Gerald Asamoah (d. 3 Ekim 1978, Mampong, Gana), Gana asıllı Alman eski forvet oyuncusu.

Gana'da doğdu ve 1990 yılında ailesiyle Almanya'ya göç etti. Profesyonel kariyerine Hannover 96 kulübünde başladı. 1999 yılında Schalke'ye transfer oldu. Bu takımla oynadığı 279 maçta 44 gol atmıştır. Asamoah 2010 yılında St. Pauli takımına transfer oldu. Daha sonra Greuther Fürth takımına transfer oldu.

Kariyer istatistikleri

Kulüp maçları
Son güncelleme 25 Mart 2012

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|1999-00||rowspan="11"|Schalke 04||rowspan="12"|Bundesliga||33||4||2||1||-||-||35||5
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|2000-01||29||4||6||4||-||-||35||8
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|2007-08||31||7||3||3||10||1||44||11
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|2008-09||27||2||2||1||5||1||34||4
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|2009-10||8||1||0||0||-||-||8||1
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|2010-11||St. Pauli||27||6||0||0||-||-||27||6
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|2011-12||Greuther Fürth||2. Bundesliga||5||4||2||0||-||-||7||4
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1978 doğumlular
Gana doğumlular
Alman futbolcular
Almanya vatandaşlığına kabul edilenler
Hannover 96 futbolcuları
FC Schalke 04 futbolcuları
FC St. Pauli futbolcuları
SpVgg Greuther Fürth futbolcuları
Almanya millî futbol takımı futbolcuları
2002 FIFA Dünya Kupası futbolcuları
2005 FIFA Konfederasyonlar Kupası futbolcuları
2006 FIFA Dünya Kupası futbolcuları
2010 FIFA Dünya Kupası futbolcuları
Bundesliga futbolcuları
Yaşayan insanlar
Gana asıllı Almanlar
FC Schalke 04 II futbolcuları
Forvet futbolcular
Kanat futbolcuları

Gerald Asamoah


A Declaração de Welles foi uma declaração diplomática emitida em 23 de julho de 1940, por Sumner Welles, o secretário de Estado interino dos Estados Unidos, condenando a ocupação de junho de 1940 pelo exército soviético dos três países bálticos – Estônia, Letônia e Lituânia – e recusando-se a reconhecer diplomaticamente sua posterior anexação à União Soviética. Foi uma aplicação da Doutrina Stimson de 1932 de não reconhecimento de mudanças territoriais internacionais que foram executadas pela força  e foi consistente com a atitude do presidente dos Estados Unidos, Franklin Roosevelt, em relação à expansão territorial violenta.

A invasão soviética de 1940 foi uma implementação de seu Pacto Nazi-Soviético de 1939, que continha um protocolo secreto pelo qual a Alemanha nazista e a URSS stalinista concordaram em dividir as nações independentes entre si. Após o pacto, os soviéticos se envolveram em uma série de ultimatos e ações que terminaram na anexação dos estados bálticos durante o verão de 1940. A área tinha pouca importância estratégica para os Estados Unidos, mas várias delegações do Departamento de Estado dos EUA estabeleceram relações diplomáticas relacionamentos lá. Os Estados Unidos e o Reino Unido anteciparam o envolvimento futuro na guerra, mas o não intervencionismo dos EUA e uma previsível aliança britânico-soviética dissuadiu o confronto aberto sobre os estados bálticos.

Welles, preocupado com o planejamento da fronteira do pós-guerra, havia sido autorizado por Roosevelt a emitir declarações públicas mais fortes que avaliavam um movimento em direção a mais intervenção. Loy Henderson e outros funcionários do Departamento de Estado familiarizados com a área mantiveram o governo informado sobre os acontecimentos ali, e Henderson, Welles e Roosevelt trabalharam juntos para redigir a declaração.

