Utent:Joelemaltais/Temp

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Test[immodifika | immodifika s-sors]

Aaron Copland - Theme 2[immodifika | immodifika s-sors]

 

{ \new PianoStaff 


<< \new Staff \relative c' { \clef treble \key f \major \time 4/4 \tempo 4 = 80 \partial 2*1 c4( f) | <bes f c>2 <a f d>~ | <a f d>4 <g e c>2.~ | \time 3/2 <g e c>2 a,2 } \new Staff \relative c { \clef bass \key f \major \time 4/4 r2 | <a a,>2 <bes bes,>2~ | <bes bes,>4 <c c,>2.~ | \time 3/2 <c c,>2 <f f, f,>1 }>> 


<< \new Staff \relative c' { \clef treble \key f \major \time 4/4 \tempo 4 = 160 \partial 2*1 c4( f) | <bes f c>2 <a f d>~ | <a f d>4 <g e c>2.~ | \time 3/2 <g e c>2 a,2 } \new Staff \relative c { \clef bass \key f \major \time 4/4 r2 | <a a,>2 <bes bes,>2~ | <bes bes,>4 <c c,>2.~ | \time 3/2 <c c,>2 <f f, f,>1 }>> 

<< \new Staff \relative c' { \clef treble \key f \major \time 4/4 \tempo 4 = 240 \partial 2*1 c4( f) | <bes f c>2 <a f d>~ | <a f d>4 <g e c>2.~ | \time 3/2 <g e c>2 a,2 } \new Staff \relative c { \clef bass \key f \major \time 4/4 r2 | <a a,>2 <bes bes,>2~ | <bes bes,>4 <c c,>2.~ | \time 3/2 <c c,>2 <f f, f,>1 }>> 


<< \new Staff \relative c' { \clef treble \key f \major \time 4/4 \tempo 4 = 320 \partial 2*1 c4( f) | <bes f c>2 <a f d>~ | <a f d>4 <g e c>2.~ | \time 3/2 <g e c>2 a,2 } \new Staff \relative c { \clef bass \key f \major \time 4/4 r2 | <a a,>2 <bes bes,>2~ | <bes bes,>4 <c c,>2.~ | \time 3/2 <c c,>2 <f f, f,>1 }>> 

}

Antonio Sciortino[immodifika | immodifika s-sors]

in Fagu 1996[immodifika | immodifika s-sors]

On the other hand, the compositional structure of Sciortino’s work, specifically its novel approach to the classic equestrian statue, claimed newness-value. Clearly inspired by the equestrian groups of leading modernist sculptor Duilio Cambellotti - whose works he continued to emulate throughout the 1930s - Sciortino replaced the static equine posture found in traditional commemorative monuments with the wholly dynamic one of Anita’s horse (Figure 8).~’ The representation of movement and speed, one of the most distinguishing traits of Futurist aesthetics, was accomplished through the artist’s choice of representing the horse’s run in the last suspended moment of galloping: a composition which also evoked that quintessentially modem mode of representation, the cinematic still-frame. This monument, with its mixing of age-signs and cinematic dynamism, attempted to arouse in the viewer a modernist perception of time, a feeling of Bergsonian duration which lent it a transcendental status (note 22) Sciortino’s Anita was meant to stand for the immanence and dynamism of a unique revolutionary tradition: garibaldinismo. It suspended this tradition between an absolute past and an absolute present, thus generating the symbolic appeal of everlasting presence.

notes 21 / 22[immodifika | immodifika s-sors]

21. Many compositional elements in Sciortino’s Anita seem directly inspired by three of Cambellotti’s most famous equestrian sculptures, all of them exhibited together at the Seconda Biennale Internazionale di Arti Decorative, held in Monza in 1925: L’Avo, Il Buttero, and Magister Equitum. Sciortino was not a participant in this exhibition but he certainly read the reviews - which reproduced and unanimously exalted Cambellotti’s sculptures - in Le Arti Decorative, 8, 11, 12 (Milano 1925); Emporium, 367, 369 (Roma 1925); Le Belle Arti, 10 (Torino 1925). The volume Cambellotti Scultore, eds G. Appella and M. Quesada (Roma 1991), reproduces the three works on pages 87, 94 and 96. Cambellotti’s influence on the modernist evolution of Sciortino’s art in the 1930s is most noticeable in the latter’s best-known work, Speed (1937), currently exhibited in room 7a of the Maltese National Museum of Fine Arts in La Valletta.

