaux â ainsi quâavec divers organismes gouvernementaux. Lâanalyse de sa trajectoire met aussi en lumiĂšre lâambiguĂŻtĂ© du terme « folkloriste » tel quâil est utilisĂ© dans lâusage courant pour dĂ©signer des chanteurs au profil similaire Ă celui de Labrecque. Son rĂ©pertoire est briĂšvement prĂ©sentĂ©, de mĂȘme que son travail dâĂ©dition sonore.This article gives an account of the career of QuĂ©bec folk singer, Jacques Labrecque (1917-1995). From the late 1930s to the beginning of the 1990s, Labrecque performed a folk-inspired repertoire throughout QuĂ©bec and abroad, gradually abandoning the image of a lyrical artist and taking on that of a colourful character who evoked folk tradition. Throughout his career, Labrecque maintained a love/hate relationship with the artistic community, university institutions â from whom he appropriated material â and government agencies. A review of his career also sheds light on the ambiguity of the term âfolkloristâ as it is commonly used in reference to singers who have a profile similar to that of Labrecque. His repertoire is presented briefly, as are his accomplishments as an editor of vocal works
Esyllt T. Lawrence: una gal·lesa a Catalunya (Una antologia de textos)
Esyllt Thomas Lawrence (1917-1995) se'ns presenta, d'entrada, amb una trajectĂČria força singular: una dona que naix a Gal·les, s'educa universitĂ riament a Anglaterra, viu casada amb un diplomĂ tic a EUA en plena Segona Guerra Mundial, recomença una nova vida a MĂšxic enlluernada per un soldat republicĂ exiliat catalĂ , i acaba vivint sota una dictadura en una altra naciĂł sense estat com Gal·les i amb una nova llengua: el catalĂ . Finalment retorna al seu paĂs nadiu amb estades periĂČdiques a Catalunya on s'implica en la polĂtica nacionalista i la llengua i cultures gal·leses fins els darrers dies
Isang Yun's musical bilingualism: serial technique and Korean elements in FĂŒnf StĂŒcke fĂŒr Klavier (1958) and his later piano works
Isang Yun (1917-1995) was a Korean composer residing in Germany after 1957. Reflecting his musical training in both the East and West, Yun's music integrates serial techniques with elements of Korean traditional music. Yun's piano music merits attention for developing this combination in great depth, as perhaps best exemplified by FĂŒnf StĂŒcke fĂŒr Klavier (1958). His later piano works, Shao Yang Yin (1966) and Interludium A fĂŒr Klavier (1982) emphasize aspects of Korean traditional music more strongly. This study intends to assist pianists to develop an informed interpretation of these works based on an understanding of Yun's musical bilingualism
Anålisis de la deseabilidad social de los roles de género / Analysis of the Social Desirability of Gender Roles
RESUMEN: El estudio tiene como finalidad realizar un anĂĄlisis de la deseabilidad social de los 60 Ătems que contiene el Sex Role Inventory de Sandra Bem (BSRI) elaborado 1974. Esta escala es uno de los instrumentos de medida mĂĄs utilizados en las investigaciones que analizan los constructos conceptuales relacionados con la identidad de gĂ©nero dado que, el BSRI mide la autoatribuciĂłn de caracterĂsticas que socialmente son deseables para una persona u otra en funciĂłn de su sexo. Un anĂĄlisis de estos Ătems permite conocer si existen o no cambios en las atribuciones de los roles de gĂ©nero. Para ello, se comparan los valores medios obtenidos por Bem en 1974 con los resultados de esta investigaciĂłn, a partir de los datos recogidos de estudiantes de la Universidad de Extremadura. El anĂĄlisis de estos datos refleja que existen diferentes formas de concebir la masculinidad y un solo imaginario para ser mujer. ABSTRACT: The purpose of the study is to realize an analysis of the social desirability of the 60 items of the Sex Role Inventory Sandra Bem (BSRI) made in 1974. This scale is one of the most widely used measurement instruments in investigations of gender identity. The BSRI measures the self-attribution of characteristics that are socially desirable for each person based on their sex. An analysis of these items reveals whether there are changes in the attributes of gender roles. The objective is to compare the mean values obtained by Bern in 1974 with our results with students from the University of Extremadura. The analysis of these data shows that there are different ways of understanding masculinity and one imaginary for women
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Ulysses Kay Archive: Columbia University Rare Book and Manuscript Library
AfricanâAmerican composer Ulysses Kay (1917â1995) wrote more than one hundred forty compositions in a wide range of formsâfive operas, over twenty large orchestral works, more than thirty choral compositions, fifteen chamber works, a ballet, and numerous other compositions for voice, solo instruments, film, and television. Born in Tucson, Arizona to a musical family, Kay was encouraged by both his mother and her brother, Joe âKingâ Oliver, to study piano, violin and saxophone. He entered the University of Arizona in 1934, receiving the Bachelor of Music in 1938. For the next two years he studied composition at the Eastman School of Music, University of Rochester, with Bernard Rogers and Howard Hanson, and received the Masters in Music in 1940. From 1941 to 1942 he studied with Paul Hindemith at Tanglewood and at Yale University. Compositions from this period include the âSinfonietta for Orchestra,â the ballet âDanse Calinda,â and âThree Fanfares for Four Trumpets.
Time's Arrow Ensemble, January 16, 2008
This is the concert program of the Time's Arrow performance on Wednesday, January 16, 2008 at 8:00 p.m., at the Marshall Room, 855 Commonwealth Avenue. Works performed were "Instruments II" by Morton Feldman, "Nonet for Instrumentalists" by Jacob Mashak, selections from "Piri" by Isang Yun, "Quartet for 4 Flutes" by Sophia Gubaidulina, and "Music in Similar Motion" by Philip Glass. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund
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