45,651 matches
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Guide"(2004), procesul de înregistrare a lui Davis și editarea de studio a producătorului Teo Macero de înregistrări individuale în piese separate pentru album "părea aproape eretică după standardele jazz ". În cartea sa"Running the Voodoo Down: The Electric Music of Miles Davis", Phil Freeman scrie că criticii de rock și jazz din timpul lansării albumului era înclinată înspre genurile lor respective, scriind "Criticii de rock au crezut că "In a Silent Way" sună precum unul rock, sau cel puțin a
In a Silent Way () [Corola-website/Science/327151_a_328480]
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produs documentarii câștigătoare ale premiilor Peabody Award pentru postul Național Public Radio, Jazz Profiles. Haas și Diliberto au produs anterior seria de documentarii "Totally Wired" (1982-1989), câștigătoare a premiilor Columbia University Major Armstrong Award, Ohio State Award, și Național Federation of Community Broadcaster Award. Ambii, atât Haas cât și Diliberto și-au început cariera la WXPN în timp ce erau stucenți la Universitatea din Pennsylvania. Diliberto a fost Director Muzical între 1974-1976. Haas a fost Director de Program din 1980 până în 1986. În
Echoes (emisiune radio) () [Corola-website/Science/327211_a_328540]
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Iunie, 1986. În 1987, ultima parte a "Novus Magnificat, Part One" (intitulată "My Heart Doth Soar") și prima oarte a "Novus Magnificat, Part Two" (intitulată "The Flying Bach") au fost selectate de Demby pentru compilația sa “best-of” 1978-1986, auto-lansată "Light of This World"(versiuni: casetă și CD: vinilul a putut să prezinte doar "The Flying Bach"). În 2001, marca și catalogul casei de discuri "Hearts of Space" au fost vândute companiei Valley Entertainment, care distribuia la moment albumul. În 2008, versiunea
Novus Magnificat () [Corola-website/Science/327201_a_328530]
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The Flying Bach") au fost selectate de Demby pentru compilația sa “best-of” 1978-1986, auto-lansată "Light of This World"(versiuni: casetă și CD: vinilul a putut să prezinte doar "The Flying Bach"). În 2001, marca și catalogul casei de discuri "Hearts of Space" au fost vândute companiei Valley Entertainment, care distribuia la moment albumul. În 2008, versiunea CD a fost completată cu "Novus Magnificat (Alternate Version)", iar în 2008, pe 6 Iunie a fost lansată o versiune digitală a albumului downloadabilă (fișiere
Novus Magnificat () [Corola-website/Science/327201_a_328530]
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of Rock Music: 1951-2000" (2003), istoricul și criticul de muzică Piero Scaruffi îl descrie ca "posibil capodopera fundamentală a muzicii new-age." Toate piesele sunt compuse de Constance Demby. Două din aceste părți au fost deja numite pentru compilația best-of "Light of This World" din 1987. Alte patru au fost numite (unele cu titlul diferit) drept sample-uri MP3 gratuite oferite de Demby pe pagina sa oficială începând cu 2001: această listă de piese parțială avea următoarele titluri "Ascent", "Choral Climax" (acum "Exultate
Novus Magnificat () [Corola-website/Science/327201_a_328530]
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architecture flourished în the region from the 4th century BC onward, persisting even after the transition of the Aksumite dynasty to the Zagwe în the 12th century, aș attested by the numerous Aksumite influences în and around the medieval churches of Lalibela. Stelae ("hawilt"s) and later entire churches were carved ouț of single blocks of rock, emulated later at Lalibela and throughout Tigray, especially during the early-mid medieval period (că. 10th-11th c. în Tigray, mainly 12th c. around Lalibela). Other
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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even after the transition of the Aksumite dynasty to the Zagwe în the 12th century, aș attested by the numerous Aksumite influences în and around the medieval churches of Lalibela. Stelae ("hawilt"s) and later entire churches were carved ouț of single blocks of rock, emulated later at Lalibela and throughout Tigray, especially during the early-mid medieval period (că. 10th-11th c. în Tigray, mainly 12th c. around Lalibela). Other monumental structures include massive underground tombs often located beneath stelae. Among the
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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fallen during or immediately after erection) is the single largest monolithic structure ever erected (or attempted to be erected). Other well-known structures employing the use of monoliths include tombs such aș the "Tomb of the False Door" and the tombs of Kaleb and Gebre Mesqel în Axum. Most structures, however, like palaces, villas, commoner's houses, and other churches and monasteries, were built of alternating layers of stone and wood. The protruding wooden support beams în these structures have been named
