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Der vorliegende Sammelband zur Kolmarer Liederhandschrift (Munchen,
BSB, Cgm 4997) widmet sich der uberlieferungs- und
kulturgeschichtlichen Stellung dieser herausragendsten und
umfangreichsten Meisterliederhandschrift sowie ihrem Verhaltnis zu
den ubrigen Codices der rheinisch-schwabischen Gruppe der
Liederhandschriften. Der Band vereint verschiedene Aspekte aus den
Bereichen der UEberlieferungs- und Wirkungsgeschichte sowie der
Kulturgeschichte des Meistergesangs. Im Fokus stehen die textuellen
und melodischen Kunstformen der Kolmarer Liederhandschrift, die
Textualitat der uberlieferten Lieder sowie das facettenreiche
geistliche Liedgut der Handschrift.
In diesem Buch wird erstmals die gesamte, ausserst heterogene
UEberlieferung der unter dem Namen des Spruchdichters Regenbogen
uberlieferten Verslegende Veronica II analysiert. Auf Basis der
Analyseergebnisse wird die Verslegende uberlieferungskritisch,
unter Einbezug aller mittelhochdeutschen Quellen, in funf Fassungen
ediert. Die dazugehoerige, im Internet zugangliche
Online-Publikation ist als ein Versuch zu betrachten, dem Problem
der komplexen UEberlieferungslage der Veronica II mit Hilfe
digitaler Medien zu begegnen. Auf diese Weise wird im Sinne der New
Philology gewahrleistet, die Textuberlieferung und deren mouvance
standig im Blick zu behalten.
Yehudit Berger has bought and sold cars for most of her adult life,
and had never written a short story before, never mind a book,
before she stared working on this one. "So why am I paining you,
the reader, as well as myself, with my crummy penmanship?" she
asks. The truth is, the urge to get her thoughts down on paper has
persisted for many years, and she finally felt compelled to share
her belief that the Messiah is here. We all possess gifts of
foresight, premonition, and that sixth sense that is hard to
explain, and maybe, under the right circumstances, our brains were
designed to calculate such events as this. As Berger grew up under
a communist regime that discounted God and religion and preached
pragmatism, the visions she received foretold the future. While
writing her book, she connected the dots to make sense of those
premonitions, and also attempted to interpret those that caused her
to wake up drenched and shaken as an adult. Will her insights come
true? Who knows, but she hopes The Staff of Moses, which she
compared with the 12th Imam, will keep readers absorbed and
entertained as the dramatic tale begins in war-stricken Europe in
the forties, proceeds to the United States, and culminates in the
Israeli Negev. A group of Holocaust survivors find a piece of the
staff of Moses in an antique car at an auction to discover it
originated from Mount Sinai, and there, the future is revealed. A
large portion of this story is plucked from history, the characters
are real, and actual experiences are mixed with a blend of the
author's imagination and hard facts. She exposes the ironies of the
communist system, considers the intentions of the creator, and the
message she strongly coveys is the Universal Law has always
existed. However, it will be the masses, their convictions, ideals,
and their governments that will have to meet the test this time
around.
Emphasizing group dynamics, The Musical Woman series charts the
accomplishments of women in the field of music in almost every
capacity. Moving beyond the exception, articles highlight the group
presence of musical women. The series equally commits itself to
highlighting creative individuals, surveying particular music
specialties, and to providing an up-to-date profile of women's ever
changing progress in this field. Covering the period from 1986 to
1990, Volume III includes an expanded Gazette and 19 new,
thought-provoking essays. Sizable attention is given to women's
international contributions in music: several essays are centered
in Finland, the USSR, Canada, and Australia. Volume III also covers
issues linking music with sociology, history, feminist theory, and
world music. The expanded Gazette is encompassed in Part I of this
volume. Part II includes the 19 original essays. Several summarize
women's contributions as composers on the podium, within the
recording and film industries, and in other capacities. One essay
provides a current checklist of women in music organizations. Two
genre surveys and an essay on women music scholars in Russian and
Soviet history present readers with significant research. Critical
appraisals are given of three women of achievement. For the first
time in this series, two essays discuss the science of music--women
musicologists and music librarians. Another essay presents the
novel concept of a middle school curriculum concentrating on music
by women composers. An essential article to this series is an
analytic survey of how women have fared in music competitions over
a 22-year period. This volume concludes with an essay documenting
women musicians, across several generations, within notable musical
families.
This volume of The Musical Woman continues the long-neglected task
of documenting the full scope of participation by women in every
facet of the music world. The time period covered is the 1982-1983
season through 1984-1985; forecasts have been included for
1985-1986. The work was compiled from volumnious primary source
materials, including newsletters of composer organizations, data
from foreign music information centers, publishers' announcements,
concert programs, newspapers, and other music periodicals, and the
composers themselves. The Musical Woman provides a comprehensive
sampling of the varied activities of women composers and conductors
worldwide in order to bring to light additional activities of women
in the music field.
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