On the opposite bank, in Nam Heng Estate, about 4 chains from the river is a grave mound (4 × 24 X 15 feet), walled with shallow bricks of the old Malacca type and containing one adult grave in perfect condition and fragments of two ...
Category: Federated Malay States
Includes the annual report of the Malaysian Branch, Royal Asiatic Society.
The two EBA IVA chamber tombs at Umm el- Marra have also a very rich inventory9. More information is available concerning the northern part of the Middle Euphrates valley flooded by the Atatiirk Dam. In Lidar Hoyiik 15 EBA IV A graves ...
Author: Catherine Kuzucuoǧlu
Publisher: Institut Francais d'Etudes Anatoliennes Georges Dumézil Istanbul
Think of the glory destined for all his followers at the Saviour's second advent . From the sickening ravages of death , and the gloomy horrors of the grave , look away to the morning of the resurrection ; behold him descending from ...
on abdomen, came from a deep, unmarked grave. Several others, much larger and in varying conditions, were also unearthed. Few of the graves had lajas. Two were circular, about three feet deep and three in diameter, and laja-covered.
MATILDE IN 2010 “Seas of hate between you two / a world against another world / a hellish battle ... and the end will offer a grave with two corpses / and a baptism of blood to the new world.” This is the sung curse of the sorceress in ...
Author: Alejandro L. Madrid
Publisher: Oxford University Press, USA
Category: Microtonal music
In the 1920s, the Mexican composer Julián Carrillo (1875-1965) developed a microtonal system called El Sonido 13 (The 13th Sound). Although his pioneering role as one of the first proponents of microtonality within the Western art music tradition elevated Carrillo to iconic status among European avant-garde circles in the 1960s and 1970s, his music and legacy have remained largely overlooked by music scholars, critics, and performers. Confronting this paucity of scholarship on Carrillo and his music, Alejandro L. Madrid goes above and beyond "filling in" the historical record. Combining archival and ethnographic research with musical analysis and cultural theory, Madrid argues that Carrillo and Sonido 13 are best understood as a cultural complex: a network of moments, spaces, and articulations in which Carrillo and his music continuously re-acquire significance and meaning. Thus, Madrid explores Carrillo's music and ideas not only in relation to the historical moments of their inception, but also in relation to the various cultural projects that kept them alive and re-signified them through the beginning of the twenty-first century. Eschewing traditionally linear historical frameworks, In Search of Julián Carrillo and Sonido 13 employs an innovative transhistorical narrative in which past, present, and future are explored dialogically in order to understand the politics of performance and self-representation behind Carrillo and Sonido 13. In Search of Julián Carrillo and Sonido 13 transforms the traditional genre of the composer study, treating it not as a celebration of "masters" and "masterworks," but as a pointed postcolonial intervention that offers invaluable insight into the politics of cultural exchange, experimentalism, marginality, and cultural capital in twentieth century Mexico.
graves . twenty - five cents for single graves , and two dollars and fifty opening cents for double graves ; and provided , further , that all money received by the keeper of Calvary cemetery , under this ordinance , shall be accounted ...
Author: Jürgen SchaarwächterPublish On: 2015-02-27
In the end, one would do Macfarren a grave injustice by calling him a second-rate composer compared to Mendelssohn; he was a unique and very inventive symphonist who compared 'favourably with ( ...