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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the use of monoliths include tombs such aș the "Tomb of the False Door" and the tombs of Kaleb and Gebre Mesqel în Axum. Most structures, however, like palaces, villas, commoner's houses, and other churches and monasteries, were built of alternating layers of stone and wood. The protruding wooden support beams în these structures have been named "monkey heads" and are a staple of Aksumite architecture and a mark of Aksumite influence în later structures. Some examples of this style
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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Most structures, however, like palaces, villas, commoner's houses, and other churches and monasteries, were built of alternating layers of stone and wood. The protruding wooden support beams în these structures have been named "monkey heads" and are a staple of Aksumite architecture and a mark of Aksumite influence în later structures. Some examples of this style hâd whitewashed exteriors and/or interiors, such aș the medieval 12th century monastery of Yemrehanna Krestos near Lalibela, built during the Zagwe dynasty în
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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structures have been named "monkey heads" and are a staple of Aksumite architecture and a mark of Aksumite influence în later structures. Some examples of this style hâd whitewashed exteriors and/or interiors, such aș the medieval 12th century monastery of Yemrehanna Krestos near Lalibela, built during the Zagwe dynasty în Aksumite style. Contemporary houses were one-room stone structures or two-storey square houses or roundhouses of sandstone with basalt foundations. Villas were generally two to four stories tall and built on
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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also incorporating new traditions with the expansion of the Ethiopian state. Styles incorporated more wood and rounder structures în commoner's architecture în the center of the country and the south, and these stylistic influences were manifested în the construction of churches and monasteries. Throughout the medieval period, Aksumite architecture and influences and its monolithic tradition persisted, with its influence strongest în the early medieval (Lațe Aksumite) and Zagwe periods (when the churches of Lalibela were carved). Throughout the medieval period
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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stylistic influences were manifested în the construction of churches and monasteries. Throughout the medieval period, Aksumite architecture and influences and its monolithic tradition persisted, with its influence strongest în the early medieval (Lațe Aksumite) and Zagwe periods (when the churches of Lalibela were carved). Throughout the medieval period, and especially during the 10th-12th centuries, churches were hewn ouț of rock throughout Ethiopia, especially during the northernmost region of Tigray, which was the heart of the Aksumite Empire. However, rock-hewn churches have
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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influences and its monolithic tradition persisted, with its influence strongest în the early medieval (Lațe Aksumite) and Zagwe periods (when the churches of Lalibela were carved). Throughout the medieval period, and especially during the 10th-12th centuries, churches were hewn ouț of rock throughout Ethiopia, especially during the northernmost region of Tigray, which was the heart of the Aksumite Empire. However, rock-hewn churches have been found aș far south aș Adadi Maryam (15th c.), about 100 km south of Addis Abeba. The
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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were hewn ouț of rock throughout Ethiopia, especially during the northernmost region of Tigray, which was the heart of the Aksumite Empire. However, rock-hewn churches have been found aș far south aș Adadi Maryam (15th c.), about 100 km south of Addis Abeba. The most famous example of Ethiopian rock-hewn architecture are the 11 monolithic churches of Lalibela, carved ouț of the red volcanic tuff found around the town. Though later medieval hagiographies attribute all 11 structures to the eponymous king
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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especially during the northernmost region of Tigray, which was the heart of the Aksumite Empire. However, rock-hewn churches have been found aș far south aș Adadi Maryam (15th c.), about 100 km south of Addis Abeba. The most famous example of Ethiopian rock-hewn architecture are the 11 monolithic churches of Lalibela, carved ouț of the red volcanic tuff found around the town. Though later medieval hagiographies attribute all 11 structures to the eponymous king Lalibela (the town was called Roha and
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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the heart of the Aksumite Empire. However, rock-hewn churches have been found aș far south aș Adadi Maryam (15th c.), about 100 km south of Addis Abeba. The most famous example of Ethiopian rock-hewn architecture are the 11 monolithic churches of Lalibela, carved ouț of the red volcanic tuff found around the town. Though later medieval hagiographies attribute all 11 structures to the eponymous king Lalibela (the town was called Roha and Adefa before his reign), new evidence indicates that they
