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Alyson Payne. "Art Song Composers of Spain: An Encyclopedia (review)." Notes 66, no. 4 (2010): 794–96. http://dx.doi.org/10.1353/not.0.0365.
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MARÍN, MIGUEL ÁNGEL. "EL CUARTETO DE CUERDA EN ESPAÑA DE FINES DEL SIGLO XVIII HASTA LA ACTUALIDAD UNIVERSIDAD DE GRANADA, 20–21 MARCH 2014." Eighteenth Century Music 12, no. 1 (February 17, 2015): 125–27. http://dx.doi.org/10.1017/s1478570614000530.
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Imagine you are asked in an academic meeting to name three or four prominent Spanish composers in the field of the string quartet. How many would you be able to cite? You might be tempted to answer that the quartet was in fact hardly cultivated in Spain, or you might perhaps wonder whether Boccherini could be taken to be a ‘Spanish’ composer. These potential responses to this fictional situation encapsulate well two of the historiographical preconceptions that have governed our view of this area, the first of which is, to put it in Friedhelm Krummacher's words, that Spanish composers ‘adopted a particularly abstinent attitude’ towards the genre (‘sich . . . besonders abstinent zum Streichquartett verhielten’; Geschichte des Streichquartetts, volume 2 (Laaber: Laaber, 2005), 400).
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Lee, Jisun, and Joonho Kim. "Ethnic Musical Elements of Andalusia, Spain, Reflected in Turina’s Piano Dance Music." Korean Society of Culture and Convergence 44, no. 12 (December 31, 2022): 413–25. http://dx.doi.org/10.33645/cnc.2022.12.44.12.413.
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This study investigated the ethnic musical elements of Andalusia, southern Spain, reflected in Turina’s piano dance pieces. Turina integrated the traditional music style and impressionism music technique in Paris with the national music of Andalusia, implementing it in piano music. Turina, a composer who occupies a major position in Spanish nationalist piano music, produced the most piano works of any Spanish composers of his time. The dance suite, a large portion of his piano work list, preserves the identity of flamenco as a complex art with dance, a representative music of the Andalusia, and recreates it within the framework of traditional European music. This study analyzed Andalusian national music elements in Turina’s piano dance pieces by dividing into melodic, harmonic, and rhythmic elements. Turina’s piano dance have gained musical universality by fusion with the mainstream music trends of Western Europe beyond the limits of Andalusia, Spain.
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Gordillo, Bernard. "Musical Cosmopolitanism in Central America: in search of an Obituary of Alejandro Cousin (ca. 1835 - 1910)." Ensayos: Historia y Teoría del Arte 24, no. 38 (September 21, 2021): 61–75. http://dx.doi.org/10.15446/ensayos.v24n38.98373.
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During the latter half of the nineteenth century, the countries of Central America incorporated European musicians into their state-generated projects. Administrations from Guatemala to Costa Rica appointed composers from Italy, Germany, Belgium, and Spain to help stimulate national musical culture and education, giving them leadership roles in state institutions. Belgian composer and conductor Alejandro Cousin arrived in the late 1850s and spent the rest of his life in El Salvador and Nicaragua where he established the national military band. This article, in the form of an obituary, sheds light on his noteworthy artistic legacy in Central America.
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Murga Castro, Idoia. "The Spanish Reception of Le Sacre du Printemps (1913–1936)." Dance Research 36, no. 1 (May 2018): 48–66. http://dx.doi.org/10.3366/drs.2018.0220.
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Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.
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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (January 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.
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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.
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Young, Clinton D. "The Southern Slope of Monsalvat: How Spanish Wagnerism Became Catalan." 19th-Century Music 41, no. 1 (2017): 31–47. http://dx.doi.org/10.1525/ncm.2017.41.1.31.
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This article examines the development of Wagnerism in late-nineteenth-century Spain, focusing on how it became an integral part of Catalan nationalism. The reception of Wagner's music and ideas in Spain was determined by the country's uneven economic development and the weakness of its musical and political institutions—the same weaknesses that were responsible for the rise of Catalan nationalism. Lack of a symphonic culture in Spain meant that audiences were not prepared to comprehend Wagner's complexity, but that same complexity made Wagner's ideas acceptable to Spanish reformers who saw in the composer an exemplar of the European ideas needed to fix Spanish problems. Thus, when Wagner's operas were first staged in Spain, the Teatro Real de Madrid stressed Wagner's continuity with operas of the past; however, critics and audiences engaged with the works as difficult forms of modern music. The rejection of Wagner in the Spanish capital cleared the way for his ideas to be adopted in Catalonia. A similar dynamic occurred as Spanish composers tried to meld Wagner into their attempts to build a nationalist school of opera composition. The failure of Tomás Bréton's Los amantes de Teruel and Garín cleared the way for Felip Pedrell's more successful theoretical fusion of Wagnerism and nationalism. While Pedrell's opera Els Pirineus was a failure, his explanation of how Wagner's ideals and nationalism could be fused in the treatise Por nuestra música cemented the link between Catalan culture and Wagnerism.
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Bălan, Florin. "Fundamental Analysis of Chick Corea’s Improvisation in Spain (1972)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 99–110. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.07.
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"Modern jazz can be considered an equal part of modern music, owing to the numerous experiments, at times considered strange or not really agreed by the audience. When talking about modern musical life and the possibilities for making music in a proper manner, no doubt that the value and genius of composers like Wolfgang Amadeus Mozart or Ludwig van Beethoven must be recognized. However, one must also realize that modern life, with its modern, contemporary music is also needed. The great jazz saxophonist, Charlie Parker considered improvisation the middle of the earth, the place where, if only for a few brief moments, one can be the best and the greatest composer in the world. Furthermore, the idea of a song (theme) is the only reason for musicians to come and elaborate together, with variational spontaneity, a unique and maybe unrepeatable musical manifestation. The works of Chick Corea reflect this point of view, as the analysis of the work Spain (1972), discussed in the article bellow, will demonstrate. The work represents the fusion between Spanish music and the compositional methods of modern jazz music, reflecting Corea’s unique style. Improvisation lies at the basis of this composition, offering the musician a multitude of possibilities for expressing his ideas regarding freedom and human nature. Keywords: jazz, piano improvisation, spontaneity, creativity, harmonical knowledge, contemporary "
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Dotsenko, Vitaly. "The theme of Spain in Russian music: from Glinka to Shostakovich." Latinskaia Amerika, no. 8 (2022): 68. http://dx.doi.org/10.31857/s0044748x0021216-6.
