139 Sentences With "repertories" | Random Sentence Generator

At a time of high modernism, that meant capturing traditions on tape and establishing their own standard repertories.

Let's take a look at the stars of the early 20th century, whose repertories were dominated by new and recent operas.

The team signed pitchers Yu Darvish, Tyler Chatwood and Brandon Morrow for a combined $185 million, enticed by their hard, sharply moving repertories.

The works of that choreographer, who died in 2007, were once ubiquitous in the repertories of many major ballet companies; now they've almost completely vanished.

This policy has paid rich dividends in recent years with City Ballet creations by Justin Peck, Alexei Ratmansky and Christopher Wheeldon entering repertories across America and around the world.

In the 1980s, her influence was cited by the American choreographers David Gordon, Mark Morris and Stephen Petronio; and her work began to join the repertories of other dance companies.

Although Ms. Marin won an international reputation for a "Cinderella" that she created for the Lyon Opera Ballet in 1985, her work has rarely migrated into the repertories of companies abroad.

Their works are found in the repertories of companies worldwide, but they all hit the big time at New York City Ballet, where Mr. Wheeldon and Mr. Peck started as dancers.

Previous editions of the Festival have concentrated on specific repertories, but these concerts will be as much about the intangible qualities of space as about the virtuosity and style of the musicians themselves.

The estates of certain literary, film and musical creators may stand to lose when the copyright in some of the works in their respective repertories lose copyright protection due to the lapse of their terms.

If the Taylor company is to keep acquiring masterworks from other repertories, this issue will continually recur: "American Modern Dance" is a realm containing dance languages so diverse that nobody can speak them all convincingly.

Today, those ballets are Britain's best-known dance exports, plentiful in major ballet company repertories worldwide (220 companies currently perform "Manon"), and still probably the most successful 20th-century examples of the story ballet genre.

It has been, in various seasons, America's foremost exponent of the repertories of Michel Fokine (21983-21988), Frederick Ashton (1904-1988), Antony Tudor (1908-1987), Kenneth MacMillan (1929-1992), and the 19833th-century war horses ("Giselle" et al.).

Story ballets have always been party of dusty and beloved ballet-company repertories, but few choreographers try to make contemporary ones — especially at the New York City Ballet, the house of Balanchine, where his abstract and plotless neoclassical masterpieces have reigned.

The thunderous applause that broke the silence echoed through the rest of the century and beyond in the multi-Oscar-winning 1961 film and in countless stage revivals at almost every level of theater -- from Broadway to small-town repertories to high school drama groups.

Vladimir Nikolaïevitch Chernov (born September 22, 1953) is a Russian baritone, particularly associated with the Russian and Italian opera repertories.

Margarita Zimmermann Margarita Zimmermann (born October 3, 1942) is an Argentine mezzo-soprano, particularly associated with the Italian and French repertories.

2 (1978), pp. 218–27, at pp. 220–21, citing City of London Repertories, 14 fol. 365 and 16 fol 186 b.

Jonel Perlea Ionel Perlea (13 December 190029 July 1970) was a Romanian conductor particularly associated with the Italian and German opera repertories.

André Turp (December 21, 1925, Montreal – February 25, 1991, Montreal) was a Canadian tenor, particularly associated with the French and Italian repertories.

Jean Borthayre (25 May 1901, Musculdy - 25 April 1984, Montmorency) was a French operatic baritone, particularly associated with the French and Italian repertories.

René Maison (24 November 1895 – 11 July 1962) was a prominent Belgian operatic tenor, particularly associated with heroic roles of the French, Italian and German repertories.

Tourangeau in 1970. Huguette Tourangeau, (August 12, 1938 – April 21, 2018) was a French-Canadian operatic mezzo-soprano, particularly associated with the French and Italian repertories.

Richard Verreau dans Faust de Gounod Richard Verreau, (January 1, 1926 - July 6, 2005) was a French-Canadian operatic tenor, particularly associated with the French and Italian repertories.

Colette Boky (born Marie-Rose Élisabeth Giroux; June 4, 1935), is a French- Canadian operatic soprano, particularly associated with lyric roles in the French, Italian, and German repertories.

The Beau Geste hypothesis which was coined by Krebs in 1977 to explain why various avian species have such large song repertories. The hypothesis discusses that avian species utilize such large song repertories for potentially a number of reasons such as for territorial defence and to test the competition within a new habitat. The name of the hypothesis comes from the book which was originally published in 1924 "Beau Geste".Wren, P.C (1924).

Through his academic career, Jean-Marie Pelt studied the science of medicinal plants, phytopharmacology, phytotherapy, and phytotoxicology. He specifically focused on the repertories of drugs and medicinal plants of Afghanistan, Chile, Europe, and Yemen.

The ballet is rarely performed. "The Unanswered Question" is sometimes performed separately. Ivesiana had since entered Dutch National Ballet's and Berlin Opera's repertories, and the Suzanne Farrell Ballet had only performed "The Unanswered Question".

This version was less focused on disease categories and was the forerunner to later works by James Tyler Kent. There are over 118 repertories published in English with Kents being one of the most used.

Anna Caterina Antonacci, July 2012 Anna Caterina Antonacci (born 5 April 1961) is an Italian soprano known for roles in the bel canto and Baroque repertories. She performed as a mezzo-soprano for several years, particularly performing the Rossini canon.

The ballet's lead dual roles of Odette/Odile represent good and evil, and are among the most challenging roles created in Romantic classical ballet. created in Romantic classical ballet. The ballet is in the repertories of ballet companies around the world.

The community knows exactly who wrote which song, and where whole repertories originated from, such as Mabo, Togo. Sometimes the older of two groups does teach the younger, and also teaching between members of groups from different regions sometimes takes place.

Peter Dvorský (born 25 September 1951) is a Slovak operatic tenor. Possessing a lyrical voice with a soft, elastic tone, and warm and melodious timbre, Dvorský's repertoire concentrates on roles from the Italian and Slavic repertories. Dvorský was born in Horná Ves, then Czechoslovakia, now Slovakia.

Enrico Tamberlik. Enrico Tamberlik (16 March 1820 - 13 March 1889) was an Italian tenor who sang to great acclaim at Europe and America's leading opera venues. He excelled in the heroic roles of the Italian and French repertories and was renowned for his powerful declamation and clarion high notes.

Participants used a variety of strategies to solve problems and did not always rely on the most effective strategies within their individual repertories. Kuhn and her colleagues discuss the importance of metacognitive abilities to reflect on one's knowledge and manage the choice of problem solving strategies in cognitive development.

Less is known about the chants of the Office. There are only about half as many melodies among the Old Roman Responsories as in the Gregorian repertory. Originally, Old Roman Repertories repeated the respond in full after the verse. This practice survived for several of the major feasts.

Watching Lunar New Year Films is also a Chinese cultural identity. During the New Year holidays, the stage boss gathers the most popular actors whom from various troupes let them perform repertories from Qing dynasty. Nowadays people prefer celebrating the new year with their family by watching these movies together.

Repertory companies acted similarly to the touring companies we know today, though rather than traveling from theatre to theatre, they would travel with their equipment, set up in town and perform "repertories extensive enough to provide a week's worth of entertainment."Banham, Martin. "Tent Show". The Cambridge Guide to Theater.

The basic staff of the Orchestra is composed of about 90 partners, professors with an open-ended contract with the Foundation of Teatro La Fenice; depending on the needs and on the repertories the staff can be extended through outer collaborations of professors of orchestra with proven fame and experience.

