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The beginning of filmmaking in the German colonies coincided with
colonialism itself coming to a standstill. Scandals and economic
stagnation in the colonies demanded a new and positive image of
their value for Germany. By promoting business and establishing a
new genre within the fast growing film industry, films of the
colonies were welcomed by organizations such as the Deutsche
Kolonialgesellschaft (German Colonial Society). The films triggered
patriotic feelings but also addressed the audience as travelers,
explorers, wildlife protectionists, and participants in unique
cultural events. This book is the first in-depth analysis of
colonial filmmaking in the Wilhelmine Era.
The beginning of filmmaking in the German colonies coincided with
colonialism itself coming to a standstill. Scandals and economic
stagnation in the colonies demanded a new and positive image of
their value for Germany. By promoting business and establishing a
new genre within the fast growing film industry, films of the
colonies were welcomed by organizations such as the Deutsche
Kolonialgesellschaft (German Colonial Society). The films triggered
patriotic feelings but also addressed the audience as travelers,
explorers, wildlife protectionists, and participants in unique
cultural events. This book is the first in-depth analysis of
colonial filmmaking in the Wilhelmine Era.
Essays illuminating a complex and sophisticated musical manuscript.
The Segovia Manuscript (Cathedral of Segovia, Archivo Capitular)
has puzzled musicologists ever since its rediscovery at the
beginning of the twentieth century. It is unique: no other
manuscript of the period transmits a comparable blend of late
fifteenth-century music, consisting of 204 sacred works and
vernacular pieces in Flemish, French, Italian, and Spanish. An
important group of pedagogical pieces by French and Flemish
composers may preserve transcriptions of instrumental
improvisation. This summary might suggest a messy collection, but
on the contrary the manuscript is arranged with care, copied by one
proficient scribe (except perhaps for the Spanish texts), who
obviously followed a predetermined master plan. But which plan, who
designed it, and why was the person responsible so interested in
this combination? The essays here aim to treat every dimension of
this fascinating source. New discoveries help date the manuscript
and explain how it came to Segovia; particular attention is paid to
the main scribe, now determined to be Flemish, and his relation
with northern composers and repertory, above all that of Jacob
Obrecht, Alexander Agricola, and Henricus Isaac; and the vexed
question of the conflicting attributions is considered afresh and
found to affect only a few of the fascicles. The contributors also
look at questions of ownership and function. . WOLFGANG FUHRMANN is
Professor of Musicology at Leipzig University; CRISTINA URCHUEGUIA
is Professor of Musicology at the University of Bern. Contributors:
Bonnie J. Blackburn, Wolfgang Fuhrmann, Leofranc Holford-Strevens,
Tess Knighton, Kenneth Kreitner, Honey Meconi, Emilio Ros-Fabregas,
Cristina Urchueguia, Rob C. Wegman
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