Bien polenta juan darienzo biography

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Table of contents :
Bohlman

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Copyright © 2016. Rowman & Littlefield Publishers. All rights reserved. Neapolitan Postcards : The Canzone Napoletana as Transnational Subject, edited by Goffredo Plastino, and Joseph Sciorra, Rowman & Littlefield Publishers, 2016. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/nyulibrary-ebooks/detail.action?docID=4519217. Created from nyulibrary-ebooks on 2021-01-07 15:01:02.

Copyright © 2016. Rowman & Littlefield Publishers. All rights reserved.

Neapolitan Postcards

Neapolitan Postcards : The Canzone Napoletana as Transnational Subject, edited by Goffredo Plastino, and Joseph Sciorra, Rowman & Littlefield Publishers, 2016. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/nyulibrary-ebooks/detail.action?docID=4519217. Created from nyulibrary-ebooks on 2021-01-07 15:01:02.

Europea: Ethnomusicologies and Modernities

Copyright © 2016. Rowman & Littlefield Publishers. All rights reserved.

Series Editors: Philip V. Bohlman and Martin Stokes The new millennium challenges ethnomusicologists, dedicated to studying the music of the world, to examine anew the Western musics they have treated as “traditional,” and to forge new approaches to world musics that are often overlooked because of their deceptive familiarity. As the modern discipline of ethnomusicology expanded during the second half of the twentieth century, influenced significantly by ethnographic methods in the social sciences, ethnomusicology’s “field” increasingly shifted to the exoticized Other. The comparative methodologies previously generated by Europeanist scholars to study and privilege Western musics were deliberately discarded. Europe as a cultural area was banished to historical musicology, and European vernacular musics became the spoils left to folk-music and, later, popular-music st

History of Tango – Part 9: Eduardo Arolas. The evolution of Tango music. POSTED IN HISTORY OF ARGENTINE TANGO. Audio Player http://escuelatangoba.com/marcelosolis/wp-content/uploads/Una-Noche-de-Garufa.m4a In 1909, when Eduardo Arolas composed “Una noche de garufa”, he had not yet acquired a formalized musical education. He was 17 years old. Still, in his first composition, all the elements of his style are present, bursting out into the world, for the amusement of all of those who, like me, love Tango. This quality cannot be attributed to any other Tango composer. None of his colleagues had a defined style during their first compositions, and would need many years to develop it. Arolas’ works have such advanced characteristics, that they will keep forever surprising Tango lovers wondering how, what inspiration, and from which source Arolas extracted them. He was born on February 24, 1892, in the nascent industrial neighborhood of Barracas, on the southern edge of Buenos Aires, where he grew up playing among workshops, construction sites, warehouses, deposits, workers, cart drivers, cuarteadores, payadores and herdsmen. At 6 years old, he started learning to play the guitar from his brother José Enrique. Until 1906 he played this instrument with friends in informal settings, and eventually began playing gigs at Cafés and Dancings of his neighborhood. Arolas was regarded as skillful and versatile player. He accompanied Ricardo González “Muchila”, who played the bandoneon. The sound of this instrument exerted a strong attraction on Arolas. He acquired a small one with 32 notes and began learning from Muchila. After selling merchandise on the streets for many years, his parents opened a wholesale store and bar in front of the train station. Arolas, known as “el Pibe Eduardo”, and his brother played Waldteufel waltzes to entertain the clientele, which were very in vogue at the time. After finishin

Universitá di Cagliari, Via Is Mirrionis, 1

1A. Frontiere mediterranee della Corona di Spagna: l’area italiana

Chair: Pietro De Leo, Università della Calabria.

Pietro De Leo, “Le incursioni nel Mezzogiorno d’Italia tra Mare Jonio e mare Adriatico nei documenti ecclesiastici (secc.XV-XVII)”

Interessanti e inedite notizie intorno alle incursioni saracene nell’Italia Meridionale, in particolare nelle coste calabre dello Jonio e del Tirreno, si trovano nei documenti pontifici ed episcopali, ma anche nelle tradizioni popolari legate al culto e alle devozioni, che fotografano stati d’animo e situazioni legate alla vita quotidiana, come anche giudizi e valutazioni su popoli e religioni diverse.

Anna Maria Oliva, ISEM – CNR, Cagliari, “Rapporti tra Corona di Spagna e Curia pontificia all’epoca di Carlo V: la questione turca nei dispacci degli ambasciatori spagnoli a Roma”

Nel corso del XV secolo il Papato assume sempre piu il molo di vero arbitro della politica italiana ed europea. La curia pontificia e in quegli anni infatti arbitra della politica intemazionale sia per la situazione italiana che per quella europea, per gli aspetti politici connessi alle scoperte atlantiche come per quelli relativi all'espansione turca in Europa e nel Mediterraneo La Curia pontificia, per la sua centralita, dunque, costituisce una prospettiva storiografica di grande interesse. ARoma operavano, gia dall'epoca di Ferdinando il Cattolico, ambasciatori spagnoli residenti accreditati presso il pontefice. Le relazioni che costoro inviavano a Carlo V, e le istruzioni che l'imperatore ampartiva ai propri rappresentanti, conservate presso l'Archivio generale di Simancas, costituiscono una fonte preziosa sia per analizzare "dal di dentro" la politica spagnola di contrasto all'espansione turca, sia per meglio conoscere l'impatto che la questione turca aveva sugli ambienti ecclesiastici e sulle iniziative politiche del pontef