In 1993 he choreographed the highly praised dance sequences for the Broadway show The Red Shoes. The final ballet from that show joined the repertories of American Ballet Theatre and the National Ballet of Canada. For his work on that show, he received the 1993-94 Astaire Award from the Theater Development Fund.

Natalia Makarova's 1980 production of La Bayadère for American Ballet Theatre was the first full-length production to find a permanent place in the repertories of western ballet troupes, having been staged by several theatres throughout the world. Makarova's version is itself derived from Chabukiani and Ponomarev's 1941 redaction for the Mariinsky Theatre.

He has contributed a lot to Kannada theatre. Being a student of legendary theatre personality Padmasri B V Karanth, Nagabharana has been active in theatre in capacities as actor, director and writer. He has directed 36 plays. He has been an administrator for several theatre repertories, especially Rangayana, Mysuru and Benaka Theatre Group, Bengaluru.

American Ballet Theatre was the first company outside Limon's company to include the work in its repertory. Notable interpreters of the Moor include Rudolf Nureyev and Cynthia Gregory. Since its creation, The Moor's Pavane has been added to the repertories of many different companies, including major ballet companies, showing the fading divisive line between modern dance and ballet.

Ensemble Leones is an early music ensemble founded by Marc Lewon in 2008 and is dedicated to the performance of secular music from the 12th to the 16th century, with particular attention to Medieval German repertories and early Renaissance instrumental music."Die Faszination der Musik des Mittelalters. Marc Lewon im Porträt von Inés Zimmermann", in: TIBIA. Magazin für Holzbläser.

Many European folk and traditional repertories also feature quintuple meter. This is particularly true of Slavic cultural groups. The Bulgarian "paidushko" dance, for example, is in a fast , counted . In north-eastern Poland (especially in Kurpie, Masuria, and northern Podlaskie), five-beat bars are frequently found in wedding songs, with rather slow tempos and not accompanied by dancing.

Joseph Fennimore (born 16 April 1940) is an American composer, pianist and teacher best known for his works for piano and chamber ensembles, ranked by Pulitzer Prize-winning critic Philip Kennicott as "one of this country's finest composers." His music has been performed and broadcast worldwide and included in the Metropolitan Opera Studio and New York City Ballet repertories.

The couple separated in 1895, after which point Fibich lived with his lover and frequent artistic collaborator, librettist Anežka Schulzová. Fibichová also sang works from the French, Italian, German, and Russian opera repertories during her career. She was also an active concert soloist. She retired from the stage in 1900, the same year that her husband died.

In 885, Pope Stephen V banned the Slavonic liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including Poland, Moravia and Slovakia. The other plainchant repertories of the Christian West faced severe competition from the new Gregorian chant. Charlemagne continued his father's policy of favoring the Roman Rite over the local Gallican traditions.

Between 1910 and 1957, she published fourteen book-length bulletins for the Smithsonian, each describing the musical practices and repertories of a different Native American group. These were reprinted as a series by DaCapo Press in 1972. She also was a part of "A Ventriloquy of Anthros" in the American Indian Quarterly along with James Owen Dorsey and Eugene Buechel.

He worked for Joffrey Ballet. As a contemporary concert dancer, he was lauded for his "wondrous skills" and "striking acrobatic skill". In 2001, he received a Ruth Page Award for his first choreographic effort, Miracle, Interrupted. His choreographed works have since been featured in the repertories of Thodos Dance Chicago, Joffrey Ballet, and River North Dance Chicago, among other dance companies.

These also are full RGB palette repertories, but either they do not have the same number of levels for every red, green and blue components, or they are bit levels based. Nevertheless, all of them are used in very popular personal computers. For further details on color palettes for these systems, see the article List of 8-bit computer hardware palettes.

Shiozawa emphasizes that economic agents act in a complex world and therefore impossible for them to attain maximal utility point. They instead behave as if there are a repertories of many ready made rules, one of which they chose according to relevant situation.Shiozawa, Y. 2004 Evolutinary Economics in the 21st Century: A Manifest, Evolutionary and Institutional Economics Review, 1(1): 5–47.

Homeopathic repertory by James Tyler Kent Homeopathic preparations are referred to as "homeopathic remedies". Practitioners rely on two types of reference when prescribing: Materia medica and repertories. A homeopathic materia medica is a collection of "drug pictures", organized alphabetically. A homeopathic repertory is a quick reference version of the materia medica that indexes the symptoms and then the associated remedies for each.

Vanni Marcoux in 1932 Jean-Émile Diogène Marcoux (June 12, 1877 - October 22, 1962) was a French operatic bass-baritone, known professionally as Vanni Marcoux (sometimes hyphenated as Vanni-Marcoux). He was particularly associated with the French and Italian repertories. His huge repertoire included an estimated 240 roles and he won renown as one of the most memorable singing-actors of the 20th century.

Greenshield also appears in other works. Brute Greenshield, a play about the king, was performed by the Admiral's Men in 1598, but the text is lost. It may have been written by John Day and Henry Chettle.Robert Boies Sharpe, The Real War of the Theaters: Shakespeare's Fellows in Rivalry with the Admiral's Men, 1594-1603; Repertories, Devices, and Types, D.C. Heath, Boston, 1935, p. 104.

Born in Sögel, Germany, Romberger studied music pedagogy at the Hochschule für Musik Detmold, and then voice with Heiner Eckels. She graduated in 1990 with the artistic diploma (künstlerische Reifeprüfung) and took the concert exam in 1992. She took master classes with Hartmut Höll, Annie Schoonus, and Mitsuko Shirai. Her repertories are mezzo and contralto parts in Lied, oratorio, and concert, from Baroque to contemporary.

It ran for 40 performances from 29 April to 28 June 1987. Several times since 1995, the American Shakespeare Center has mounted repertories that included both Hamlet and Rosencrantz and Guildenstern, with the same actors performing the same roles in each; in their 2001 and 2009 seasons the two plays were "directed, designed, and rehearsed together to make the most out of the shared scenes and situations".

Ernest Blanc (November 1, 1923 – December 22, 2010) was a French opera singer, one of the leading baritones of his era in France. Born in Sanary-sur-Mer, Ernest Blanc studied at the Music Conservatory of Toulon with Sabran, from 1946 to 1949. He made his debut in Marseille, as Tonio, in 1950. He then sang throughout France in the French and Italian repertories.

The irregular, and at times haphazard, manner in which entries have been made in (at least) the first two Letter-Books, and their overlapping each other in point of chronology, may also be accounted for by each clerk having been in the habit of keeping in his own custody the books or calendars upon which he happened to be engaged for the time being. A page from Book I, showing entries in English, French, and Latin. The earlier volumes contain, amongst other things, the chief, if not the only existing, record of the proceedings of the Court of Common Council and Court of Aldermen prior to the fifteenth century, when they were first entered in separate volumes, known respectively as Journals and Repertories. The later volumes contain much that is also entered in the Journals and Repertories, but the concluding volumes of the series are almost wholly devoted to orphanage matters.

She also acted on Portia Faces Life, Road of Life, Wendy Warren and the News, and We Love and Learn. An article in the December 1949 issue of Radio and Television Mirror magazine described Sondergaard as having "one of the largest repertories [sic] of dialects of any actress", being able to sound authentic in roles using any of 11 accents. Sondergaard taught dramatics at the Dramatic School of New York.