A declaração estabeleceu um não reconhecimento de cinco décadas da anexação. O documento teve grande importância para a política geral dos EUA em relação à Europa no ano crítico de 1940. Os EUA não envolveram os soviéticos militarmente na região, mas a declaração permitiu que os estados bálticos mantivessem missões diplomáticas independentes e A Ordem Executiva 8484 protegeu os ativos financeiros do Báltico. Sua essência foi apoiada por todos os presidentes americanos subsequentes e resoluções do Congresso.

Os estados bálticos restabeleceram sua independência em 1990 e 91.

Declarações internacionais

Declaração de Welles


Teodardo de Maastricht o de Spira (en alemán Diethardt) (Aquitania, ca. 620 - Rülzheim, Renania-Palatinado, 670) era el obispo de Maastricht de 662 a 669. Es venerado como santo por diferentes confesiones cristianas.

Biografía

Probablemente pariente de la familia de los Pipínidas. Fue discípulo y el sucesor de Rimagilo. Fue ordenado obispo de Maastricht, donde fue el maestro de su sobrino y sucesor Lamberto de Maastricht. Durante su gobierno, el obispado y la población sufrían del pillaje y la opresión de los nobles francos. Teodardo quiso ver al rey de Austrasia Childerico II que entonces esaba en Worms para lamentar-se de la situación. Sus opositores lo perseguieron y acosaron, según la leyenda, a Rülzheim cerca de Espira en Renania-Palatinado donde se encuentra una capilla de romería.

Veneración

Lamberto de Lieja llevó y exhumó sus reliquias en Lieja. La Iglesia católica lo considera como mártir y lo declaró santo. Sus dies natalis se celebra el 10 de septiembre. Es uno de los patrones de la ciudad de Maastricht y el patrón de los negociantes del ganado.

Referencias

Santos de la Iglesia ortodoxa
Santos católicos de Francia del siglo VII
Obispos de Francia del siglo VII
Obispos de Países Bajos
Obispos santos
Obispos de Maastricht

Teodardo de Maastricht


2019 ක්‍රිකට් ලෝක කුසලානයේ සමාරම්භක උත්සවය 2019 මැයි 29 වන දින මධ්‍යම ලන්ඩනයේ ද මෝල් හිදී පැවැත්විණි. සමාරම්භක උත්සවය 'ක‍්‍රිකට් ලෝක කුසලානයක වඩාත්ම සමරන ආරම්භය' වනු ඇතැයි අයිසීසී පොරොන්දු විය. උත්සවය සැලසුම් කර ඇත්තේ රසිකයින් 4,000 ක් සඳහා සජීවී ක්‍රීඩා, සංගීතය සහ විනෝදාස්වාදය ඇතුළත් විය. ක්‍රිකට් මාධ්‍යවේදියෙකු වන ඇන්ඩි බුල් ඇස්තමේන්තු කළේ 400ට වඩා වැඩි ප්‍රේක්ෂක පිරිසක් පැමිණ සිටියේ නැත ලෙසය, ඒ අධික වර්ෂාව පැවති බැවිනි. එය අවසන් වූයේ ලොරින් සහ රුඩිමෙන්ටල් විසින් ගායනා කරන ලද "ස්ටෑන්ඩ් බයි" නිල ලෝක කුසලාන ගීතයෙනි.

තේමා ගීතය
2019 මැයි 17 වන දින අයිසීසී විසින් ලෝක කුසලානය සඳහා එහි නිල තේමා ගීතය "ස්ටෑන්ඩ් බයි" නමින් එළිදක්වන ලදී. මෙම ගීතය කැනේඩියානු ගායක ලෝරින් සහ බ්‍රිතාන්‍ය සංගීත කණ්ඩායමක් වන රුඩිමෙන්ටල් විසින් ගායනා කරන ලදී.

උත්සවය
උත්සවය බකිංහැම් මාලිගය පසුබිම් කරගෙන ද මෝල් හි පැවැත්විණි. එහි කණ්ඩායම් නායකයින්, හිටපු ක්‍රිකට් ක්‍රීඩකයින්, ප්‍රභූවරුන්, ප්‍රසිද්ධ පුද්ගලයින් සහ ගායකයින් ඇතුළත් විය.