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The article is devoted to bilateral Russian-Spanish relations in the field of musical creativity during the 19th and 20th centuries. The problems of mutual influence of musical cultures of Spain and Russia and their reflection in the works of composers are raised. The issues of artistic interchange between the two countries are also highlighted by the example of the performing activities of prominent representatives of the musical art. The creative activity of M.Glinka, A.Rubinstein, F.Chaliapin, I.Stravinsky, M.Plisetskaya, A. Volkonsky, D. Shostakovich is considered.
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MORALES FLORES, IVÁN CÉSAR, and MALENA KUSS. "Art Music and Transterritoriality: Reflections on Cuban Migrations to Europe during the 1990s." Twentieth-Century Music 17, no. 3 (October 2020): 291–309. http://dx.doi.org/10.1017/s1478572220000134.
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AbstractThe fall of Communist rule in Eastern Europe (1989–91) had a profound impact on economic, socio-political, and cultural conditions in Cuba during the 1990s. It was the beginning of the so-called ‘Special Period in Times of Peace’. Increasing dire economic conditions on the island led to many changes that impoverished cultural life, including the relocation of composers in Europe, the United States, and other countries in the Americas. The situations encountered by composers who migrated to Europe varied, depending on generational differences and on the dynamics of the socio-political and cultural powers to which each of them were exposed in their new reception contexts. Whether adopting an uncontested identification with the new cultural milieu or resorting to discursive strategies of appropriation and de/re-territorialized negotiation, this text centres on the compositional journeys of four Cuban composers who settled in different European cities: Leo Brouwer (Córdoba, Spain); Eduardo Morales-Caso (Madrid); Keyla Orozco (Amsterdam); and Louis Aguirre (Aalborg, Denmark). Each case represents an invaluable experience of aesthetic reconstruction in a new creative territory that, by its own transterritoriality, has in turn enriched the sonic map of the Caribbean island.
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Spiridon, Simona. "The symphonic music of the national schools in 20th century Europe in the repertoire of the Philharmonic of Cluj (1955-1989). Creative perspectives of C. Silvestri’s Chants Nostalgiques op. 27 no. 1." Journal of Education Culture and Society 6, no. 1 (January 5, 2020): 143–52. http://dx.doi.org/10.15503/jecs20151.143.152.
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The present work focuses on the national cultures of the early 20th century in several European countries, such as Czechoslovakia, Poland, Hungary, Spain, Russia and Romania. Since my PhD thesis analyses the evolution of the Philharmonic “Transilvania”of Cluj between 1955-1989, there will be a thorough statistic of the concerts which were held during that period in which the orchestra performed musical pieces of the composers mentioned in this essay. For some concerts, there will also be stated the date when the concert took place, as well as the conductor who was invited to Cluj. There will also be an analysis of a piano work of the Romanian composer Constantin Silvestri (Chants Nostalgiques op. 27 no. 1) which I personally played a few years ago. The study will contain a musical bibliography, as well as several footnotes stating the documents found in the archives of the Philharmonic of Cluj.
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Araüna, Núria, Iolanda Tortajada, and Mònica Figueras-Maz. "Feminist Reggaeton in Spain: Young Women Subverting Machismo Through ‘Perreo’." YOUNG 28, no. 1 (March 25, 2019): 32–49. http://dx.doi.org/10.1177/1103308819831473.
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This article explores the feminist potential of the Spanish ‘reggaeton’ movement led by young women through the song lyrics and public discourses of artists Brisa Fenoy, Ms Nina and Tremenda Jauría. These three singers and composers have been categorized as belonging to reggaeton genre, in a context in which Feminism is widespread among young people in Spain. Reggaeton is commonly considered (both in popular culture and academic studies) a sexist musical style, inherently male-centred in the way its songs and its ‘perreo’ dancing style are performed, and also in the pleasure provided to their audiences. Three feminist music projects from diverse backgrounds give voice to the artists themselves and use this music style as a parody and as a way of responding to everything they dislike about reggaeton and society, while at the same time resignifying this music genre and opening up an opportunity to deliver a feminist message.
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VERA, ALEJANDRO. "THE CIRCULATION OF INSTRUMENTAL MUSIC BETWEEN OLD AND NEW WORLDS: NEW EVIDENCE FROM SOURCES PRESERVED IN MEXICO CITY AND LIMA." Eighteenth Century Music 12, no. 2 (August 24, 2015): 183–96. http://dx.doi.org/10.1017/s1478570615000299.
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ABSTRACTThis article deals with the circulation of instrumental music between Spain and the New World at the end of the eighteenth century, focusing on Madrid, Mexico City and Lima as main urban centres. By analysing archival documents preserved in these cities, I intend to show that the baroque guitar music composed and copied in Madrid was also intended to be a commercial concern in Latin America (particularly in Mexico City and Lima), and that its cultivation in the New World lasted for a long time, even through to the beginning of the nineteenth century, thus coexisting with music by Johann Christian Bach, Boccherini, Cannabich, Haydn and other ‘modern’ composers. These assertions are reinforced through an examination of two musical manuscripts copied in Lima around 1800, which also shows some of the changes undergone by the repertory during its complex process of reception. I conclude by suggesting that, in the light of all this, a linear and evolutionary view of music history, according to which new repertories replace older ones, should be reconsidered.
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Gozdecka, Renata. "Miejsca ojczyste w muzyce kompozytorów hiszpańskich XIX-XX wieku. Propozycja dydaktyczna." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, no. 1/2 (June 14, 2019): 237. http://dx.doi.org/10.17951/l.2018.16.1/2.237-251.