Dominique Visse was a chorister at the Notre-Dame de Paris and studied organ and flute at the Versailles Conservatory. As a musician, he developed an interest in Medieval and Renaissance repertories. After studying with Alfred Deller and René Jacobs from 1976 to 1978, he made his opera debut at Tourcoing in Monteverdi's L'incoronazione di Poppea in 1982. Visse devotes himself to performing of secular and religious music of the Renaissance.

Frisner Augustin distinguished himself for his powerful, precise, and complex style of Vodou drumming and composition. Understanding his singularity calls for a brief discussion of the stylistic elements of the tradition. The following background supplements Haitian Vodou drumming. Dozens of different styles of drumming have evolved from the repertories of the West African and Congo nations that came to Haiti through the Middle Passage, but they share certain organizational principles.

"Michael William Balfe" on britishandirishworld.com with detailed account of Balfe's life and work The very successful 1858 run of La zingara at Her Majesty's Theatre in London, for which Balfe was rewarded with an extra cheque for fifty pounds, starred Marietta Piccolomini, Marietta Alboni and Antonio Giuglini.Barrett, p. 229 The opera "remained in the repertories of British touring companies until the 1930s and was revived in 1932 at Sadler's Wells".

Nicola Ghiuselev (Bulgarian: Никола Гюзелев) (also Gyuzelev; 17 August 1936 – 16 May 2014) was a Bulgarian operatic bass, particularly associated with the Italian and Russian repertories. Ghiuselev was born in Pavlikeni. He studied painting at the Academy of Arts in Sofia, and later voice at the school of the National Opera of Sofia, with Christo Brambarov. He made his stage debut with that company, as Timur in Turandot, in 1960.

For the purpose of this article, the term monochrome palette means a set of intensities for a monochrome display, and the term RGB palette is defined as the complete set of combinations a given RGB display can offer by mixing all the possible intensities of the red, green, and blue primaries available in its hardware. These are generic complete repertories of colors to produce black and white and RGB color pictures by the display hardware, not necessarily the total number of such colors that can be simultaneously displayed in a given text or graphic mode of any machine. RGB is the most common method to produce colors for displays; so these complete RGB color repertories have every possible combination of R-G-B triplets within any given maximum number of levels per component. For specific hardware and different methods to produce colors than RGB, see the List of computer hardware palettes and the List of video game consoles sections.

However, the pattern of beats marking the rotation of the cycle does not necessarily indicate the internal rhythmic organization. For example, although the Jhampā tāla, in its most common miśra variety, is governed by , the most characteristic rhythm of melodies in this tāla is . The tālas in Hindustani music are somewhat more complicated. To begin with, they are not systematically codified, but rather comprise a miscellany of patterns from a number of different repertories.

In the finale, the whole cast appears on stage. Before when NYCB was based at the New York City Center, the stage was too small for the entire cast, but when the company moved to the New York State Theater, they were able to do so. Symphony in C had since entered the repertories of Royal Danish Ballet, Dutch National Ballet, Stuttgart Ballet, The Royal Ballet, Kirov Ballet and the American Ballet Theatre.

The Viennese composer Gustav Mahler also was a Met conductor during Gatti-Casazza's first two seasons and in later years conductors Tullio Serafin and Artur Bodanzky led the company in the Italian and German repertories respectively. Artur Bodanzky at the Metropolitan Opera in 1915 Following Toscanini's departure, Gatti-Casazza successfully guided the company through the years of World War I into another decade of premieres, new productions and popular success in the 1920s.

Peter Anders Peter Anders (1 July 1908 – 10 September 1954) was a German operatic tenor who sang a wide range of parts in the German, Italian, and French repertories. He began by singing lyric roles and later undertook dramatic roles with equal success. He was also a prominent lieder singer. Anders was born in Essen and studied at the Berlin Music Academy with Ernst Grenzebach, and later privately with Lula Mysz-Gmeiner, whose daughter Susanne he married.

She has also been involved in projects such as EMESP / GURI – Youth Orchestra of the State of Sao Paulo, where she regularly conducted concerts in the Sala Sao Paulo 2014–2016. She also collaborates with the Let's project with Philharmonie de Paris. In 2019 she launched a new project called Ensemble K, an orchestral ensemble formed by musicians from several countries to explore unusual repertories and multi- disciplinary projects. The ensemble is based in Belgium and north of France.

Some of the meanings that musical symbols can reflect can relate to emotion, culture, and behavior, much in the same way that linguistic symbols function. The interdisciplinarity of symbolism in anthropology, linguistics, and musicology has generated new analytical outlooks (see Analysis) with different focuses: Anthropologists have traditionally conceived of whole cultures as systems of symbols, while musicologists have tended to explore symbolism within particular repertories. Structural approaches seek to uncover interrelationships between symbolic human behaviors.Nettl, Bruno. 2005.

In accordance with Roman Catholic tradition, it is primarily intended to be sung by males. Like the other Italian chant repertories, the Old Roman chant and Ambrosian chant, the melodies are melismatic and ornate. The melodic motion is primarily stepwise, with a limited ambitus, giving the chants a smooth, undulating feel. Unlike Ambrosian chants, Beneventan chants do not notably specify whether any given chant is meant to be sung by the choir or by any particular singer.

Kanjinchō (勧進帳, The Subscription List) is a kabuki dance-drama by Namiki Gohei III, based on the Noh play Ataka. It is one of the most popular plays in the modern kabuki repertory. Belonging to the repertories of the Naritaya and Kōritaya guilds, the play was first performed in March 1840 at the Kawarazaki- za, in Edo. Ichikawa Ebizō V, Ichikawa Kuzō II, and Ichikawa Danjūrō VIII played the leading roles of Benkei, Togashi, and Yoshitsune, respectively.

Duval in 1971. Pierre Duval (17 September 1932 – 31 May 2004) was a French- Canadian operatic tenor who had an active international career during the 1960s and 1970s. Possessing a warm lyrical voice with a considerable amount of flexibility and stamina, Duval sang mostly roles from the standard French and Italian repertories. He particularly excelled in bel canto works, notably singing opposite such lauded bel canto interpreters as Joan Sutherland, Beverly Sills, and Montserrat Caballé during his career.

The company opened on September 17, 1946, with Verdi's La travaita, followed by Rigoletto ..." Similarly in Belgium the Vlaamse Opera sang French and Italian works in Dutch till the 1980s.Opera companies and houses of western Europe, Canada, Karyl Lynn Zietz, Karyl Charna Lynn, 1999, p. 44: "In 1920, the Flanders Opera added "royal" to its name. After 1933, operas from the French and Italian repertories were added to the schedule, but all works were sung in Dutch until the end of the 1970s.

Richard Leech (born March 26, 1957) is an American operatic tenor, recipient of the Richard Tucker Award in 1988, and particularly associated with lyric roles of the Italian and French repertories. Raised and educated in Binghamton, New York, he attended Eastman School of Music but dropped out after a semester. He began his career in the early 1980s, appearing with the Tri-Cities Opera. Leech made his debut at the New York City Opera in 1984 as Rodolfo in La bohème.

In this work, Lewin applied group theory to music, investigating the basic concepts, interval and transposition, and extending them beyond their traditional application to pitch. Based on a powerful metaphor of musical space, this theory can be applied to pitch, rhythm and metre, or even timbre. Moreover, it can be applied to both tonal and atonal repertories . Lewin's writing on the relationship between text and music in song and opera involves composers from Mozart and Wagner, to Schoenberg and Babbitt.

