Samuel Barber (1910-1981) Biography Early years Childhood home of Samuel Barber in West Chester, Pennsylvania Barber was born in West Chester, Pennsylvania, the son of Marguerite McLeod (née Beatty) and Samuel Le Roy Barber. He was born into a comfortable, educated, social, and distinguished American family. His father was a physician; his mother, called Daisy, was a pianist of English-Scottish-Irish descent whose family had lived in the United States since the time of the Revolutionary War. His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera; his uncle, Sidney Homer, was a composer of American art songs. At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability. Dear Mother: I have written this to tell you my worrying secret. Barber attempted to write his first opera, entitled The Rose Tree, at the age of 10. Middle years Later years Achievements and awards Music Piano
Histoire de la liturgie - Approche d’un pasteur calviniste. All historic liturgies should be brought into conversation with biblical and Reformational principles. The following essay is a modified excerpt from my presentation at the Jackson, MS Regional Convivium Calvinisticum on February 21, 2014. Many of our churches have become interested in liturgy, or a philosophy of corporate worship, over the last several years, and this interest has been, for the most part, very good. Moving from an unreflective and often idiosyncratic order of worship to a self-consciously theological and historical one cannot but produce better results. But there are important questions which still need to be answered, especially concerning some of our driving assumptions. The terms “liturgy” and “liturgical” are perhaps becoming somewhat commonplace, even among Evangelical churches, but many of us would probably agree that this is only a very recent phenomenon. The Liturgical Renewal Movement The majority of the influence of this contemporary liturgical movement should be understood and explained practically. The Humble Judgment of Contemporary Scholarship Conclusion
Ermanno Genre, Le culte chrétien. Une perspective protestante, Labor et Fides, Genève, 2004, p.148. Paroles et traduction Simon And Garfunkel : The Sound Of Silence Paroles et traduction de «The Sound Of Silence» The Sound Of Silence (Le Son Du Silence) Hello darkness, my old friend,Bonsoir ténèbres, mon vieil ami,I've come to talk with you againJe suis venu discuter encore une fois avec toiBecause a vision softly creeping,Car une vision s'insinuant doucement en moi,Left its seeds while I was sleepingA semé ses graines durant mon sommeilAnd the vision that was planted in my brain, still remainsEt la vision qui fut plantée dans mon cerveau, demeure encoreWithin the sound of silenceA l'intérieur, le son du silence
Adagio for Strings History Barber's Adagio for Strings began as the second movement of his String Quartet, Op. 11, composed in 1936 while he was spending a summer in Europe with his partner Gian Carlo Menotti, an Italian composer who was a fellow student at the Curtis Institute of Music. The inspiration came from Virgil's Georgics. In the quartet the Adagio follows a violently contrasting first movement (Molto allegro e appassionato) and is succeeded by music which opens with a brief reprise of the music from the first movement (marked Molto allegro (come prima) – Presto). In January 1938 Barber sent an orchestrated version of the Adagio for Strings to Arturo Toscanini. Toscanini took Adagio for Strings on tour to South America and Europe, the first performances of the work on both continents. Composition Samuel Barber's Adagio for Strings is a short instrumental piece for orchestra. —Thomas Larson, on Adagio for Strings. Critical reception Alexander J. Arrangements G.
Note. 1791. Zurich. Rien ne m’a jamais tant impressionné que le chant à quatre voix que l’on pratique ici. Le Dieu non sexué du judaïsme (piste de liturgie protestante) Copyright (c) 1996 First Things 64 (June/July 1996): 33-38. Some time this year the Reform movement will issue its new High Holy Day prayerbook, for the first time putting between hard covers a major liturgical work incorporating "gender-sensitive" language. Gender sensitivity is the rubric that for two decades has been used to purge Reform worship of masculine imagery and symbolism and to replace it, gradually, with sexually neutral or (in some cases) explicitly feminine language. This process has not been limited to changing phrases like "God of our fathers" to "God of our ancestors" in the English translation, or even to adding the Hebrew imoteinu, "our mothers" (Sarah, Rebecca, Rachel, and Leah), where previously only avoteinu, "our fathers" (Abraham, Isaac, and Jacob), were mentioned. The new High Holy Day prayerbook, Gates of Repentance, is actually a revised version of the 1978 Reform makhzor of the same name. She moves more slowly now.
Les configurations des cordes vocales - Le Chanteur Moderne 08 Décembre 2008 Les cordes vocales sont tendues entre le cartilage thyroïdien et les aryténoïdes (voir image ci-dessous - c’est la partie intitulée ‘vocal ligament’ - enfin, le ligament vocal n’est qu’une partie de la corde vocale, mais l’important est de voir où se situent les cordes). C’est avec nos cordes vocales que nous faisons du son, chanté ou parlé ou autre – du coup, l’état physique de ces cordes est la base de notre son. Plutôt que de parler de choses nébuleuses telles que ‘la voix de poitrine’ ou bien ‘la voix modale’ etc – je préfère parler avec mes chanteurs en cours particuliers de la réalité physique – comme ça, on est sûr qu’on parle de la même chose et qu’il n’y pas de confusion. Nos ‘vraies’ cordes vocales (je précise vraies parce que nous avons déjà évoqué les fausses cordes vocales dans le premier clip de cette série) disposent de deux mécanismes vibratoires principaux. Elles peuvent être épaisses ou fines. C’est simple Faites le son ‘uh-oh’. Récapitulons Chantez bien !