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<p>W twórczości muzycznej hiszpańskich kompozytorów dostrzegamy dość wyraźnie wyodrębniony nurt dzieł, dla których źródła inspiracji wyłoniły się z geograficzno-kulturowych toposów ojczystego kraju. W tytułach tego typu utworów pojawiają się nazwy regionów Hiszpanii (m.in. Asturia, Kastylia, Aragonia, Katalonia, Baskonia, Andaluzja), jej miast (np. Granada, Kadyks, Ronda, Jerez, Kordoba), nierzadko w ścisłym powiązaniu z<span style="text-decoration: line-through;">e</span> różnymi znaczącymi fenomenami historyczno-kulturowymi i artystycznymi (np. malarstwem Francisco Goi). Uwagę naszą przyciągną kompozycje czołowych twórców hiszpańskich z końca XIX i początku XX wieku: Francisco Tárregi (1852-1909), Isaaca Albéniza (1860-1909), Enrique Granadosa (1867-1916), Manuela de Falli (1876-1946) i Joaquina Turiny (1882-1949). Zaznaczmy, że będzie to jedynie zasygnalizowanie wskazanego zjawiska, głównie dla celów edukacyjnych; jego pełne i wszechstronne przedstawienie wymagałoby obszerniejszego studium.</p><p>Różnorodność i kontrasty, które stanowią o specyficznym charakterze Hiszpanii, dają się zauważyć w wielu miastach tego kraju, a kultury arabska, żydowska i chrześcijańska – zarówno w swoich czystych przejawach, jak i tych będących rezultatem wzajemnych wpływów – tworzą dorobek historyczny i artystyczny trwale obecny do naszych czasów. Nadając utworom tytuły związane z ważnymi miejscami swojej ojczyzny – co istotne, z uwzględnieniem zakorzenionych w nich fenomenów kulturowych i muzycznych (folklor, tańce, pieśni, instrumentarium), kompozytorzy hiszpańscy, poprzez muzyczną „geografię”, utrwalili w pamięci kolejnych pokoleń „mapę” swojego kraju, zapewnili jednocześnie muzyce hiszpańskiej trwałe miejsce w kulturze światowej.</p><p><strong>Native Places in the Music of Spanish Composers of the 19th-20th centuries. A Didactic Suggestion</strong></p>SUMMARY<p>In the musical works of Spanish composers of the 19th and 20th centuries we can perceive a clearly distinguished trend of works for which inspiration sources emerged from the geographic-cultural topoi of their native country. The names of regions in Spain (e.g. Asturias, Castile, Andalusia), its towns (e.g. Granada, Cadiz, Cordoba) frequently appear in the titles of these types of work in close connection with various important historical-cultural phenomena, e.g. with the paintings of Francisco Goya). We see it in the compositions of leading Spanish composers of the late 19th and the beginning of the 20th centuries: Francisco Tárrega (1852-1909), Isaac Albéniz (1860-1949), Enrique Granados (1867-1916), Manuel de Falla (1876-1946), and Joaquin Turina (1882-1949). In the article, the author discusses inter alia: Wspomnienia z Alhambry [Memories of Alhambra] by Tárrega, I Suita hiszpańska [Spanish Suite no. 1] and Iberia by Albéniz, Goyescas by Granados, Noce w ogrodach Hiszpanii [Nights in the Gardens of Spain] by de Falla. By giving their works the titles connected with important places of their motherland, including also various cultural and musical phenomena rooted in them (folklore, dances, songs, instrumentation), the Spanish composers commemorated “the map” of their country in the memories of subsequent generations, and at the same time, ensured Spanish music a constant place in the world culture.</p>
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RodrÍguez, Eva Moreda. "Why do Orchestral and Band Musicians in Exile Matter? A Case Study from Spain." Music and Letters 101, no. 1 (February 1, 2020): 71–88. http://dx.doi.org/10.1093/ml/gcz080.
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Abstract Even though scholarship on music and exile under Franco has grown steadily for the past three decades, little attention has been paid thus far to exiled performers who were active primarily as members of orchestras and bands. This article makes an initial contribution to this field by focusing on the Banda Madrid as a case study. The Banda Madrid was founded in the spring of 1939 in the internment camp of Le Barcarès (France) by Rafael Oropesa. Its members went into exile in Mexico City and became a fixture of the Spanish exile community until 1947. I discuss how the Banda Madrid and the stories of some of its individual members expand our understanding of politics and modernity in the Spanish Republican exile. In order to do this, I follow the trajectories of Banda Madrid musicians before, during, and after the Civil War, and contrast them with those of left-wing composers in exile.
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Reif, Jo-Ann. "Music and grammar: imitation and analogy in Morales and the Spanish humanists." Early Music History 6 (October 1986): 227–43. http://dx.doi.org/10.1017/s0261127900000802.
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The relationship of mass composition to the study of rhetoric has occupied many writers interested in perceiving the two as analogous in organisation, vocabulary and persuasive goals. Grammar belonged to the choirboy's education but, more importantly, the method of grammar permeated the general teaching method for other subjects as well. Material, such as questions or disputations, was organised into the similar and the dissimilar, so that working from a model and transfer by analogy were the principal means of making connections between statements and ideas. This essay is concerned with the opportunities available in sixteenth-century Spain for the study of grammar and music and how these possibilities affected the leading Spanish composer of the time, Cristóbal de Morales. In this discussion, Juan Bermudo's treatiseDeclaración de instrumentsis important. Not only does it name leading humanists and composers, and present its theoretical remarks in the language of rhetoric; Morales, who had been in close contact with Bermudo at the Marchena estate of the Duke of Arcos, recommended the treatise. Thus Bermudo, a young Minorite monk, reveals a good deal about Morales by both direct quotation and analogy, and in effect provides a more rounded intellectual impression of the composer, who otherwise expressed himself only in his musical works and their dedications. It can be deduced from musical quotations that Morales is Bermudo's model composer, and by analogy that Morales, versed in rhetoric and imitation, understood the application of these rules in musical composition. In his thorough appraisal of musical tradition, theory and practice, Bermudo assumes the function of a critic in the modern sense.