Known for his use of extended vocal and cello techniques, Een has recorded eight albums of his compositions and scored several films. He received Bessie Awards for music composition in 1998 and for sustained achievement in 2000. He won an Obie Award in 2004 for his score to Dan Hurlin's puppet theatre work Hiroshima Maiden. His music for dance and theater can be heard in the repertories of Liz Lerman, David Dorfman, Jennifer Muller, Brian Selznick, and Yin Mei, among others.

13-14 Titel page Bibliotheca Sancta Ed.1742 His work Bibliotheca sancta ex præcipuis Catholicæ Ecclesiæ auctoribus collecta"Sacred library collected from the precepts of the authorities of the Catholic Church". (Venice 1566) treats the sacred writers and their works, the best manner of translating and explaining Holy Writ, and gives a copious list of Biblical interpreters, in eight books. It was the first of the genre of encyclopedic teaching repertories of dogma and Church tradition issued in the wake of the Council of Trent.

Lorenz Fehenberger (24 August 1912 – 29 July 1984) was a German operatic tenor, particularly associated with the German and Italian repertories. Fehenberger was born in Oberweidach, Upper Bavaria, and began singing as a boy in a church choir, later studying voice with Elisabeth Wolff in Munich. He made his stage debut in Graz, as the Italian singer in Der Rosenkavalier, in 1939. He then sang at the Staatsoper Dresden from 1941 to 1945, and made his debut at the Munich State Opera in 1946.

Born in Gorseinon, Wales, he studied at the RMCM, where he sang Leporello in concert, and Hunding, Fasolt, and Pogner in staged performances. He joined the Sadler's Wells Theatre in 1968, and the Royal Opera House in 1970. He was also a regular guest at the English National Opera and the Welsh National Opera. His roles have included most of the major bass roles of the Verdi and Wagner repertories, such as: Miller, Sparafucile, Ferrando, Padre Guardiano, Phillip II, Landgrave, Hans Sachs, Gurnemanz, etc.

Róbert Ilosfalvy Róbert Ilosfalvy (June 18, 1927 – January 6, 2009) was a Hungarian operatic tenor; he possessed a voice of lyric grace and dramatic power enabling him to sing a wide range of roles in the Italian, German, and French repertories. Az Operaházban ravatalozzák a magyar énekest - szerdán temetik Ilosvay Róbertet. 2009. január 28-án szerdán lesz a magyar opera egyik legkimagaslóbb énekesének, Ilosfalvy Róbertnek temetése. A Magyar Állami Operaházban felállított ravatalt követően a Batthyány téri Szent Anna templom urnatemetőben helyezik örök nyugalomra a világhírű énekest.

Moses draws water from the Rock François Perrier (1590-1650) was a French painter, draftsman, and printmaker. Perrier was instrumental in introducing into France the grand style of the decorative painters of the Roman Baroque. He is also remembered for his two collections of prints after antique sculptures, the Segmenta nobilium signorum et statuarum quae temporis dentem invidium evasere (Paris, 1638), and Icones et segmenta...quae Romae adhuc extant (Paris, 1645). These prints provided visual repertories of classical models for generations of European artists and connoisseurs.

AKMICA supports a group of musical tradition-bearers who are revitalising important musical repertories throughout Central Asia by transmitting their traditions to students. Formerly inaugurated in 2003, the Programme operates in Afghanistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan. The programme is based on a traditional process of apprenticeship known as ustad-shagird, in which master musicians provide intensive instruction rooted in oral transmission of a repertory. Throughout Central Asia, AKMICA-sponsored tradition-bearers work both in self-initiated music centres and schools, and within guild-like networks that encourage collegiality and communication among independent master teachers.

Phillips's first concert with the Tallis Scholars took place in the St Mary Magdalen's Church, Oxford on 3 November 1973. The group was made up of choral scholars (hence the use of the word 'Scholars' in the title) and layclerks from the leading Oxbridge choral foundations. From the start Phillips aimed to produce a distinctive sound, influenced by choirs he admired, in particular the Clerkes of Oxenford. However the repertoire he chose was idiosyncratic, based in his desire to explore neglected corners of the polyphonic repertories, continental as much as English.

Klara Barlow Klara Barlow (July 28, 1928 in Brooklyn, New York – January 20, 2008 in New York City) was an American opera singer who had an active international career from the mid-1960s through the 1990s. A dramatic soprano, Barlow particularly excelled in portraying Strauss and Wagnerian heroines. The 5-foot-11-inch-tall "platinum-blonde beauty" was ideal for playing the "Wagnerian blondes": roles like Elsa, Eva, Sieglinde, and Elisabeth. Although she worked most often in the German repertoire, Barlow also sang roles from the Italian, French, and Czech repertories.

Most of the manuscript sources of Trecento music are from late in the fourteenth or early in the 15th century: some time removed from the composition of the works themselves. The earliest substantial manuscript source of Trecento music is the Rossi Codex, which was compiled sometime between 1350 and 1370 and contains music from the earlier portion of the era. However, other small manuscript sources have been found that expand our knowledge of earlier Trecento repertories. These include the Mischiati fragments of Reggio Emilia, which contain several unique cacce.

In 23 seasons with the Met, he sang 217 performances in 34 roles, primarily in the Italian and French repertories. He can be heard in recordings of many Metropolitan Opera radio broadcasts, notably as Pollione in Norma opposite Zinka Milanov, as Don Alvaro in La forza del Destino opposite Lawrence Tibbett under Bruno Walter in 1943, and as Edgardo in Lucia di Lammermoor opposite Lily Pons. Jagel also appeared in San Francisco, Chicago and Buenos Aires before retiring in 1950. He taught singing in New York after his retirement.

Dariush Talai plays both the Tar and Setar. Born in 1953 in Iran, he studied Persian music with masters of the Radif. His teachers include Tar player Ali Akbar Shahnazi, Nur Ali Borumand with whom he studied radif and old compositions, as well as youssef Forutan and Abdollah Davami, with whom he studied Setar and vocal techniques and repertories. Master Talai taught at the University of Tehran, University of Sorbonne-Paris, University of Washington- Seattle and was awarded a number of major prizes for his contribution to Persian Art Music.

The visiting "Kirov Opera" (as today's Mariinsky Opera was then known), presented it in London at Covent Garden in 2001. In recent times, the opera has appeared more frequently in the repertories of companies such as the Washington National Opera (2007) and the San Francisco Opera (Nov/Dec 2007) and in many other opera houses worldwide, but almost all productions stage the revised version in Italian. However, the 1847 version was given in concert at the Royal Opera House on 27 June 1997 Royal Opera House performances database on rohcollections.org.

Unlike most other chant traditions, they occasionally repeat words within a text, and the two traditions repeat such words in the same places. Corresponding chants in the two traditions are usually assigned to the same mode, although that appears to be the result of later Gregorian influence on the Old Roman repertory, as these analogous chants often have very distinct tonalities. Related chants in the Gregorian and Old Roman repertories differ mostly in ornamentation and surface detail. Old Roman chants are much more stepwise and gently undulating than Gregorian chants.

He was a member of the Indian delegation for two sessions of International Homoeopathic Congress in 1973 and 1976 and was the president of the Central Council of Homoeopathy. Jugal Kishore is known to be the creator of Kishore Cards, a punch card system for Homoeopathic Reportorial analysis on which he has authored three books, Kishore Card Repertory, Integrated Repertory - Mind and Generalities and Evolution of Repertories. He is also credited with several innovative homoeopathic treatment protocols. Jugal Kishore was married to Sharda who preceded him in death, and the couple had two sons.

