A Note from the Guest Editor

The following contributions are cited separately in RILM: John T. HAMILTON, Così fan tutti i compositori: The Cephalus-Procris myth and the birth of romantic opera in Hoffmann's Aurora (RILM 2013-12919); Julia RANDEL, Un-voicing Orpheus: The powers of music in Stravinsky and Balanchine's 'Greek' ballets (RILM 2013-12920)

Erik Satie’s Socrate (1918), Myths of Marsyas, and un style dépouillé

In arguing that underneath the placid, 'stripped-down' style of Socrate there lurks a hidden violence, this essay does not focus on Satie's compositional process, documented in his notebooks; instead, it examines Socrate's performance history and the creation of the work's libretto, which the composer completed before sketching his musical ideas. Satie's novel selection and setting of the text is critical to this reading. The author examines how Satie reinterprets the violent myth of Marsyas and Apollo in the first movement, and how he ruminates on Socrates's dying words in the last movement. Understanding the ideas and events that led to the creation of Satie's enigmatic masterpiece allows us to view Socrate's portrayal of Plato's dialogues as part of a project of dépouillement, a neoclassical aesthetic that sought to strip down musical material in favor of an ascetic aesthetic uniting musical and moral Hellenism. This reading of Socrate allows us to reexamine the early 20th-century style dépouillé and to place Socrate at the center of debates on Socrates, Hellenism, and morality

Atossa’s Dream Yoking Music and Dance, Antiquity and Modernity in Maurice Emmanuel’s Salamine (1929)

This essay explores the conflicting trends of tradition and modernism, unity and independence in Parisian musical and dance culture in the late 1920s through an analysis of Maurice Emmanuel’s (1863-1938) aesthetics of contemporary and ancient Greek music and dance. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to ancient Greek dance history and music history before demonstrating how these tensions manifested in the 1929 production of Emmanuel’s opera Salamine based on Aeschylus’s The Persians. Exploring Emmanuel’s aesthetics of music and dance (ancient and modern) affords a unique opportunity to see how these creative media were theorized and practiced in the tumultuous years after the Ballets russes, while illustrating some of the conflicts between what Léandre Vaillat termed “the academic and the eurhythmic” in dance and music

Ballets Suédois (1920–25)

Rolf de Maré’s Ballets Suédois was active from 1920 to 1925. It was the chief artistic rival to Diaghilev’s Ballets Russes, and de Maré was often referred to as the Swedish Serge Diaghilev. With Jean Börlin as chief choreographer, the company created twenty-four ballets in collaboration with prominent modern artists and composers, including Fernand Léger, Giorgio de Chirico, Pablo Picasso, Francis Picabia, Erik Satie, Darius Milhaud, and Cole Porter. When first launched, the troupe performed ballets in a style similar to the Ballets Russes, but de Maré’s interest in the visual arts and the vibrancy of modern, contemporary life resulted in a greater emphasis on abstraction and popular idioms in both the design and choreography of Ballets Suédois productions

Eva Palmer-Sikelianos Dances Aeschylus: The Politics of Historical Reenactment when Staging the Rites of the Past

Eva Palmer-Sikelianos (1874–1952), along with her husband, the poet Angehlos Sikelianos, founded the first modern Delphic Festival in 1927 in an effort to revive the Ancient Greek rites that took place on that spot over 2,500 years before. She invited “overseers of culture” from around the globe to convene in the holy city of Delphi for a reenactment of the performance of Prometheus Bound by Aeschylus in the ancient amphitheater, an Olympic-styled athletic contest, and an exhibition of Greek crafts. This paper explores Palmer-Sikelianos’s choreography, music and dramaturgy for her reconstructed Prometheus Bound in light of her own research on ancient Greek culture and our modern theories of historical reenactment. Based on silent film records of Palmer-Sikelianos’s 1930 festival, her own autobiography, her collaborations with Natalie Barney on Greek-themed theatricals in the early 1900s, and comparisons to the movement vocabulary and other contemporary stagings of ancient Greek festivals and sport, I demonstrate how Palmer- Sikelianos blended the oldest sources on ancient Greek ritual music and dance that she could find with what she saw as an authentic “spirit” of Greek culture as observed in modern Greek society. Compared to the Ballets Russes’s reenactment of ancient Greece, Palmer-Sikelianos’s project to reenact “authentic” Greek theater and choreography illustrates that theories of theatrical historical reconstruction in the early twentieth century were heavily influenced by contemporary theatrical, political, and social events. And like the Fokine and Nijinsky models, Palmer-Sikelianos’s staging redefines ancient dance through the prisms of ancient sources and modern aesthetics

Giving Out Globally: A Resource Guide of Funding Mechanisms to Support Lesbian, Gay, Bisexual, and Transgender Rights in the Global South and East

Provides an overview of funding vehicles, such as Northern groups working in the global South and East, intermediaries, direct cross-border grantmaking, private foundations, and donor-advised funds. Includes lists of resources and grantee profiles

Red snapper discards in Texas coastal waters : a fishery dependent onboard pilot survey of recreational headboat discards and landings

Prepared for Gulf & South Atlantic Fisheries Foundation, Inc.GASAFFI no. 70-06-21807/11165December, 1999This fishery dependent pilot study determined the quantity and characteristics of red snapper recreational headboat discards and landings from three ports (Galveston, Port Aransas, and Port Isabel) along the Texas coast during the months of August and early September 1999. Mean fishing depth during 42 trips was 23.7 fathoms (range, 7.3 -- 52.2, 11.3 s.d.). Reels sampled were 36.5% of reels in use. A total of 3,863 snapper were sampled during the study period. Snapper <18 inches made up 92.3% of snapper caught, those <15 inches made up 75.5% of the catch. When brought on board, 70.1 % of snapper appeared normal and 26.1 % had their stomach protruding. When discarded, 52.8% of snapper were released alive & swam down, 19.9% swam erratically, 13.2% floated, 1.3% were dead, and 12.9% were kept. Fish released either dead or floating were caught at greater depths than fish which swam down or erratically. Galveston had the largest discard:landing ratio (218:1), smallest mean weight per fish (1.5 pounds), and the smallest mean fish total length (13.2 inches). Port Aransas had the lowest discard: landing ratio (5.2: 1) along with the largest mean weight per fish (2.1 pounds), and mean total length per fish (15.2 inches, 2.5 s.d.).Marine Scienc

Review of red snapper (Lutjanus campechanus) data in Texas

The purpose of this report is to identify and review currently available Texas data on red snapper (Lutjanus campechanus) from federal, state, and other sources. These data are compared to information necessary for stock assessment according to NMFS methodology, and indicate that some of the necessary data are at this time unavailable for Texas. It is hoped that this information will be used to develop scientific research in support of the Texas red snapper stock assessment, working towards the goal of more effective and fair management of the red snapper fishery in Texas waters.March, 2000Marine Scienc

Diagnostic Setup for Characterization of Near-Anode Processes in Hall Thrusters

A diagnostic setup for characterization of near-anode processes in Hall-current plasma thrusters consisting of biased and emissive electrostatic probes, high-precision positioning system and low-noise electronic circuitry was developed and tested. Experimental results show that radial probe insertion does not cause perturbations to the discharge and therefore can be used for accurate near-anode measurements