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Wellburn, Peter. "Art Song Composers of Spain: An Encyclopedia201088Suzanne Rhodes Draayer. Art Song Composers of Spain: An Encyclopedia. Lanham, MD and Plymouth: Scarecrow Press 2009. xxviii + 518 pp., ISBN: 978 0 8108 6362 0 $44.95/$75 Also available as an e‐book (ISBN 978 0 8108 6719 2)." Reference Reviews 24, no. 2 (February 16, 2010): 53–54. http://dx.doi.org/10.1108/09504121011021977.
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Bronsoms, Angels, and Paula Guerra. "Shatter silence, raise hell and run riot: music and gender in Spain 2018–2021." Debats. Revista de cultura, poder i societat 136, no. 2 (November 14, 2022): 27–42. http://dx.doi.org/10.28939/iam.debats-136-2.2.
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Gender issues have fortunately become a topic of growing interest in research into contemporary music and artistic scenes. With the aim of obtaining data on the exclusion of gender in the current conditions imposed by COVID-19, the investigation is focused on learning how women in the cultural and artistic sector have offered resistance to the cultural policies that continue to discriminate them. The methodology focal point is geared to examine the issues related to the practices that have condemned women by history and how gender inequalities are expressed in the 21st century. The study’s base is an intersectional sample of 20 female interpreters and professionals of the musical industry in the Spanish territory in different roles and genres: producers, managers, singers, composers and music critics. The answers were drawn first from radio interviews with a qualitative slant during 2018-19 and later in the post COVID scenario in spring of 2021, and organized in three analytical categories: profession, prestige and recognition of women's musical creations/productions and how their representation was portrayed by media/public. The results provided some meanings relevant to the opportunities and careers they could access. Although the arts and culture are women's worlds are pierced by cumulative disadvantages: gender stereotypes, difficulties in reconciling work and family life, objectification and sexual harassment, the conclusions extracted divulge claims in synthony with their own responses: the more i fight, the more i feel alive!; what if women had the power?; and no more twenty feet from stardom.
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GARCÍA GALLARDO, CRISTÓBAL L., and PAUL MURPHY. "‘THESE ARE THE TONES COMMONLY USED’: THE TONOS DE CANTO DE ÓRGANO IN SPANISH BAROQUE MUSIC THEORY." Eighteenth Century Music 13, no. 1 (February 11, 2016): 73–93. http://dx.doi.org/10.1017/s1478570615000433.
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In the course of the seventeenth and eighteenth centuries, composers and music theorists moved away from the system of the eight ecclesiastical modes that had been elaborated by medieval theorists and was later applied to polyphonic music (including the varied system extended to twelve modes in the sixteenth century) towards modern bimodal tonality. Although several modal systems coexisted within this time period, a distinct variant of the eight modes, often known in modern scholarship as the church keys, developed as a practical solution to problems associated with the performance of psalms and other recited formulas (especially the Magnificat) in alternatim practice between the choir in plainchant and the organ. A scarcity of research on this topic within investigations of Spanish music prompts us to outline an introduction to a matter so crucial to music theory of the baroque period in Spain. Thus we present an overview of the treatment of the church keys or tones in Spanish treatises over a long period of two centuries, and focus briefly on particular contributions made by individual authors.
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Nelson, Bernadette. "Ritual and ceremony in the Spanish royal chapel, c. 1559–c. 1561." Early Music History 19 (October 2000): 105–200. http://dx.doi.org/10.1017/s0261127900001984.
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On the abdication of his father Charles V from the Spanish throne in 1556, Philip II was to inherit probably the most important and prestigious court chapel in Europe. Its history, structure and musical eminence were well established during the time of the Burgundian dukes in the fifteenth century, under whose patronage some of the most prominent musicians and composers found their livelihood; as an institution, it was also partly indebted to traditions and an infrastructure inherited from the Castilian court of Ferdinand and Isabella which was passed on to Charles V following the death of Ferdinand in 1516. When Philip II came to power, the amalgamation of his own court and chapel with that of the Emperor resulted in an organisation of unheard proportions, even though many officers of the Imperial court were to accompany Charles V on his retirement to the monastery in Yuste, in Spain, and others of Philip's own train were to return independently to their homeland on periods of extended leave. This was evidently a time of considerable upheaval, during which membership fluctuated and the structural organisation necessarily underwent a period of some adjustment.
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Кряжева, И. А. "Music at the Court of Catholic Kings of Spain (the Turn of the 15-16 Centuries)." Музыкальная академия, no. 3(767) (September 20, 2019): 52–61. http://dx.doi.org/10.34690/02.
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В статье рассматривается придворная музыкальная культура Испании рубежа XV-XVI веков, структура, функции (политические и статусные), а также репертуар придворной капеллы, которая формировалась и выстраивалась под влиянием капелл бургундских герцогов. Среди композиторов, создававших репертуар капеллы, выделяется Франсиско Пеньялоса, успешно ассимилировавший и переработавший франко-фламандский полифонический стиль. Область светского музицирования связана с полифонической песней (вильянсико, романс и другие жанры), представленной в рукописных сборниках (Cancionero). Особое внимание уделяется новациям музыкально-поэтического стиля Хуана дель Энсины, осуществлявшимся в русле европейской гуманистической традиции. В работе применяются методы исторического исследования, основывающиеся на анализе документальных источников (хроник, документов церковных капитулов и т. д.), позволяющих воссоздать относительно достоверную картину. Новизна работы определяется не только ее материалом, практически неизвестным в русскоязычной литературе, но и ракурсом рассмотрения, акцентирующим ведущую роль властных структур (аристократического двора) в развитии музыкального искусства и укреплении авторитета композитора. The article discusses the court musical culture of Spain at the turn of the 15th16th centuries, its structure, functions (political and status), as well as the repertoire of the court chapel, which was formed and built under the influence of the chapels of the Burgundian dukes. Among the composers who created the choirs repertoire is Francisco Pealosa, who successfully assimilated and reworked the Franco-Flemish polyphonic style. The field of secular music is connected with polyphonic song (villanсiсo, romance, etc.), presented in manuscript collections (Cancionero). Particular attention is paid to the innovations of the musical-poetic style of Juan del Encina, carried out in line with the European humanistic tradition. The author of the article uses the methods of historical research based on the analysis of documentary sources (chronicles, documents of church chapters, etc.), allowing to recreate a relatively reliable picture. The novelty of the work is determined not only by its material, unknown in Russian-language literature, but also by the consideration angle taken, emphasizing the leading role of power structures (the aristocratic court) in the development of musical art and strengthening the authority of the artist.