Raffaele Arié, in 1955 Faust Raffaele Arié (22 August 1920, Sofia - 17 March 1988, Switzerland) was a Bulgarian bass, particularly associated with the Italian and Russian repertories. Arié studied first in his native city with C. Brambaroff, making his stage debut at the Sofia Opera in 1945. He then left for Italy to further his studies, and was a pupil of Riccardo Stracciari, Apollo Granforte and Carlo Tagliabue. The bass made his debut at La Scala in 1947, as the King of Clubs in The Love for Three Oranges, directed by Giorgio Strehler.

Pia Tassinari Pia Tassinari (15 September 1903, Modigliana – 15 May 1995, Faenza) was an Italian soprano and later mezzo-soprano, particularly associated with the Italian and French repertories. Born Domenica Tassinari, she studied with Vezzani and Marcantoni, and made her debut in 1929, as Mimi, in Casale Monferrato. She sang widely in Italy before making her debut at La Scala in Milan in 1932. She also appeared in Russia and South America, and made her debut at the Metropolitan Opera in New York City in 1947, as Tosca.

Several features besides modality contribute to the musical idiom of Gregorian chant, giving it a distinctive musical flavor. Melodic motion is primarily stepwise. Skips of a third are common, and larger skips far more common than in other plainchant repertories such as Ambrosian chant or Beneventan chant. Gregorian melodies are more likely to traverse a seventh than a full octave, so that melodies rarely travel from D up to the D an octave higher, but often travel from D to the C a seventh higher, using such patterns as D-F-G-A-C.

Milky Way, Art of Piano-playing, Book of Challenges, Concerto for 10 young pianists. All this is connected with the practice of creative teaching in the Israel Arts & Science Academy in Jerusalem, an experimental school for a new approach to music teaching. He also studied Jewish Klezmer and Hassidic repertories and published several articles on this subject. He was deeply involved in Jewish topics, not only on the usual folkloristic or liturgical levels, but also confronted more abstract subjects of Jewish thought (Oral Law, philosophical books of the Bible) as well as Jewish History.

In 1970 Duval sang at the Connecticut Opera and in 1971 he made his debut with the New Orleans Opera as Nadir in Georges Bizet's Les pêcheurs de perles. He returned to New Orleans several more time, including portraying the title hero in Gounod's Roméo et Juliette (1972). In his home country, Duval was a regular performer at the Opéra de Québec between 1967 and 1970. He also performed roles with the Théâtre de Nouvell-France, the Canadian Opera Company, the Vancouver Opera, and Opera Ottawa in the standard French and Italian repertories.

In 2002, Esplanade - Theatres on the Bay, which is the de facto national performing arts centre of Singapore, was launched. It focuses on the island's multi-genre music making, and is now the venue for the Singapore Symphony Orchestra's subscription and gala concerts. In addition, the arts centre has ensured a representation of classical and traditional music from the four primary cultures in the land. In particular, the regular festivals of Hua Yi, Pesta Raya and Kalaa Utsavam ensure that interpreters of these different repertories are heard on a regular basis.

Its most distinctive feature compared with other plainchant repertories is a significantly higher amount of stepwise motion, which gives Ambrosian melodies a smoother, almost undulating feel. In manuscripts with musical notation, the neume called the climacus dominates, contributing to the stepwise motion. More ornamental neumes such as the quilisma are nearly absent from the notated scores, although it is unclear whether this reflects actual performance practice, or is simply a consequence of the relatively late musical transcription. The Gregorian system of modes does not apply to Ambrosian chant.

Franz Fehringer (7 September 1910, in Nussloch – 15 March 1988, in Heidelberg) was a German operatic tenor, particularly associated with light lyric roles in the German, Italian, and French repertories. Fehringer studied in Karlsruhe with Jan van Gorkom and Dr. Zimmermann, and made his debut there in 1934, in the tenor part of Beethoven's Ninth Symphony, the following year he appeared in Handel's Serse, and later in Rodelinda. He remained in Karlsruhe until 1938, and during the war, he sang mostly in Wiesbaden and on German radio. After the war, he appeared in Cologne, Frankfurt, Hamburg, while continuing singing on radio.

Nonetheless, the German theater was constantly divided since first and second generation immigrants sought different repertories. Peter Conolly- Smith examines the German theater's demise in a study, conveying that the German theater's collapse in American culture had little to do with the animosities against German immigrants produced by World War I and more to do with German theater's assimilation into American culture. Actor Rudolf Christians took over of Irving Place Theater in 1913 as director of the company alongside two other manager-directors until 1918 when the company disbanded. Christian's vision similarly aligned with that of Conried's.

She sang there the standard lyric coloratura roles of the French and Italian repertories. She also won great acclaim in Mozart roles, especially Konstanze in The Abduction from the Seraglio, as well as the Countess in Le nozze di Figaro, Donna Anna and Elvira in Don Giovanni, The Queen of the Night in The Magic Flute. Eda- Pierre was much appreciated in French baroque opera, particularly the works of Jean-Philippe Rameau, including Les Indes galantes, Zoroastre, Les Boréades (taking part in the first modern performance in September 1964),Readers' Letters - 'Les Boréades' in France. Opera, February 1983, Vol.

A series of "keepers", who were appointed by the Court of Aldermen, were responsible for management of the burial ground. This position and its duties were similar to that of a sexton. As a municipal non-parochial ground the management of the New Churchyard was overseen by the City, therefore, some administrative information survives in the records of the Corporation, principally the surviving Court of Aldermen repertories, City account books and journals of the City Lands Committee, which are all held at the London Metropolitan Archive. Unfortunately, there is no surviving burial register for the ground.

The success of his theatre company, Kirloskar Natya Mandali paved way for commercial repertories in Marathi theatre, and subsequently the formation of Natak Companies. The early period of Marathi theatre was dominated by playwrights like Kolhatkar, Krushnaji Prabhakar Khadilkar, Govind Ballal Deval, Ram Ganesh Gadkari and Annasaheb Kirloskar who enriched the Marathi theatre for about half a century with excellent musical plays known as Sangeet Natak. The genre of music used in such plays is known as Natya Sangeet. It is during this era of the Marathi theatre that great singer-actors like Bal Gandharva, Keshavrao Bhole, Bhaurao Kolhatkar and Deenanath Mangeshkar thrived.

In four seasons at the Met, she sang Santuzza in Cavalleria rusticana, Eboli in Don Carlos, Azucena in Il trovatore, and Dalila. She was a versatile artist, singing with equal success the French, Italian and German repertories. She enjoyed a very long career singing well into her 60s and 70s and her last role was as the Countess in Tchaikovsky's The Queen of Spades which she performed in the summer of 2007 in Ghent and Antwerp. Gorr believed that 'trouser-roles' did not suit her; she did however sing Lel in The Snow Maiden in 1955 in concert and Octavian in 1958.

The statue was immediately famous, as the Antinous Admirandus: it was mentioned in all the accounts of the antiquities to be seen in Rome, engraved in all the repertories of classical art, universally admired and copied in bronze and marble for Fontainebleau in the sixteenth century and Versailles in the seventeenth century. A bronze copy by Hubert Le Sueur figured in the collections of Charles I of England before being acquired by Oliver Cromwell,Haskell and Penny, p. 41-42. while another cast by the Keller brothers came into the collection of Louis XIV of France.Haskell and Penny, p. 54.