උත්සවයේ සත්කාරකත්වය දැරුවේ හිටපු එංගලන්ත ක්‍රිකට් ක්‍රීඩක ඇන්ඩෲ ෆ්ලින්ටොෆ්, ඉන්දීය නිළි සහ නිවේදිකාවක් වන ශිබානි දන්ඩේකාර් සහ ඉංග්‍රීසි රූපවාහිනී නිවේදිකාවක් වන පැඩී මැක්ගිනස් විසිනි.

සහභාගී වූ රටවල් දහයේ නායකයින් වේදිකාවේදී හඳුන්වා දෙන ලදී. ඉන්පසුව කණ්ඩායම් දහයකින් යුත් කීර්තිමත් වීදි ක්‍රිකට් ක්‍රීඩාවකට ජාතීන් නියෝජනය කරන ලදී, සෑම කණ්ඩායමක්ම හිටපු ක්‍රිකට් ක්‍රීඩකයෙකු සහ ඔවුන්ගේ රටේ ප්‍රසිද්ධ පුද්ගලයින්ගෙන් සමන්විත විය.

සහභාගී වූවන් වූයේ: ඇෆ්ගනිස්ථානයේ මිර්වයිස් අෂ්රෆ් සහ ගායිකා ගීත රචක ආර්යානා සයීඩ්, ශ්‍රී ලංකාවේ මහේල ජයවර්ධන සහ මලල ක්‍රීඩිකා දමයන්ති දර්ශා, බටහිර ඉන්දීය කොදෙව්වේ විව් රිචඩ්ස් සහ ජැමෙයිකානු කෙටි දුර ධාවන ක්‍රීඩක යොහාන් බ්ලේක්, බංග්ලාදේශයේ අබ්දුර් රසාක් සහ නිළි ජයා අහ්සාන්, පකිස්තානයේ නොබෙල් ත්‍යාගලාභී මලාලා යූසුෆ්සායි, ඕස්ට්‍රේලියාවේ බ්‍රෙට් ලී සහ හිටපු ටෙනිස් ක්‍රීඩිකාවන් වන පැට් කෑෂ්, නවසීලන්තයේ ජේම්ස් ෆ්‍රෑන්ක්ලින් සහ හිටපු රග්බි ක්‍රීඩක ෂෝන් ෆිට්ස්පැට්‍රික්, දකුණු අප්‍රිකාවේ ජැක් කලිස් සහ හිටපු පාපන්දු ක්‍රීඩක ස්ටීවන් පිනාර්, ඉන්දියාවේ අනිල් කුම්බ්ලේ සහ නළු අධ්‍යක්‍ෂ ෆර්හාන් අක්තාර් සහ එංගලන්තයේ ක්‍රිස් හියුස්.

ලොරින් සහ රුඩිමෙන්ටල් විසින් නිල තරඟාවලියේ ගීතය වන "ස්ටෑන්ඩ් බයි" සජීවී ප්‍රසංගයකින් පැයක් පුරා පැවති සංදර්ශනය අවසන් විය.

යොමු කිරීම්

2019 ක්‍රිකට් ලෝක කුසලානය සමාරම්භක උත්සවය


Johann Franz Perčević von Odavna (Povile, 2. veljače 1841. – Ogulin, 22. siječnja 1914.), visoki stožerni časnik austro-ugarske vojske.

