!±8± Thermodynamics of alloys (Addison-Wesley series in metallurgy and materials)
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Sunday, November 27, 2011
Thermodynamics of alloys (Addison-Wesley series in metallurgy and materials)
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| Price : | Post Date : Nov 27, 2011 23:18:14N/A
Thursday, November 24, 2011
Carl-Ludwig Wagner im Gesprach mit Wolfgang Wiedemeyer (German Edition)
!±8± Carl-Ludwig Wagner im Gesprach mit Wolfgang Wiedemeyer (German Edition)
Monday, November 21, 2011
HJ Geisthardt - WIND QUINTET (1962)
Hans-Joachim Geisthardt (1925-2007) , east german composer. 3 pieces for wind quintet (1962) 3 Stücke für Bläserquintett (1962) 1. Capriccio 2. (@ 2:40 ) Nachtstück 3. (@ 6:35 ) Alla marcia The berlin wind quintet / Bläservereinigung Berlin - Holzbläserquintett --- recorded from Stereo LP made in GDR (DDR, 1983) --- (HJGeisthardt : his teachers in Berlin were Rudolf Wagner-Régeny, Hanns Eisler und Carl Adolph Martienssen, later he was working together with Hanns Eisler for many years.) .. Seine musikalische Ausbildung erhielt er an der Musikhochschule Rostock und an der Hochschule für Musik Berlin bei Rudolf Wagner-Régeny, Hanns Eisler und Carl Adolph Martienssen. 1953 bis 1958 war er beim Berliner Ensemble Assistent Eislers und leitete dort unter anderem den Kinderchor. Danach war er als Musikdramaturg und -regisseur und später in leitenden Funktionen der Musikproduktion beim Rundfunk der DDR tätig. Sein Schaffen umfasst Lieder, Chöre, Songs, Chansons, Klavier-, Kammer- und Orchesterwerke.
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Saturday, November 19, 2011
Music of the Holocaust
Handle's Messiah, Bach's Magnificent, Beethoven's Ninth Symphony, Brahm's Lullaby are but a few of the common classics that are of German origin.
Hitler used musical heritage to promote Aryan superiority. This meant Hitler's perfect race, blonde hair, blue eyes, well formed and strong. Music and art shaped German political policies and cultural atmosphere. Any written compositions by Jews were banned and it became against the law for artists and musicians to perform unless they became a member of the state sanctioned Reichsmusikkammer (RMK), and anyone who broke the law would be arrested.
The Aryan culture was created by many artists and musicians that were governed employees. In 1939 RMK leaders spoke of the elimination of the Jews from the cultural life of people. Jazz was considered to be "non-Aryan Negroid" and was banned. Radio stations were controlled and censored, and only nationalistic music was allowed. All other music was prohibited and labeled "entarte" or degenerate.
Songs of the Ghettos and Camps :
Ghetto songs had three major purposes: documentation of Ghetto life, a diversion from reality, and the upholding of tradition. The songs sung in the Ghettos showed the will to live, sing and even laugh. The Ghetto had its street singer, its coffee houses, teahouses, beggars and madmen. A popular tune said to be written by a beggar said, "Me hot zey in dr'erd, me vet zey iberi'ebin, me vet hoch deriebn," which means; "to hell with them, we will survive them, we will yet survive."
When it came to hating the enemy, laughter was a way to channel it. One person or a small group of people would perform Ghetto songs, with an accompaniment of a single chord playing instrument, a small band, or an orchestra.
Songs of the Camps:
At the five extermination camps, Nazis created orchestras forcing prisoners to play while prisoners were marched to the gas chambers. The suicide rate was the highest in the orchestra players than most other camp workers. The musicians where forced to watch as family and friends where sent to be killed. Auschwitz had six orchestras with one containing 100-120 musicians. A woman named Fania Feneion, a member of a woman's orchestra in Auschwitz, stated that even though she had clean clothes and daily showers, she had to play "gay, light music and marching music for hours on end while our eyes witnessed the marching of thousands of people to the gas chambers and ovens." Anita Lasker-Walfisch was able to survive Auschwitz by playing in the women's orchestra.
Terezin:
Hitler created a "model camp" in Czechoslovakia called Terezin. This concentration camp was made to mislead the world about what was happening around the other camps and Ghettos. The cultural life at Terezin was very rich because all the Jewish artists and musicians were sent there. This made it look as though the camps where just a re-settlement area and the Nazis were treating the Jews very well in the camps. The conditions in Terezin were no better than in most of the other camps. For most prisoners, Terezin was just a transit camp on the way to Auschwitz.