Ernesto Nicolini Ernesto Nicolini (February 23, 1834 – January 19, 1898) was a French operatic tenor, particularly associated with the French and Italian repertories. Born Ernest Nicolas in Saint Malo, France, he studied at the Paris Conservatory and made his debut in 1857, at the Opéra-Comique in Halevy's Les mousquetaires de la reine. After further study in Italy, he made his debut at La Scala in Milan in 1859, under the name Ernesto Nicolini, as Alfredo in La traviata, other roles there included Rodrigo in Rossini's Otello, and Elvino in Bellini's La sonnambula. On his return to France he sang at the Théâtre-Italien from 1862 until 1869.

A musical scale is a series of pitches in a distinct order. The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale, but differs from it by also involving an element of melody type. This concerns particular repertories of short musical figures or groups of tones within a certain scale so that, depending on the point of view, mode takes on the meaning of either a "particularized scale" or a "generalized tune".

Yasuhide Ito has earned much praise for his compositional endeavors. In all, Ito is credited for more than 130 musical works. This collection of musical works includes pieces for wind ensemble, orchestra, instrumental chamber ensembles, solo voice, various solo wind instruments, piano, solo percussion, solo string instruments, and various other instruments such as organ, cembalo, accordion, and harmonica. Ito is probably most well known as a composer of band music. Among his most popular works for wind ensemble are “Gloriosa” (Gururiyoza), which is among the most frequently played repertories in the world, and “Festal Scenes”, the piece which with Ito made his United States debut in 1987.

Secondly, the counting units (mātrā) of each tāla are grouped into segments called vibhāg, which constitute slower "beats" of from to 5 of those counting units. Third, in addition to the sounded vibhāg, marked by hand-claps (tālī), there are also vibhāg marked only by a wave of the hand—the so-called khālī beats. The two quintuple tālas in these repertories are Jhaptāl——and Sūltāl—. Both are measured by ten mātrā units, but Jhaptāl is divided into four unequal vibhāg (the third being a khālī beat) in two halves of five mātrā each, and Sūltāl is divided into five equal vibhāg, the second and fifth of which are khālī.

Throughout her career she was widely admired for the elegance, warmth and subtlety of her singing, especially in the French and German operatic repertories. Crespin began her career in France, earning her first critical successes in the French provinces during the early 1950s and then becoming a fixture at the Opéra National de Paris in the mid-1950s. Her international career was launched in 1958 with a critically acclaimed performance of Kundry in Richard Wagner's Parsifal at the Bayreuth Festival. She soon appeared at most of the major opera houses in the United States and Europe and also made a number of appearances in South America.

Papp made his professional opera decut in 1948 at the Slovak National Theatre (SNT) as Don José in Georges Bizet's Carmen. He returned frequently to the theatre through 1955 as a guest artist and then was a member at the house from 1955 through 1987. His extensive stage repertoire at the SNT encompassed mainly heroic tenor roles from the Italian and German repertories and a total of 21 Slovak opera roles. He notably created roles in the world premieres of several operas by composer Ján Cikker, including the title roles in Juro Jánošík (1954) and Beg Bajazid (1957) and parts in Vzkriesenie (1962) and Zo života hmyzu (1987).

Ignatiadou 2002 For example, glass inlays decorated the ionic capitals of north porch of the Erechtheion in the Athenian Acropolis.Stern 1999 Inlays were deeply rooted in the Egyptian glassmaking industry and their production, with the mosaic technique after the Pharaonic tradition, continued to flourish during the Hellenistic period with old or new repertories inspired from the Greek world.Nenna 2002 Game counters and gaming pieces were made also as one way to recycle scrap glass left over from the manufacture of other articles.Ignatiadou 2002 Like in many other occasions, these objects are well represented and archaeologically found along with various types of glass vessels in rich burial contexts, e.g.

In 2010 Xavier Serra was awarded an Advanced Grant of the European Research Council to carry out the project CompMusic (Computational models for the discovery of the world's music). The main goal of CompMusic is to advance in the field of Music Computing by approaching a number of the current research challenges from a multicultural perspective. It aims to advance in the description and formalization of music, making it more accessible to computational approaches and reducing the gap between audio signal descriptions and semantically meaningful music concepts. It intends to develop information modelling techniques applicable to non-western music repertories and formulate computational models to represent culture specific music contexts.

There has been some support for the theory in that the frogs use a wide variety of songs to give the illusion to invading frogs that the territory they are trying to enter is already full of competing frogs. The Beau Geste hypothesis has also been found to explain vocalizations within some cricket species such as the bush cricket, where males use a wide variety of songs to access the amount of competition which is in a given area. When males are present in an area with a large number of other males their vocal repertories are much smaller than when in an area with only a few males.

Lubovitch danced in numerous modern, ballet, jazz and ethnic companies before forming the Lar Lubovitch Dance Company in 1968. His works are included in the repertories of companies throughout the world, including the New York City Ballet, American Ballet Theatre, Paris Opera Ballet, Royal Danish Ballet, Stuttgart Ballet, Alvin Ailey American Dance Theater, Baryshnikov's White Oak Dance Project and Netherlands Dance Theater. His work is renowned for its musicality, rhapsodic style and sophisticated formal structures. His radiant, highly technical choreography and deeply humanistic voice have been acclaimed throughout the world. Lubovitch made his Broadway debut in 1987 with the musical staging for the Stephen Sondheim/James Lapine musical, Into the Woods, for which he received a Tony Award nomination.

Acél was a consummate master of the Viennese Classical Style, giving remarkable performances of the music of Haydn, Mozart, Beethoven, Schubert, Brahms and Richard Strauss. Possessing a fabulous conducting technique, an extraordinary artistic temperament, and a refined sense for orchestral sound, balance and color, he was also an inspired interpreter of the Russian and French repertories and moreover a specialist of the music of Béla Bartók. Ervin Acèl was an outstanding teacher of orchestral conducting, first organizing masterclasses for young conductors in Romania from 1983, in Hungary (Szeged) from 1992 to 1999, and in Austria (Vienna) from 1996. These courses became well known internationally, attracting numerous students from all over the world.

Activating and inhibitory KIR receptors are expressed on NK cells in patchy, variegated combinations, leading to distinct NK cells. The IgSF and CTLR superfamily inhibitory receptors expressed on the surface of NK cells are each expressed on a subset of NK cells in such a way that not all classes of inhibitory NK cell receptors are expressed on each NK cell, but there is some overlap. This creates unique repertories of NK cells, increasing the specificity with which NK cells recognize virally-infected and transformed self-cells. Expression of KIR receptors is determined primarily by genetic factors, but recent studies have found that epigenetic mechanisms also play a role in KIR receptor expression.

He also composed stage works of various kinds for John Palmer's short-lived Royalty Theatre. All of his works were entirely sung as none of these non-patent houses were permitted to perform works with any spoken drama. Some of Reeve's pieces were revived at the patent theatres after the Royalty closed in 1788. Most notably, his ballet-pantomime Don Juan (1787) was incredibly popular and both Drury Lane and Covent Garden adopted it for their repertories. In 1787 Reeve was elected to the Royal Society of Musicians and eventually served as the Governor of the organization in both 1794 and 1804. Reeve occasionally worked as an actor at the Haymarket company during the late 1780s and early 1790s.