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García Soriano, Esther. "La figura del compositor cinematográfico durante la década de 1940 en España." AdMIRA-Análisis de Medios, Imágenes y Relatos Audiovisuales, no. 5 (2017): 60–92. http://dx.doi.org/10.12795/admira.2017.02.04.
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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Escrivà-Llorca, Ferran. "Conversaçiones de Música a finals del segle XVI: el cas de l’acadèmia de Joan de Borja i Castro." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 9, no. 9 (June 12, 2017): 312. http://dx.doi.org/10.7203/scripta.9.10349.
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Resum: Aquest article s’insereix dins del conjunt d’investigacions sobre la Cort dels Habsburgs. L’estudi de les acadèmies musicals és poc conegut. A partir d’algunes investigacions sobre acadèmies literàries, l’article focalitzarà en l’acadèmia musical que Joan de Borja i Castro tenia a Madrid. En aquest sentit, si el mecenatge literari cortesà ja és un tema amb múltiples variants, l’aproximació al patrocini d’altres activitats artístiques, com el cas de la música, ho és encara més. En les següents pàgines s’aprofundirà en les diverses facetes erudites de Joan de Borja amb el fil conductor de les acadèmies, com a centre d’intel·lectualitat, de creació i promoció cultural i també personal. Per aquesta acadèmia van passar alguns dels personatges del món musical ibèric més important de l’època com Francisco Guerrero o Tomás Luis de Victoria. Aquest article pretén mostrar la importància d’aquesta acadèmia com un punt neuràlgic del mecenatge musical de les darreres dècades del segle XVI. Paraules clau: Joan de Borja, Borja, acadèmies, Habsburgs, Música, Madrid Abstract: This work is part of the research on The Court of Habsburg in Modern Era. The study of music academies is not quite known. From few works on literary academies, this article will focus on the music academy that of Juan de Borja i Castro hold in Madrid. In this way, if the courtly literary patronage is already an issue with multiple variants, the approach to other artistic activities, such as the music, it is even more. In the following pages, it will delve into the various aspects of erudition of Juan de Borja with the thread of the academies, as a centre of intellectual, creative and cultural promotion and personal. Some of the most important composers of the Iberian World of that time, such as Francisco Guerrero or Tomás Luis de Victoria, were involved in this academy. The article aims to show the relevance of this cenacle as a focal point of the musical patronage in the last decades of the 16th century Spain. Keywords: Joan de Borja, Borja, academies, Habsburgs, Music, Madrid
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Lluís i Falcó, Josep. "The Film Composer in Spain: The generation of '89." Music, Sound, and the Moving Image 4, no. 2 (January 2010): 225–35. http://dx.doi.org/10.3828/msmi.2010.15.
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Hiley, David. "Balther of Säckingen, bishop of Speyer, composer of chants for St Fridolin ca. 970." Studia Musicologica 56, no. 2-3 (June 2015): 147–60. http://dx.doi.org/10.1556/6.2015.56.2.3.
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Balther of Säckingen was a remarkable scholar, writer and composer, who was born about 930, made bishop of Speyer in 970, and died in 986 or 987. Educated at the famous monastery in St. Gallen, he went as a wandering student in search of learning as far as North Spain. He had a special veneration for St Fridolin, founder of a convent in Säckingen. On his travels Balther found a copy of a Life of St Fridolin, memorized it, wrote it down on his return home, composed chants to be sung on the feast day of the saint, and sent both the Life (vita) and the chants (historia) to one of his former teachers at St. Gallen for approval. Balther says he composed them “per musicam artem”, “according to the art of music”. This paper tells how Balther’s chants came to be composed and compares them with others in order to understand what was considered to be “musical art” around 970.
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De Meireles, Carlos, Paulo F. Castro, Nuno Vaz, Carlos Ângelo, Narciso Ferreira, António J. D. Sequeira, and Artur A. Sá. "Lithostratigraphy of the “Schist-Greywacke Domain” in Portugal: a reappraisal." Cadernos do Laboratorio Xeolóxico de Laxe. Revista de Xeoloxía Galega e do Hercínico Peninsular 44 (December 23, 2022): 1–32. http://dx.doi.org/10.17979/cadlaxe.2022.44.0.9281.
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A synthesis of the knowledge of the Schist-Greywacke Domain (SGD) in Portugal is here presented. Until recently, this sequence assumed the designation of Dúrico-Beirão Supergroup composed by the Douro Group (DG) and the Beiras Group (BG). The DG is considered of Neoproterozoic – Cambrian age and the BG is of Neoproterozoic age. The identification and mapping in the BG of an unconformity as the Cadomian unconformity identified in Spain, which splits the Neoproterozoic in “lower Alcudian” and “upper Alcudian”, is a turning point for the understanding and establishment of consistent stratigraphic sequences that now compose the Fróia and the Lousã groups assembled in the Beiras Supergroup. These new groups are correlated with the Neoproterozoic sequences currently recognized in Spain: the Lousã group is equivalent to the Ibor Group (upper Alcudian) and the Fróia Group is equivalent pro parte, to the Domo Extremeño Supergroup.
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Gluck, Robert J. "Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York." Leonardo 45, no. 1 (February 2012): 50–56. http://dx.doi.org/10.1162/leon_a_00325.
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Composer Morton Subotnick moved to New York in 1966 for a brief but productive stay, establishing a small but notable electronic music studio affiliated with New York University. It was built around an early Buchla system and became Subotnick's personal workspace and a creative home for a cluster of emerging young composers. Subotnick also provided artistic direction for a new multimedia discoteque, the Electric Circus, an outgrowth of ideas he formulated earlier at the San Francisco Tape Music Center. A Monday evening series at the Circus, Electric Ear, helped spawn a cluster of venues for new music and multimedia. While the NYU studio and Electric Ear represent examples of centers operating outside commercial forces, the Electric Circus was entrepreneurial in nature, which ultimately compromised its artistic values.