Music of the Third Reich:
The Nazi regime had certain standards which had to be defined as "good" German music. Musicians had limited freedom as the Nazis attempted to create a balance in the creativity of music to please the German people.
Three of the restrictions when regarding musician and artists where:
1. "Loyal Nazi members who were talented musicians were guaranteed a job."
2. "Loyal Nazi members who were not talented musicians were not guaranteed a job."
3. Any non-Jewish person who demonstrated a "genius' for music and was a member of the Reichsmusikkammer (Reich Music Chamber) was permitted employment. This exception policy permitted musicians like conductor Wilhelm Furtwangler and composer Richard Strauss to continue working.
Three master composers that represented good German music were Ludwig van Beethoven, Richard Wagner, and Anton Bruckner according to Hitler and his second man in command, Goebbels.
Music in Response to the Holocaust:
Music in Response to the Holocaust can help us to understand the tragedy of this event. Composers experimented with many musical forms and where included in memorials. There where to sides to the music: dark and light, and faith and hope and all where very personal and helped to expand our understanding of the Holocaust beyond words.
Songs Written About and In Remembrance to the Holocaust:
Karl Berman, Terezin. Terezin was written by a Holocaust survivor who arrived in the concentration camp in 1943 and participated in many musical performances there.
Michael Horvitz, Even When God Is Silent. This dramatic and chilling song was written by text found on a wall in Germany by someone hiding from the Gestapo.
Oskar Morawetz, From the Diary of Anne Frank: Oratorio for Voice and Orchestra. This song was written by the test from the Diary of Anne Frank.. It is a tribute to the courage and nobility of the human spirit.
Arnold Scholenberg, A Survivor From Warsaw, 1947. This is a true story about a survivor from the Warsaw Ghetto. This song was written using a twelve-tone technique which the Nazis banned, and the narrator is to half sing and half speak the story. It is six minuets long describing a moment of the beginning of the Warsaw Ghetto.
William Schuman, Ninth Symphony or Le Fosse Ardeatine. Schuman wrote this piece to commemorate the slaughter of 355 Jews, Christians, and Italians in the Ardeatine caves. "I saw the cave and thought about all the people buried there and their lives. I'm a foe of forgetting."
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Sunday, November 13, 2011
Sena Jurinac, "Dich, teure Halle", Wagner: Tannhäuser (Live, La Scala, 1967)
The great Croatian soprano Sena Jurinac as Elisabeth in Wagner's Tannhäuser. She is featured here in Elisabeth's greetings to the Hall of Song that opens Act 2 of the opera. This comes from a live performance in April 1967 at the Teatro alla Scala, Milano, conducted by Wolfgang Sawallisch. The English translation of the sung text comes from Wagner net (www.rwagner.net): Dear hall, I greet thee once again, joyfully I greet thee, beloved place! In thee his lays awake and waken me from gloomy dreams. When he departed from thee, how desolate thou didst appear to me! Peace forsook me, joy took leave of thee. How strongly now my heart is leaping; to me now thou dost appear exalted and sublime. He who thus revives both me and thee, tarries afar no more. I greet thee! I greet thee! Thou precious hall, receive my greeting!
Sunday, November 6, 2011
ECSCW 2007: Proceedings of the 10th European Conference on Computer-Supported Cooperative Work, Limerick, Ireland, 24-28 September 2007
!±8± ECSCW 2007: Proceedings of the 10th European Conference on Computer-Supported Cooperative Work, Limerick, Ireland, 24-28 September 2007
The emergence and widespread use of personal computers and network technologies have seen the development of interest in the use of computers to support cooperative work. This volume presents the proceedings of the tenth European conference on Computer Supported Cooperative Work (CSCW). This is a multidisciplinary area that embraces the development of new technologies grounded in actual cooperative practices.
These proceedings contain a collection of papers addressing novel interaction technologies for CSCW systems, new models and architectures for groupware systems, studies of communication and coordination among mobile actors, studies of cooperative work in complex settings, studies of groupware systems in actual use in real-world settings, and theories and techniques to support the development of cooperative applications. The papers present emerging technologies alongside new methods and approaches to the development of this important class of applications.
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