Životopis
Rodio se je u Hrvatskoj, u Povilama kod Novog Vinovolskog u obitelji plemića iz obitelji Perčević von Odavna. Završio je Nižu realku u Rakovcu 1858. te je pristupio u 3. graničarsku pješačku regimentu gdje je u činu desetnika sudjelovao u ofenzivi 1859. i kao poručnik 1866. iste u italiji. U operaciji zaposjedanja BiH 1878. bio je nadporučnik u 79. pješačkoj regimenti. Godine 1879. prešao je 52. pješačku regimentu. Godine 1880. postao je satnik. Nakon raznih podjela ponio je čin bojnika 27. pješačke regimente i zapovjednika bataljuna u Štajerskom Gradcu. Od 1896. do 1899. bio je u činu potpukovnika zapovjednik popunidbenog okruga i zapovjednik zamjenskog bataljuna u Štajerskom Gradcu. Godine 1899. kao pukovnik ad honores.

Oženio je Adolfine Schoklitsch, s kojom je imao djecu Ivana (1884. – 1947.), Adolfine i Paulu. Jedno od djece sestre Adolfine bio je Theodor Piffl-Perčević, ministar u austrijskoj vladi.

Djela
Franz je 1898. godine objavio knjigu Die Pflege der Disciplin i u Zagrebu 1903. godine u vlastitoj nakladi knjigu Die Satisfaction. Ehre, Mut und Geungthuung im Lichte der Wahrheit.

Izvori

Vanjske poveznice
DNB
DOI
Geni.com

Hrvatski vojni zapovjednici
Austro-Ugarska

Franz Perčević von Odavna


An Anthurium chamulense in uska species han Liliopsida nga ginhulagway ni Eizi Matuda. An Anthurium chamulense in nahilalakip ha genus nga Anthurium, ngan familia nga Araceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 A. c. chamulense
 A. c. oaxacanum

Mga kasarigan

Anthurium

Anthurium chamulense


Seal the Deal & Let's Boogie er Volbeats sjette studiealbum, der udkom 3. juni 2016. Det er bandets første album, efter at Anders Kjølholm havde forladt bandet i november måned året inden. Ligesom flere af de foregående album har albummet et overordnet tema.

På albummet medvirker Johan Olsen, som også medvirkede på "The Garden's Tale" på albummet Rock The Rebel / Metal The Devil fra 2006, og den canadiske rockmusiker Danko Jones fra bandet af samme navn. Som musikere medvirker Rob Sinclair og Jacob Hansen, som begge har medvirket som musikere på andre af bandets album.

Albummet modtog overvejende gode anmeldelser, men ikke helt så gode som forgængeren Outlaw Gentlemen & Shady Ladies. Det toppede hitlisterne i Belgien, Danmark, Finland, Tyskland, Sverige og Schweiz og nåede top 10 i yderligere fire lande, heriblandt USA, hvor det blev gruppens første album i top 5 på Billboard 200. Albummet solgte dobbelt platin i Danmark og platin i både Tyskland og Østrig. Albummets førstesingle, "The Devil's Bleeding Crown", nåede som den femte af gruppens singler nummer 1 på US Mainstream Rock, og "For Evigt" nåede tredjepladsen på den danske hitliste. Sidstnævnte blev også kåret til "Årets lytterhit" ved P3 Guld.

Baggrund
I foråret 2015 bekræftede Volbeat, at de havde et nyt album var undervejs, og at det ville blive udgivet i 2016. Under en koncert i San Antonio optrådte de med en ny sang kaldet "The Devil's Bleeding Crown". Kun halvdelen af sangen blev dog spillet til koncerten. Allerede i april måned udtalte Poulsen under et interview, at han havde skrevet syv sange til bandets kommede sjette studiealbum.

Under gruppens koncert i Tusindårsskoven i Odense den 1. august 2015 optrådte Volbeat optrådte for første gang med sangen "The Devil's Bleeding Crown" i sin fulde længde, hvilket de med vilje havde gemt til koncerten i Danmark. Koncerten blev desuden den sidste bandet udført i 2015, idet de herefter koncentrerede sig om at indspille Seal the Deal & Let's Boogie. På en bytur havde Poulsen og gruppens producer, Jacob Hansen, mødt Tue West, og hørte hans korsange Mia Maja, som de efterfølgende fik med til indspilningerne af albummet.