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Tenorio, Martha Lilia. "Centones gongorinos en Nueva España." (an)ecdótica 3, no. 2 (August 12, 2019): 11–46. http://dx.doi.org/10.19130/iifl.anec.2019.2.1146.
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The poetic form known as cento, composed of sections or verses of other poems, represents a curious literary subgenre practiced since Classical times. In New Spain, we have examples of Virgilian centos, centos about Our Lady of Guadalupe, and Gongorian centos on the Immaculate Conception. This article contains both a brief introduction on this poetic form and the textual edition of the six Gongorian centos that were composed in New Spain.
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MOREDA-RODRíGUEZ, EVA. "Francoism and the Republican Exiles: the Case of the Composer Julián Bautista (1901–61)." Twentieth-Century Music 8, no. 2 (September 2011): 153–73. http://dx.doi.org/10.1017/s1478572212000060.
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AbstractExile studies in musicology have generally focused on Central European exiles fleeing from Nazism; at the same time studies of the Republican exile following the Spanish Civil War have tended to deal primarily with writers rather than musicians. This article intends to address both these areas of neglect by focusing on the composer Julián Bautista, who settled in Buenos Aires in 1940. In the late 1950s, after more than a decade of oblivion in his home country, Bautista, like other anti-Francoist exiles, started to become the object of interest again in Spain, an interest which continued after the composer's death in 1961. By exploring Bautista's presence in the Francoist musical press and in high-profile, state-sponsored events such as the Festivales de Música de América y España, I shall explore the reasons for his rehabilitation – reasons that, far from amounting to straightforward liberalization, seem to have been closely aligned with the strategies of the régime, and the cultural values and historical narratives that underpinned them.
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O'Neill, Desmond. "MIDLIFE CREATIVITY AMONG COMPOSERS AND NOVELISTS." Innovation in Aging 6, Supplement_1 (November 1, 2022): 211. http://dx.doi.org/10.1093/geroni/igac059.844.
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Abstract Although the study of midlife has increased in recent years, it still lags behind study of life at the extremes of age. As a key threshold stage in the lifespan, our understanding can be enhanced by exploration of novelists and composers whose most substantive work began to be produced in midlife. This presentation will draw off the works of midlife works of composers who also composed into later life - Giussepe Verdi, Richard Strauss and Johannes Brahms - from the concert proposed by the Indianapolis Symphony during GSA 2022, as well as reflecting on the works of Anita Brookner as representative of other novelists and poets whose work and careers came to prominence in midlife.
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Sakai, Naotaka. "Keyboard Span in Old Musical Instruments: Concerning Hand Span and Overuse Problems in Pianists." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 169–71. http://dx.doi.org/10.21091/mppa.2008.4034.
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The keyboard spans (i.e., octave spans) of old keyboard instruments was compared with those of modern pianos to explore whether the relationship between keyboard span and hand span is a contributory factor in overuse problems among pianists. The distance on the keyboard between the left side of the C4 key and the right side of the C5 key was measured in 120 old keyboard instruments, including 26 harpsichords, 8 clavichords, 7 spinets, 4 virginals, 75 pianofortes, and 20 square pianos, manufactured from 1559 through 1929. The oldest harpsichords and pianoforte showed a keyboard span equal to that of the modern piano. In late 18th and early 19th centuries, the span diminished by 3 to 6 mm on average. In the later 19th century, the keyboard span returned to the 188-mm modern size. Unfortunately, almost all famous piano pieces composed in that 100-year period use a small keyboard, and this fact is compatible with the paradoxical situation that many modern pianists struggle with difficult piano techniques on a modern keyboard, which is broader than the old type that the 18th and 19th-century composers used.
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Castilla, Aurora M., and Dirk Bauwens. "Reproductive characteristics of the lacertid lizard Lacerta lepida." Amphibia-Reptilia 10, no. 4 (1989): 445–52. http://dx.doi.org/10.1163/156853889x00089.
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AbstractWe report on the reproductive characteristics of the lizard Lacerta lepida from two separate geographic regions in Spain. Lizards from central Spain (L. lepida lepida) mature at an age of 32-33 months. upon attaining a minimum size of 122-148 mm snout-vent-length. One clutch averaging 16.9 eggs is produced annually. We found an inverse correlation between egg and clutch size. Lizards from south-eastern Spain (L. lepida nevadensis) have smaller clutches (mean = 12.3 eggs), composed of relatively large eggs, and some individuals produce more than one clutch per year.
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Puyuelo, Belén, Joseba S. Arizmendiarrieta, Ignacio Irigoyen, and Ramón Plana. "Quality assessment of composts officially registered as organic fertilisers in Spain." Spanish Journal of Agricultural Research 17, no. 1 (April 15, 2019): e1101. http://dx.doi.org/10.5424/sjar/2019171-13853.
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Composting of organic wastes is a management strategy linked to circular economy models through the transformation of these wastes into an organic product, compost, which can be used as fertiliser, soil amendment or growing media. However, the concept of ‘compost quality’ is not enough defined to take a technical decision about which is its best use or application. In the last decade, different guidelines and regulations about organic fertilisers have been developed. For instance, in Spain the Fertilisers Regulation categorises compost under five kinds according to the raw materials used - organic amendment compost (OaC), manure compost (MaC), green compost (GrC), vermicompost (VC), ‘alperujo’ compost (AlC) -, and under three quality levels (A, B or C) depending exclusively on the heavy metals content. This work analyses the national database of all composts (307) marketed in Spain, considering the analytical parameters declared, with the objective of proposing a methodology to define a global quality index. For this assessment, two indicators are employed: a fertility indicator, related to the nutrients content, and a clean indicator, related to the heavy metals content. Results show an average compost formulation 2.5:2.5:2.5 (N:P2O5:K2O). MaC and OaC present the highest fertility indicator, whereas VC the lowest. Regarding the clean indicator, GrC, MaC and VC are cleaner than OaC. In the future, this new quality assessment should be completed by including other indicators related to physical and biological characteristic (e.g. porosity, stability/maturity, phytotoxicity) that could determine the most proper use of compost.