22. Gilles Deleuze has explored the intimate relationship between the modem experience of temporality afforded by film and the Bergsonian concept of duration. ’Matter and Memory’, writes Deleuze in reference to Bergson’s major work, ’was the diagnosis of a crisis in psychology. Movement, as physical reality in the external world, and the image, as psychic reality in consciousness, could no longer be opposed.’ Gilles Deleuze, Cinema I: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis 1983), cited in M.K. Matsuda, ’The Body of the Philosopher: the Ethics of Memory, Mythology, and the Modem’, Strategies, 4/5 (1991), 134-50. In this article Matsuda describes Bergsonian memory as translating ’both the intensities of spontaneous action and the timeless grandeur of the classical past into fleeting moment’, (143); a definition for which Sciortino’s Anita could serve as a fitting icon.

in memoirs of Mrs. Nancy Cox-McCormack Cushman[immodifika | immodifika s-sors]

Memoirs – 1922-1924 a. “I Settle Myself in Rome – 1922” b. “ A Day at Lake Nemi – 1922” c. “A Brief Visit to the Island of Procida – 1924” These memoirs include items of friendship with Professor Antonio Sciortino noted sculptor of Rome, who originated the concept of the “Unknown Soldier.”

Fl-1922 McCormack fetħet ħanut tax-xogħol f'Via Margutta 48 (viċin il-ħanut ta Sciortino)

The Temple of the British Empire to the Unknown Soldier[immodifika | immodifika s-sors]

Leo Tecktonius[immodifika | immodifika s-sors]

EMPORIVM VoL XXXIX N. 229[immodifika | immodifika s-sors]

VoL XXXIX N. 229

EMPORIVM, RIVISTA MENSILE ILLVSTRATA D'ARTE, LETTERATVRA, SCIENZE É VARIETA. GENNAIO 1914

DIREZIONE-AMM1NISTRAZIONE

ISTITVTO ITALIANO D'ARTI- GRAFICHE

BERGAMO

Possible copyright status: NOT_IN_COPYRIGHT


Image 254, Text 255

PP255 ff. "I pittori stranieri sono pochi e ciò mi pare un irantaggio. Noto Max Roeder, con quattro paesaggi issai buoni; Carlo Emilio Zoir, con un gran nu- piccole sculture raffigurami bimbi pieni di grazia ed Antonio Sciortino - il giovane scultore maltese, che di questi giorni ha vinto, in un importantissimo concorso internazionale, il monumento al poeta russo Schevtscenko, da inaugurarsi a Kiew — ha una vigorosa testa, il ritratto, cioè, del pianista nord-americano Leo Tecktonius, un' impressione e- seguita rapidamente e largamente.

Fonoloġija[immodifika | immodifika s-sors]

1[immodifika | immodifika s-sors]

Fonoloġija (mill-kelma Griega: φωνή, phōnē, "leħen, ħoss" u λόγος, lógos, "kelma, speech, tema għat-taħdit") hija l-użu sistematiku tal-ħoss għal-kodifikazzjoni tat-tifsir f'kwalunkwe lingwa umana mitkellma, jew kwalunkwe qasam Lingwistiku ji jistudja dan l-użu. Kif kull-lingwa għandha sintassi u vokabbularju, din għandha wkoll fonoloġija fis-sens ta' sistema ta' ħsejjes. Meta niddeskrivu il-qasam formali ta' studju, it-terminu tipikament jirreferi għal-l'analisi lingwistika fuq skala aktar żgħira minn kelma (eż. sillaba, onset u rima, fonema, articulatory gesture, articulatory feature, mora, etc.) jew biex jiddeskrivi unitajiet fuq kull livelli tal-lingwa, meqjusa li jistrutturaw il-ħsejjes bl-għan li jgħaddu tifsir lingwistiku

  • speech:
  • to encode: biex jikkodifika, ..
  • onset:
  • articulatory gesture
  • articulatory feature
  • mora


Phonology (from the Greek: φωνή, phōnē, "voice, sound" and λόγος, lógos, "word, speech, subject of discussion") is the systematic use of sound to encode meaning in any spoken human language, or the field of linguistics studying this use. Just as a language has syntax and vocabulary, it also has a phonology in the sense of a sound system. When describing the formal area of study, the term typically describes linguistic analysis either beneath the word (e.g., syllable, onset and rime, phoneme, articulatory gesture, articulatory feature, mora, etc.) or to units at all levels of language that are thought to structure sound for conveying linguistic meaning.

2[immodifika | immodifika s-sors]

It is viewed as the subfield of linguistics that deals with the sound systems of languages. Whereas phonetics is about the physical production, acoustic transmission and perception of the sounds of speech, phonology describes the way sounds function within a given language or across languages to encode meaning. The term 'phonology' was used in the linguistics of a greater part of the 20th century as a cover term uniting phonemics and phonetics. Current phonology can interface with disciplines such as psycholinguistics and speech perception, resulting in specific areas like articulatory or laboratory phonology.