Author: Jürgen Schaarwächter
Publisher: Georg Olms Verlag
Die britische Sinfonik ist erst in jüngster Zeit ins allgemeine Interesse gerückt. Ein Überblick über die sinfonische Entwicklung im Vereinigten Königreich seit den Anfängen im 18. Jahrhundert bis ins 20. Jahrhundert blieb aber bis heute ein Desideratum. Der hier vorgelegte Überblick zeigt, wie sich die Identität einer britischen Sinfonik über mehr als hundert Jahre entwickelte, geprägt durch Einflüsse vom europäischen Kontinent und von dem Bedürfnis, eigene Wege zu finden. Gegen Ende des 19. Jahrhunderts nahm das sinfonische Schaffen in Großbritannien stark zu, brachte jedoch erst mit Edward Elgar einen prominenten Vertreter von internationalem Rang hervor. Ein besonderer Schwerpunkt dieser Publikation liegt auf jenen Werken, die zu einem gewissen Grade von anderen überschattet wurden, unveröffentlicht oder unaufgeführt blieben. Das Ergebnis ist das Bild einer vielgestaltigen sinfonischen Landschaft Großbritanniens, das die ästhetischen Perspektiven der einzelnen Komponisten wie auch ihre soziokulturellen Kontexte erhellt. Ein umfangreiches Verzeichnis aller bekannten Werke und eine ausführliche Bibliographie laden zu weiterer Erkundung des Sujets ein. Only in relatively recent times has any real attention been given to British symphonies. So a comprehensive survey, showing what exists and how the situation in the United Kingdom developed, from the beginnings in the 18th century until well into the 20th century, is long overdue. The preliminary survey presented here shows how a British symphonic identity gradually took shape over more than a century, through influences from abroad and, at home, enterprising attempts to find new ways of expression. By the end of the 19th century, British symphonists had produced an impressive body of work, yet only with the appearance of Elgar’s two symphonies in the following decade did this flourishing school find a champion of international renown. In this publication, light is shone on those works that have to some extent been overshadowed, as well as on those that have remained unpublished or unperformed. The result is a multi-faceted panorama of British symphonism, offering many insights into the composers’ thinking and their socio-cultural contexts. A comprehensive catalogue of all known works and an extensive bibliography invite readers to delve further into the subject.
two pottery bowls placed lip to lip . ... There were also two small crypt graves , and without much furniture . ... It may be that temples the Early Classic Period , was in the crypt type of grave . were reserved for the burial of ...
These clusters are high points of the landscape clearly bounded by wadis on two sides . To test this new model of grave location , a second excavation area ( Square 6 ) was established 200 m south of Square 5 .
cemetery gates all the time, more particularly in the afternoons. "Will there be any more funerals today?" was asked of a native who had just filled in a grave. "Yes, baas. Two wagons coming now," he answered, pointing to the road.
Author: Samuel Murray
Seven Legs Across the Seas: A Printer's Impressions of Many Lands written by Samuel Murray. Published in 1918. And now republish in ePub version. Introduction I was early aboard the fastest ship that ever foamed the seas. Later, a long, strong whistle blast blew—the signal for starting—and soon she headed southward, the great vessel traveling through New York harbor to Sandy Hook as noiselessly as a bobsleigh drawn through two feet of unpacked snow. I had secured a second class ticket to Buenos Aires, Argentina, by way of England, this marking the first of several legs of the world over which I had planned to travel. Thirteen hundred and fifty dollars, representing years of economical living, was the sum deemed as necessary to accomplish what I had purposed doing. By trade I am a printer and linotype operator. In earlier years money for traveling expenses was of little concern, for the fascination that accompanies prowling about freight trains seeking an empty box car, or the open end door of a loaded one in which to steal a ride, or of turning one's back to the tender of a locomotive to protect the eyes from hot cinders coming from a snorting passenger engine while standing on the draughty platform of a "blind" baggage car—one without end doors—the train at the same time traveling at a speed of from 45 to 50 miles an hour—the "cinder days" during the catch-as-catch-can periods of traveling through coastwise tracts of country, across unbroken prairie stretches and over mountain fastnesses, are pleasant ones to recall, not forgetting the hungry, cold and wet spells that all men meet with who are enticed by the gritty allurements to beat their way about the country on railroad trains. Since Benjamin Franklin's day it has been a custom with printers to travel from place to place, and, as some of the devotees of the "art preservative of all arts" had covered large territories of the world from time to time, I wished to be numbered among those at the top of the list. A union printer has little trouble in getting work in the United States, by reason of the large Sunday newspaper editions requiring extra men during the latter part of the week, and by vacancies taking place through the "moving spirit" of the workers, which has always characterized the printing trade. This fascination, however, like other diversions of a rough nature, lost its charm in time, as it proved more comfortable traveling by passenger trains—inside the coach and sitting on a cushioned seat—than riding on the platform of a car that was being constantly pelted with red-hot cinders. I had graduated from the "free-ride" school. On a trip through North America I had visited Yosemite Valley and Mariposa Big Tree Grove, Yellowstone Park, the Grand Canyon of Arizona, Mexico, Mammoth Cave, Niagara Falls, and the Thousand Islands after I had enrolled in the "Cushion College." Later on, having saved $400, a trip to Europe was made, visiting in that part of the world most of the chief po