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Kreitner, Kenneth. "Spain Discovers the Mass." Journal of the Royal Musical Association 139, no. 2 (2014): 261–302. http://dx.doi.org/10.1080/02690403.2014.944783.
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ABSTRACTSpain was a latecomer to the cyclic Mass, which began to develop there in the 1490s or late 1480s. A number of different strands in this process – free single movements, mix-and-match Masses, ferial Masses, imports, three-voice Masses, Missae sine nomine and the six cycles of Francisco de Peñalosa – can usefully be separated and laid at least tentatively onto a chronological framework on the basis of manuscript date and composer biography. The surviving evidence seems to show a tradition that arose with particular energy in the decade or so after 1500 and reached maturity within a single generation.
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Zhu, L., K. L. Yao, and Z. L. Liu. "Molecular spin valve and spin filter composed of single-molecule magnets." Applied Physics Letters 96, no. 8 (February 22, 2010): 082115. http://dx.doi.org/10.1063/1.3319506.
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Akiyoshi, Ryohei, Yuma Hirota, Daisuke Kosumi, Mayu Tsutsumi, Masaaki Nakamura, Leonard F. Lindoy, and Shinya Hayami. "Ferroelectric metallomesogens composed of achiral spin crossover molecules." Chemical Science 10, no. 22 (2019): 5843–48. http://dx.doi.org/10.1039/c9sc01229j.
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Nakamura, Y., K. Torii, and T. Munakata. "Neural-network model composed of multidimensional spin neurons." Physical Review E 51, no. 2 (February 1, 1995): 1538–46. http://dx.doi.org/10.1103/physreve.51.1538.
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Llobet, Montserrat Puig, Nuria Rodríguez Ávila, Jaume Farràs Farràs, and Maria Teresa Lluch Canut. "Quality of life, happiness and satisfaction with life of individuals 75 years old or older cared for by a home health care program." Revista Latino-Americana de Enfermagem 19, no. 3 (June 2011): 467–75. http://dx.doi.org/10.1590/s0104-11692011000300004.
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This case study identifies the elements that compose the Quality of Life (QofL) of individuals who were 75 years old or older and receive care at home. The study’s sample was composed of individuals 75 years or older cared for by a home health care service in the primary health care unit in Vilafranca del Penedès, Spain (n=26). The variables included: a) socio-demographic data; b) concept of QofL; c) perception of QofL; d) reasons for their perception; d) satisfaction with life and related aspects; and f) feeling of happiness. Face to face interviews were conducted. A total of 76.9% of the individuals reported a good perception of QofL and the main reasons related to it were: health, family and social relationships, and the ability to adapt. Role Theory and Disengagement Theory explain the adaptation process of these individuals at this point in life.
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Baita-Saavedra, Cordal-Iglesias, Filgueira-Vizoso, and Castro-Santos. "Economic Aspects of a Concrete Floating Offshore Wind Platform in the Atlantic Arc of Europe." International Journal of Environmental Research and Public Health 16, no. 21 (October 25, 2019): 4122. http://dx.doi.org/10.3390/ijerph16214122.
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The objective of this paper is to examine the economic aspects of a concrete offshore wind floating platform in the Atlantic Arc of Europe (Portugal and Spain). The life-cycle cost of a concrete floating offshore wind platform is considered to calculate the main economic parameters that will define the economic feasibility of the offshore wind farm. The case of study is the concrete floating offshore wind platform Telwind®, a spar platform with a revolutionary way of installing using a self-erecting telescopic tower of the wind turbine. In addition, the study analyses thirteen locations in Spain and twenty in Portugal, including the Atlantic islands of both countries. Results indicate that the economically feasible location to install a concrete offshore wind farm composed of concrete platforms is the Canary Islands (Spain) and Flores (Portugal).
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Ayuso Rodríguez, Elena. "Génesis y realización del primer radioteatro de `Don Quijote´producido por la BBC en 1947." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 35–53. http://dx.doi.org/10.33732/ixc/09/02genesi.
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In 1947, BBC produces the first radio drama on Don Quixote to celebrate the 400th anniversary of Cervantes’ birth. Released in Spain and Latin America in 27 chapters, BBC defined it as “the most ambitious project ever carried out.” The goal was to enhance BBC reputation in Spain. The radio play had the participation of actors from Radio Madrid, Spanish exiles in London and Latin American professionals. BBC surrounded with experts to adapt Cervantes narrative to radio language; deal with Spanish accents diversity; and compose music, which accompanied this radio version. The Quixote of BBC spread Cervantes’ work throughout all Spanish-speaking countries and promoted the production of other Quixotes within the radio in Spain. Keywords: Radio; Radio Drama; Radio Fiction; Don Quixote; BBC.
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Bennett, Dawn, Sophie Hennekam, Sally Macarthur, Cat Hope, and Talisha Goh. "Hiding gender: How female composers manage gender identity." Journal of Vocational Behavior 113 (August 2019): 20–32. http://dx.doi.org/10.1016/j.jvb.2018.07.003.
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Rodríguez–Teijeiro, J. D., F. Sardà–Palomera, and M. Puigcerver. "Post–breeding movements and migration patterns of western populations of common quail (Coturnix coturnix): from knowledge to hunting management." Animal Biodiversity and Conservation 35, no. 2 (December 2012): 333–42. http://dx.doi.org/10.32800/abc.2012.35.0333.
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We investigated the patterns of post–breeding movements of the common quail (Coturnix coturnix) in the Iberian peninsula with the aim of describing its migratory phenology and some physiological features of individuals. This information is needed to adjust hunting seasons in an optimal way. We worked with two data–sets: a) captures made in a non–breeding site (Garraf) from August to October in 2009 and 2010; b) post–breeding recoveries of individuals ringed in Europe and recaptured in Spain between 1933 and 2005. The results showed that post–breeding movements in Garraf occur in two waves: a first wave that occurs around 10 VIII and is mainly composed of non–sexually active yearlings that do not correspond physiologically to migrants, and a second much more intense wave, which occurs around 17 IX and is mainly composed of non–sexually active migrant yearlings. The hunting season in Spain takes place mainly during the first wave, preserving the passage of migrant individuals from Spain and other European countries. Information on the post–breeding movements in other Spanish regions and other European countries where the common quail is a popular game species would improve timing between the hunting season and migration by providing more precise recommendations for hunting management.