Dogs, which are reputed to have good sense of smell, do not have the largest number of functional OR genes. Additionally, pseudogenes may be functional; 67% of human OR pseudogenes are expressed in the main olfactory epithelium, where they possibly have regulatory roles in gene expression. More importantly, the vision priority hypothesis assumed a drastic loss of functional OR genes at the branch of the OWMs, but this conclusion was biased by low-resolution data from only 100 OR genes. High-resolution studies instead agree that primates have lost OR genes in every branch from the MRCA to humans, indicating that the degeneration of OR gene repertories in primates cannot simply be explained by the changing capabilities in vision.

Artistic Director Stephen Mills Stephen Mills (born August 18, 1960 in Morganfield, Kentucky) is an American dancer and choreographer and is currently Artistic Director/Choreographer at Ballet Austin. Under his tenure, Ballet Austin has been invited on four occasions to perform at the J.F. Kennedy Center for the Performing Arts in Washington D.C. His ballets are in the repertories of such companies as The Hong Kong Ballet, American Ballet Theatre Studio Company, The Atlanta Ballet, The Milwaukee Ballet, Washington Ballet, Cuballet in Havana, Cuba, BalletMet Columbus, The Dayton Ballet, The Sarasota Ballet of Florida, Ballet Pacifica, Dallas Black Dance Theater, The Louisville Ballet, The Nashville Ballet, Fort Worth/Dallas Ballet, The Sacramento Ballet and Dance Kaleidoscope.

Founded in 2000, Schola Antiqua of Chicago states that its mission is to provide audiences with the highest standards of research, performance, and education involving many under-served repertories in the pre-modern canon of western vocal music. Led by scholars in the field of early music, the organization develops programs with works that are not only seldom heard, but often newly transcribed for performance. Frequently, the ensemble presents pieces that have been the subject of academic scholarship in the field of early music. Calvin M. Bower, Professor Emeritus of the University of Notre Dame and also a retired researcher from the Bavarian Academy of Sciences and Humanities, was the Artistic Director of Schola Antiqua from its inception until 2008.

Cardillo's richly scored and still popular 1911 romance Core 'ngrato (Ungrateful Heart) — also known by its lyric Catarì, Catarì, pecchè me dici sti parole amare — was written in America to a text in Neapolitan dialect by Alessandro Sisca; it is in fact the only famous Neapolitan song by an Italian- American immigrant. The song's first exponent was the operatic tenor Enrico Caruso, but it is not clear whether he commissioned it. Franco Corelli, Luciano Pavarotti, Plácido Domingo, José Carreras and, more recently, Roberto Alagna and Jonas Kaufmann are among the tenors to have included Core 'ngrato in their repertories. The composer also wrote the songs Barcarola, to a text by Edoardo San Giovanni, and Oi luna (O Silvery Moon), to a text by Riccardo Cordiferro.

Summer performances were given annually, from the repertories of the Grand and Variety (Rozmaitości) theatres. Józef Szczublewski writes that during this time, even though the country had been partitioned out of political existence by its neighbors, the theatre flourished: "the ballet roused the admiration of foreign visitors; there was no equal troupe of comedians to be found between Warsaw and Paris, and Modrzejewska was an inspiration to drama." The theatre presented operas by Władysław Żeleński, Ignacy Jan Paderewski, Karol Szymanowski and other Polish composers, as well as ballet productions designed by such choreographers as Roman Turczynowicz, Piotr Zajlich and Feliks Parnell. At the same time, the repertoire included major world opera and ballet classics, performed by the most prominent Polish and foreign singers and dancers.

The Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, and French and Italian Baroque models especially, but the training could then be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic. American architects of the Beaux-Arts generation often returned to Greek models, which had a strong local history in the American Greek Revival of the early 19th century. For the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details. Beaux-Arts training made great use of agrafes, clasps that link one architectural detail to another; to interpenetration of forms, a Baroque habit; to "speaking architecture" (architecture parlante) in which supposed appropriateness of symbolism could be taken to literal-minded extremes.

Watercolour portrait of Thomas Canynges, Lord Mayor of London 1456–7, held at LMA The records that were formerly held by the Corporation of London Record Office and now held at the LMA have been re-catalogued and are now arranged in two distinct sections. Records with the prefix COL are the administrative and corporate records of the City of London Corporation. Included in this section are the repertories, journals and letter books from the courts of Aldermen and Common Council, records of those receiving the freedom of the City of London from the Chamberlains department as well as numerous plans from the planning and surveyors departments. Records with the prefix CLA are deposited collections from organisations and bodies that operate in close association with the City of London Corporation.

She was promoted to principal dancer of the company in 1946 and danced the role of Giselle until 1948, also performing in Swan Lake, Antony Tudor's Undertow (1943), Balanchine's Theme and Variations (1947), and in such world premieres as deMille's dramatic ballet Fall River Legend (1948), in which she starred as the Accused. By this time in her career, she had developed a reputation as an intensely dramatic dancer, as well as an ultra-pure technician and a supremely skilled interpreter of classical and romantic repertories. The Ballet Theatre's Igor Youskevitch and her other partners quickly became expert at helping Alonso conceal her handicap. To compensate for only partial sight in one eye and no peripheral vision, the ballerina trained her partners to be exactly where she needed them without exception.

Through the 1990s and the early part of the new millennium, the group had a staggering output of around 50 productions (200+ performances), story performances and performative story readings for children, a vast body of poetry readings in conjunction with the Culture Cafe - British Council, Chennai, and collaborations with virtually every local English and parallel Tamil theatre group. Masquerade's members had also exhaustively lent their hands in support to travelling domestic and international repertories in a technical as well as backstage capacity. In 2003, Masquerade hosted Curtain Raiser's Kandor (from Malta) featuring the duo of Patrick Vella and Claire Agius, who travelled to India from Edinburgh Fringe and performed in Chennai and Cochin. At the turn of the century, the group had three very notable productions to its credit.

The numerous other archives and manuscript-collections of Rome are also open, as a rule, to the student; indeed, few workers limit themselves exclusively to Vatican materials. Moreover, studies begun in the Vatican are often supplemented by scientific excursions to other Italian cities, either on the student's homeward journey or during some vacation period; such excursions have at times resulted in surprising discoveries. An exhaustive examination of Italian archives and libraries leads occasionally to a larger view of the subject than was originally intended by the investigator, for whom in this way new questions of importance spring up, the definite solution of which becomes highly desirable. Experience, therefore, and the detailed study of the numerous repertories, indexes, and inventories of manuscripts, have made it necessary to organize permanently the scientific historical researches carried on in the interest of any given country.

There have been various "derivative works" of Hamlet which recast the story from the point of view of other characters, or transpose the story into a new setting or act as sequels or prequels to Hamlet. This section is limited to those written for the stage. The best-known is Tom Stoppard's 1966 play Rosencrantz and Guildenstern Are Dead, which retells many of the events of the story from the point of view of the characters Rosencrantz and Guildenstern and gives them a backstory of their own. Several times since 1995, the American Shakespeare Center has mounted repertories that included both Hamlet and Rosencrantz and Guildenstern, with the same actors performing the same roles in each; in their 2001 and 2009 seasons the two plays were "directed, designed, and rehearsed together to make the most out of the shared scenes and situations".