Den 3. april 2016 postede Volbeat en teaser for deres kommende album på Youtube, og indikerede at det snart ville udkomme. De havde desuden lavet en skattejagt på de sociale medier, hvor albummets titel var gemt i forskellige playlister og på et fanforum.
Den 7. april afslørede de, at deres sjette studiealbum ville blive kaldt Seal the Deal & Let's Boogie og at det ville udkomme 3. juni 2016. Den første single fra albummet var "The Devil's Bleeding Crown", og den udkom den 7. april. Ved forudbestilling af albummet modtog man desuden med kvitteringen et link til at downloade førstesinglen. Poulsen udtalte i et interview, at de havde været igennem omkring 24 sange, inden de var endt med den endelige trackliste på albummet.

Den 29. april udgav gruppen den anden single fra albummet kaldet "For Evigt". Sangen er en duet med Johan Olsen, hvor Poulsen synger på engelsk og Olsen synger på dansk. Sangen er det andet samarbejde mellem Volbeat og Olsen, der også medvirkede på "The Garden's Tale" på albummet Rock The Rebel / Metal The Devil fra 2006. En helt engelsk udgave udelukkende med Poulsen som vokal, kaldet "The Bliss", er inkluderet som et bonustrack på albummet. Poulsen udtalte at det var "Dejligt at have Johan Olsen med igen – vi to kan noget sammen synes jeg".

"Seal the Deal" blev udgivet som albummets tredje single den 20. maj to uger inden albummet udkom. Endnu engang blev der udgivet en musikvideo som bestod af sangteksterne. Den toppede som nummer 3 på Billboard Mainstream Rock Songs. Den fjerde single, "Let It Burn", blev udgivet den 5. september. En rigtig musikvideo med en bokser kaldet Frank Galarza, som følges op til en boksekamp, blev offentliggjort den 4. november.

"Black Rose" blev udgivet som den tredje single i Nordamerika, hvor den blev sendt til rockstationerne den 7. marts 2017. Sangen toppede som nummer 1 på Billboard Mainstream Rock Songs i USA, hvor det blev Volbeats sjette nummer 1 single på hitlisten.

Sangen "Rebound" er et cover af Teenage Bottlerockets sang fra 2003, der udkom på albummet Another Way.

Ifølge Poulsen selv er albummet mere rocket end de tidligere album:

Sangen "Marie Laveau" er opkaldt efter udøver af voodoo fra New Orleans, og den handler ifølge Poulsen om at vække hende til live og komme i kontakt med Poulsens afdøde far. Sammen med "The Loa's Crossroad" er dette en af sangene på albummet, som har et spirituelt tema.

"Mary Jane Kelly" er opkaldt efter kvinden af samme navn, som var en af Jack the Rippers ofre. På sangen "Goodbye Forever" bliver der brugt et gospelkor, hvilke Poulsen længe har villet prøve. På "Loa's Crossroads" bliver der for første gang brugt sækkepibe på et af gruppens numre.

Udgivelse
Seal the Deal & Let's Boogie blev udgivet på CD, LP og som digitalt download.
Udover en almindelig CD-udgave med 13 numre, blev albummet også udgivet i en deluxe-version. En limited edition blev også udgivet. Denne udgave indeholder fire ekstra sange, hvoraf den ene er en liveudgave af "The Devil's Bleeding Crown", der blev optaget ved gruppens koncert i Tusindårsskoven.

Spor

Personel
Volbeat
 Michael Poulsen - Vokal, rytmeguitar
 Jon Larsen - trommer
 Rob Caggiano - leadguitar, elbas

Yderligere musikere
 Rob Sinclair - banjo
 Jacob Hansen - percussion

Gæstemusikere
 Johan Olsen fra Magtens Korridorer - vokal på "For Evigt"
 Danko Jones fra Danko Jones- "Black Rose"

Modtagelse

Anmeldelser

Albummt fik overordnet gode anmeldelser, og Lars Ulrich fra Metallica udtalte i et interview med 'BT, at "Den [Seal The Deal & Let's Boogie] nye plade er rigtig fed".