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Paniagua Pérez, Jesús. "La loa en las Indias: la obra de Antonio Marcos en las Fiestas de la Coronación de Carlos IV en Cuenca de Perú." Estudios Humanísticos. Filología, no. 19 (December 15, 1997): 91. http://dx.doi.org/10.18002/ehf.v0i19.4058.
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<span class="subtitulo">In this paper the recovery of a eulogistic piece -loa- composed by Antonio Marcos for the celebrations held in the city of Cuenca in Ecuador on the occasion of the coronation of King Charles IV of Spain is describe d. The work may not be of any great literary merit, but it does reflect the activity that was triggered by the great festivities organised by Spanish-American cities to celebrate events conncected with the monarchy. Such commemorative acts allowed the survival there of a minor literary genre which in Spain was in crisis.</span>
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Bhogle, Dr Vinay. "Socio-Cultural-Literary Survey of American Literature." SMART MOVES JOURNAL IJELLH 8, no. 11 (November 28, 2020): 175–82. http://dx.doi.org/10.24113/ijellh.v8i11.10849.
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It very well may be said that American Literature may have started in 1493 when Columbus composed his acclaimed letters to King Ferdinand of Spain. Different travellers and explorers, who followed, composed letters to their companions and family members at home. These 'letters home' mark the start of the put down account of the threats they needed to confront, yet in addition to the marvels that should have been seen all over. The interest was energized at home in light of these letters. The letters gave reasonable and striking records. An ever increasing number of individuals were enticed to cruise for the New World to settle there. Such courageous spirits came not from England alone, yet these spirits originated from most different nations of Europe-Spain, Portugal, France, Holland, and numerous others. Along these lines, there established the framework of the 'solidarity in decent variety' which is such a noticeable element of American culture.
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Moor, Andreas, Anatoly F. Volkov, and Konstantin B. Efetov. "Spin current in junctions composed of multi-band superconductors with a spin-density wave." Superconductor Science and Technology 28, no. 2 (January 13, 2015): 025011. http://dx.doi.org/10.1088/0953-2048/28/2/025011.
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Llano, Samuel. "Hispanic Traditions in a Cross-Cultural Perspective: Raoul Laparra's La habanera (1908) and French Critics." Journal of the Royal Musical Association 136, no. 1 (2011): 97–140. http://dx.doi.org/10.1080/02690403.2011.562715.
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The French composer Raoul Laparra held an advanced knowledge of Spanish culture and music that was rare among French musicians. In his first opera, La habanera (Opéra-Comique, 1908), he tried to represent a Spain that was ‘different from Carmen’, focused on the ‘colder’ central region of Castile rather than southern, gypsy stereotypes. However, owing to several inconsistencies in his ideological agenda, and the weight of conventional representations of Spanish music and culture, Laparra rendered a contradictory image of Spain, which drew partly on the very southern and gypsy stereotypes he had intended to oust. Furthermore, the French critics’ lack of familiarity with Spanish traditions caused his project to be misunderstood. Those critics read La habanera in the context of French cultural struggles, mostly related to the definition of a national identity and the influence of Italian and German music.
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Loureiro, M. D., P. Moreno-Sanz, and B. Suárez. "Clonal preselection of grapevine cultivars of the appellation "Cangas Quality Wine" (Asturias, Spain)." Horticultural Science 38, No. 2 (May 3, 2011): 71–80. http://dx.doi.org/10.17221/87/2010-hortsci.
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The Asturian vineyard is composed mostly of autochthonous minority cultivars only present in the northwest of Spain. This vineyard is characterized by its antiquity, confusion as to the identity of certain cultivars, lack of certified plant material, and a great number of mixed cultivars in each individual vineyard. With the aim of restoring this viticulture after years of abandonment and improving the quality of its wines, old plants belonging to four red grapevine cultivars (Albarín tinto, Carrasquín, Verdejo tinto, and Mencía) presenting a good sanitary state and adequate yield were selected for clonal preselection. Agronomic and enological data were collected over three years. Those plants exhibiting above average values of probable alcohol content and yield for their respective vineyards were tested for viruses so as to discard unhealthy individuals. Six loci microsatellites were analysed to verify the identity of the selected plants. A final number of 62 clones belonging to these cultivars were selected for planting in a plot for their subsequent study under homogeneous conditions.
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SINEV, ARTEM Y., MIGUEL ALONSO, MARIA ROSA MIRACLE, and MARIA SAHUQUILLO. "The West Mediterranean Alona azorica Frenzel & Alonso, 1988 (Cladocera: Anomopoda: Chydoridae) is composed of two species." Zootaxa 3276, no. 1 (April 24, 2012): 51. http://dx.doi.org/10.11646/zootaxa.3276.1.3.
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A study of several populations of the West Palaearctic endemic Alona azorica Frenzel & Alonso, 1988 reveals the exis-tence of a sibling-species. Alona azorica s. str. is confined to the Azores and the Atlantic part of West Iberia; Alona anas-tasia sp. nov. inhabits temporary ponds in Mediterranean Iberia and other West Mediterranean regions. It differs by size,by the morphology of the head shield and head pores, and by the shape of the male postabdomen. Both species belong tothe pulchella-group of Alona s. lato. Alona anastasia sp. nov. population dynamics and seasonal variation in body size in the province of Valencia (Spain) are also studied.
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Soares-Pinto, D. O., A. M. Souza, R. S. Sarthour, I. S. Oliveira, M. S. Reis, P. Brandão, J. Rocha, and A. M. dos Santos. "Entanglement temperature in molecular magnets composed of S-spin dimers." EPL (Europhysics Letters) 87, no. 4 (August 1, 2009): 40008. http://dx.doi.org/10.1209/0295-5075/87/40008.
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