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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found around the town. Though later medieval hagiographies attribute all 11 structures to the eponymous king Lalibela (the town was called Roha and Adefa before his reign), new evidence indicates that they may have been built separately over a period of a few centuries, with only a few of the more recent churches having been built under his reign. Archaeologist and "Ethiopisant" David Phillipson postulates, for instance, that Bețe Gebriel-Rufa'el was actually built în the very early medieval period, some
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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for instance, that Bețe Gebriel-Rufa'el was actually built în the very early medieval period, some time between 600 and 800 A.D., originally aș a fortress but was later turned into a church. During the early modern period, the absorption of new diverse influences such aș Baroque, Arab, Turkish and Gujarati Indian style began with the arrival of Portuguese Jesuit missionaries în the 16th and 17th centuries. Portuguese soldiers hâd initially come în the mid-16th century aș allies to aid Ethiopia
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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between 600 and 800 A.D., originally aș a fortress but was later turned into a church. During the early modern period, the absorption of new diverse influences such aș Baroque, Arab, Turkish and Gujarati Indian style began with the arrival of Portuguese Jesuit missionaries în the 16th and 17th centuries. Portuguese soldiers hâd initially come în the mid-16th century aș allies to aid Ethiopia în its fight against Adal, and later Jesuits came hoping to convert the country. Some Turkish influence
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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fight against Adal, and later Jesuits came hoping to convert the country. Some Turkish influence may have entered the country during the lațe 16th century during its war with the Ottoman Empire (see Habesh), which resulted în an increased building of fortresses and castles. Ethiopia, naturally easily defensible because of its numerous ambas or flat-topped mountains and rugged terrain, yielded little tactical use from the structures în contrast to their advantages în the flat terrain of Europe and other areas, and
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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convert the country. Some Turkish influence may have entered the country during the lațe 16th century during its war with the Ottoman Empire (see Habesh), which resulted în an increased building of fortresses and castles. Ethiopia, naturally easily defensible because of its numerous ambas or flat-topped mountains and rugged terrain, yielded little tactical use from the structures în contrast to their advantages în the flat terrain of Europe and other areas, and șo hâd until this point little developed the tradition
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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and attempted to make it the state religion, declaring it aș such from 1624 until his abdication; during this time, he employed Arab, Gujarati (brought by the Jesuits), and Jesuit masons and their styles, aș well aș local masons, some of whom were Beta Israel. With the reign of his son Fasilides, most of these foreigners were expelled, although some of their architectural styles were absorbed into the prevailing Ethiopian architectural style. This style of the Gondarine dynasty would persist throughout
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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1624 until his abdication; during this time, he employed Arab, Gujarati (brought by the Jesuits), and Jesuit masons and their styles, aș well aș local masons, some of whom were Beta Israel. With the reign of his son Fasilides, most of these foreigners were expelled, although some of their architectural styles were absorbed into the prevailing Ethiopian architectural style. This style of the Gondarine dynasty would persist throughout the 17th-18th centuries especially and also influenced modern 19th century styles and later
Arhitectura etiopiană () [Corola-website/Science/327213_a_328542]
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Nuvela „Adio!...” a fost tradusă în mai multe limbi străine: germană („Adieu!...”, în vol. "Bei den Zigeunerinnen: Phantastische Geschichten", Suhrkamp, Frankfurt am Main, 1980; traducere de Edith Silbermann), engleză („Goodbye”, în vol. "Imagination and Meaning. The Scholarly and Literary Works of Mircea Eliade", editat de Norman Girardot și M. L. Ricketts, The Seabury Press, New York, 1982; traducere de Mac Linscott Ricketts), franceză („Adieu!...”, în vol. "Les Trois grâces: nouvelles", Gallimard, Paris, 1984; traducere de Alain Paruit, reeditată în 2009), cehă (în
Adio!... () [Corola-website/Science/327221_a_328550]