The Ploiesti State Philharmonic Orchestra made concert tours in Germany, Luxembourg, Canada, Italy, France, South Korea, Holland, Belgium, Greece, Spain, Czech and other countries. The Ploiesti Philharmonic "Paul Cosntantinescu" held prestigious competitions as "Gala for Young Conductors", "Lory Walfish Piano Competition", "Eugenia Moldoveanu Vocal Contest", "Paul Constantinescu Competition", and was invited in the 2011-2012 editions into Contemporary Music Festival (SIMN) organized by Composers and Musicologists Union of Romania (UCMR). Ploiesti Philharmonic Orchestra has various repertories from classic music to modern and in its programs being found very often Romanian creations of modern and contemporary music. Works of composers like Tiberiu Olah, Anatol Vieru, Ştefan Niculescu, Dan Dediu, Viorel Munteanu, Sabin Pautza, Dan Buciu, Vasile Spătărelu, Irina Odăgescu-Țuțuianu, Carmen Petra-Basacopol, Grigore Cudalbu and many others, was interpreted, some in first audition, in the Ploiesti Philharmonic Hall.

Rehding has worked extensively on the influential nineteenth-century German music theorist Hugo Riemann, contributing to the historical figure as well as Neo-Riemannian theory. Rehding reconstructs the cultural and philosophical contexts in nineteenth- century Germany that allowed Riemann’s problematic ideas to appear compelling and cogent, and explores particularly Riemann’s encounters with non-Western music and the early period of sound reproduction. The question of encounters of Western music theory with other musical traditions and repertories has guided much of Rehding’s work in the history of music theory—covering a range of topics including ancient Greek music and the Enlightenment interest in Chinese music. His work on ancient Egyptian music takes as a starting point the paradox that no usable traces of this musical tradition survive, but it formed an essential early chapter in the general sweep of music history.

Throughout the 1880s Petipa staged revivals of older works with increasing regularity. In 1880 he revived Mazilier's Le Corsaire for the ballerina Eugenia Sokolova, and in 1881 he revived Mazilier's Paquita for the Prima ballerina Ekaterina Vazem. For this production Petipa added the celebrated Paquita Grand pas classique, as well as the Paquita Pas de trois (or Minkus Pas de trois) and the Mazurka des enfants (Children's Mazurka), all to the music of Minkus. The Paquita Grand pas classique is among Petipa's most celebrated divertissements, and is today included in the repertories of ballet companies all over the world. In 1884 Petipa staged what is considered to be his definitive revival of the romantic masterwork Giselle, and in 1885 he mounted a new production of Arthur Saint-Léon's Coppélia, a revision which would serve as the basis for nearly every version staged thereafter.

In her report about female singers in Darfur, the ethnomusicologist Roxane Connick Carlisle recounts her fieldwork during the 1960s in three ethnic groups. She describes the common traits of these female Bards from the Zaghawa,"Free vocal rhythm and simple meter throughout, undulating and generally descending solo melodies ranging within an octave, great importance given to meaningful text, a syllabic setting of text to tone level, and a generally relaxed and thoughtful performance of songs – these are the traits present in the repertories of Zaghawi female bards and non-specialist singers." Connick Carlisle, R. (1976), Women Singers in Darfur, Sudan Republic, p.259 Fur and Beni Helba Baggara tribes as follows: Sudanese female musicians in a traditional festival or wedding celebration A traditional form of oral poetry are the songs of praise or ridicule by female singers of Western Sudan, called Hakamat.

The earliest 8th-century fragments, and the more complete chantbooks from the 11th and 12th centuries that preserve the first recorded musical notation, show marked differences between the Gregorian and Ambrosian repertories. Later additions to the Ambrosian repertory, whose style differs from the earlier chants, may reflect Gregorian influence. Although St. Charles Borromeo fought to keep the Ambrosian rite intact during Spanish occupation, a contemporary edition of Ambrosian chant, published by Perego in 1622, attempts to categorize the Ambrosian chants into the eight Gregorian modes, which is not generally accepted as an accurate reflection of the actual musical practice of the time. Ambrosian chant has survived to the present day, although its use is now limited primarily to the greater part of the Archdiocese of Milan and environs, parts of Lombardy, and parts of the Swiss Diocese of Lugano.

The Corpus mensurabilis musicae (CMM) is a collected print edition of most of the sacred and secular vocal music of the late medieval and Renaissance period in western music history, with an emphasis on the central Franco-Flemish and Italian repertories. CMM is a publication of the American Institute of Musicology, and consists of 109 series (individual volumes or sets of volumes) as of 2007. Renowned composers whose works have appeared in other collected editions, such as Josquin des Prez, Giovanni Pierluigi da Palestrina, and Orlande de Lassus, are generally excluded from the set. Many of the series are devoted to works of a single composer, and in some cases they are organized into sub-volumes because of their size (for example, "Volume 1" contains the works of Guillaume Dufay; it actually consists of 6 separate bound volumes, separately containing motets, masses, mass fragments, other liturgical music, and secular songs).

Puer nobis nascitur in the 1582 edition of Piae Cantiones, image combined from two pages of the source text "Puer nobis nascitur", usually translated as "Unto Us Is Born a Son", is a medieval Christmas carol found in a number of manuscript sources—the 14th-century German Moosburg Gradual and a 15th-century Trier manuscript.John Garden, The Christmas Carol Dance Book, (Earthly Delights, 2003) The Moosburg Gradual itself contained a number of melodies derived from the 12th- and 13th-century organum repertories of Notre Dame de Paris and the Abbey of Saint Martial, Limoges, suggesting that its antiquity may be much greater.Ronald M. Clancy, Sacred Christmas Music: The Stories Behind the Most Beloved Songs of Devotion, (Sterling Publishing Company, 2008) , p.86. The song was first published in the 1582 Finnish song book Piae Cantiones, a volume of 74 medieval songs with Latin texts collected by Jaakko Suomalainen, a Finnish Lutheran cleric, and published by T. P. Rutha, a Catholic printer.

Kalanilayam Balakrishnan (also known as Kochu Balan and Balasan) is a well- known actor-dancer, scholar and a popular teacher of Kathakali, a unique theatre-dance of Kerala in South India."Plumbing Depths of Emotion" In 1965 at the age of 13, Balakrishnan began his Kathakali training at the famous Unnayi Warrier Smaraka Kalanilayam at Irinjalakkuda in Thrissur district of Kerala. He has received best traditional Kathakali training from grand masters such as Palluppuram Gopalan Nair, Keezhpadam Kumaran Nair, Kalamandalam Kuttan, Kalanilayam Raghavan etc. Several years of his intensive regular practices with the rigorous training and deep interests, love to learn and listen properly from the grand masters of Kathakali supported to develop his wide range capacity to work with any character roles of Kathakali for the stage performances and also made his excellency as a very prominent teacher who respect the old repertories of Kathakali plays in its each details to teach the up-coming generations of Kathakali actors with passion and dedication.

He brought with him conductor Arturo Toscanini, who became the company's principal conductor and led performances of Verdi, Wagner and others that set high standards for the Metropolitan which have endured to the present day. The Viennese composer Gustav Mahler also was a Met conductor during Gatti-Casazza's first two seasons and in later years conductors Tullio Serafin and Artur Bodanzky led the company in the Italian and German repertories respectively. Affectionately called "Gatti" by friends and colleagues, Gatti- Casazza's prodigious artistic and organizational skills attracted the best singers and conductors to the Metropolitan, and, on 10 December 1910, hosted its first World premiere, La Fanciulla del West by Giacomo Puccini. Many noted singers of the era appeared at the Met under Gatti-Casazza's leadership, including Rosa Ponselle, Emmy Destinn, Frances Alda, Amelita Galli-Curci, Maria Jeritza, Lily Pons; Enrico Caruso, Jacques Urlus, Giovanni Martinelli, Beniamino Gigli, Feodor Chaliapin, Titta Ruffo, Giacomo Lauri-Volpi, and Lauritz Melchior.