3[immodifika | immodifika s-sors]

An important part of traditional forms of phonology has been studying which sounds can be grouped into distinctive units within a language. For example, in English, the [p] sound in "pot" is described as including the articulatory feature of aspirated, while the word- and syllable-final [p] in "soup" is not aspirated (indeed, it might be realized as a glottal stop). However, English speakers intuitively treat both sounds as variations of the same phonological category; that is, the phoneme /p/. Traditionally, it would be argued that if a word-initial aspirated [p] were interchanged with the word-final unaspirated [p] in "soup", they would still be perceived by native speakers of English as 'the same' /p/. (However, speech perception findings now put this theory in doubt.) Although some sort of 'sameness' of these two sounds holds in English, it is not universal and may be absent in other languages. For example, in Thai and Quechua, the difference of aspiration or non-aspiration differentiates phonemes and coincides with lexical contrasts dependent on minimal differences.

4[immodifika | immodifika s-sors]

In addition to the minimal units that can serve the purpose of differentiating meaning (the phonemes), phonology studies how sounds alternate, i.e. replace one another in different forms of the same morpheme (allomorphs), as well as, e.g., syllable structure, stress, accent, and intonation.

The principles of phonological theory have also been applied to the analysis of sign languages, even though the sub-lexical units are not instantiated as speech sounds. The principles of phonological analysis can be applied independently of modality because they are designed to serve as general analytical tools, not language-specific ones. On the other hand, it must be noted, it is difficult to analyze phonologically a language one does not speak, and most phonological analysis takes place with recourse to phonetic information.-->


Traskrizzjoni ta' intervista ma Katrine Camilleri - Artiklu: Refuġjati[immodifika | immodifika s-sors]

MG:


KC: Indunajt li ‚kien hemm vojt kbir meta tiġi ghal-servizzi legali, kemm fuq livell ta' tagħrif u informazzjoni dwar drittijiet u anki fis-sens ta' servizz legali veru propju għal-individwi li għandhom bżonn dan l'ghajnuna hawnhekk f’Malta - u allura iddeċidejna li inwaqqfu dan is-servizz.

Bdejna noffru dan is-servizz lil nies li kienu qed ifittxu il-kenn u li kienu qed jgħixu fil-komunità u ??mbgħad?? ftit ftit, mis sena 2000 l’hawn, bdejna noffru dan is servizz lil nies fid-detenzjoni - u issa illum niffukaw kwazi kompletament fuq nies li qed ifittxu il-kenn u li jinsabu detenuti.


MG:


KC: Fl-esperjenza tiegħi kull min jitlaq min pajjizu jitlaq ghal raġjuni li ħafna drabi tkun valida. Trid tqis wkoll illi dawn in nies mhumiex jiġu min pajjiżhom b'passaport b'vjaggg regolari. Ħafna minnhom ħadu riskji kbar biex waslu hawnekk ...irriskjaw ħajjithom fi-bahar u anki ħafna drabi fid desert. Jiġifieri biex wieħed jasal biex jagħmel din l-ghazla bilfors li jkun hemm xi ħaga li qed jġgħelu jitlaq minn pajjiżu. Issa kif qed tgħid inti tajjeb, ġieli jkun hemm minn mhux refugjat fis-sens legali tal kelma – jigiefieri mhux qed jaħrab minn persekuzzjoni. Iltqajt ma ħafna nies li telqu min pajjizhom mhux minħabba raġjunijiet ta problemi politiċi per ez. izda minħabba raġjunijiet ta faqar – imma faqar tant kbir illi lanqas kien jkollhom biex jitimgħu il uliedhom u għalhekk għazlu illi jitilqu min pajjizhom biex ifittxu ħajja aħjar, ħajja bid-dinjita. Ovjament, legalment ftit li xejn tista tagħmel għal dawn in-nies għaliex il-ligi ma tagħtihomx id-dritt illi jibqgħu f’Malta għaliex ma jeħtigux protezzjoni. Hu biex biss dawk li jeħtiegu protezzjoni, ir-refuġjati, jistgħu jibqaw hawenhekk. Imma xorta waħda ma tfissirx illi ma jistħoqilhom għal-inqas il-kumpassjoni taghna. Ftit iltqajt ma nies li jieħdu dan is-sogru, jgħaddu mil-baħar u mid-desert jekk ġejjin minn pajjizi demokratici fejn m’hemx problemi. Problemi jkun hemm u ħafna drabi problemi kbar. Vera legalment ma jistħoqilhomx protezzjoni imma jiena nemmen li għal inqas rispett ghad-dinjità tagħhom u li nifmhuwhom – nippruvaw nifmhu għaliex telqu – għal inqas daqshekk biss jistħoqilhom.

MG:


KC: Jiena naħseb li difficli titkellhem b’mod ġeneriku. Ghadd li min-naħa hija rejalta illi hemm min ma jifhimx għaliex ġejjin, li jarhom bħala theddida. Illi aħna pajjiz tà rizorsi limitati.......