The Musical Melting Pot beskrev det som et mørkt album, hvor "kærlighed, tab og ensomhed er tilbagevendende temaer". Både "The Gates Of Babylon" og "Goodbye Forever" blev fremhævet som værende henholdsvis "forførende eksotisk" og "skræddersyet til liveoptrædender i arenaer og på festivalpladser". Anmelderen gav albummet 94 %, hvilket ifølge hjemmesiden gjorde det til et "Essential Listening!".
Metal Wani skrev bl.a. at guitar og trommer på "The Devil's Bleeding Crown" med sikkerhed gav "forhøjet puls". Caggianos guitar riffs blev generelt rost, og han bas på "Marie Laveau" blev også udpeget som et højdepunkt. Poulsens rytmeguitar blev fremhævet på sangene ""Battleship Chains" og "The Loa's Crossroad". "The Bliss" (den engelske udgave af "For Evigt") var blandt anmelderens absolutte favoritter, og coveret blev også rost. Albummet fik 7,5 af 10 mulige point. En anmelder fra moshville.co.uk skrev, at albummet var skrevet med den bredere fanskare i tankerne, og sammelignede "For Evigt" med "Lola Montez" fra det forrige album.

Loudwires anmelder Chad Bowar skrev, at selvom titlen på albummet var lidt akavet, så var deres musik det bestemt ikke. Han fremhævede desuden Danko Jones' sangstemme gav en god kontrast til Poulsens på "Black Rose". Musikmagasinet GAFFAs anmelder Keld Rud skrev, at der ikke var de "store overraskelser" i vente, bortset fra måske sækkepiben i slutningen af "Loa's Crossroads". Han kaldte coveret af "Battle Ship Chains" for "ikke blot overflødigt, men også røvkedeligt", men gav alligevel fire ud af seks stjerner idet det fortsatte kursen fra gruppens forrige udgivelse.Ekstra Bladets anmelder Thomas Treo var meget kritisk over for albummet. Under overskriften "Falliterklæring: Volbeat sælger ud" skrev han, at "sjællænderne endegyldigt [er] holdt op med at være metal og i stedet blev rock" og at det var gruppens "mest strømlinede, harmløse og pondusforladte udspil". Han kaldte albummets coverversioner for de mest opsigtsvækkende numre på albummet, og skrev at det klædte "Volbeat med noget autentisk rock'n'roll-svaj på deres svingom" på "Battleship Chains". Treo roste Danko Jones medvirken på "Black Rose" og skrev at nummeret "Seal the Deal" var "et herligt højdepunkt". Han gav tre ud af seks stjerner. Blastbeast.dk's anmelder mente også at albummet var "et alt for sikkert udspil" fordi det "aldrig rigtig slår igennem og simpelthen er for kedeligt."

 Priser
Ved P3 Guld vandt "For Evigt" prisen "Årets lytterhit", der bliver stemt af radiostationens lyttere via SMS. Det er den fjerde af gruppens sange, der har modtaget denne prisen, efter "The Gardens Tale" (2007), "Maybellene i Hofteholder" (2009)Veto vandt P3 Prisen. Soundgarden. Hentet 30/9-2015 og "Fallen" (2011).

Ved Gaffa-prisen 2016 var albummet nomineret til "Årets danske udgivelse" og "Årets Danske Hard Rock-udgivelse", mens "For Evigt" var nomineret til "Årets Danske Hit".Phlake modtager syv nomineringer til DMA 2016. GAFFA. Hentet 11/3-2017 Gruppen vandt for både "Årets Danske Hard Rock-udgivelse" og "Årets Danske Hit" samt fik prisen som "Årets Danske Band".

Ved Echo Awards i 2017 var Volbeat nomineret til bedste internationale rockgruppe for albummet Seal the Deal & Let's Boogie, men prisen gik til Metallicas Hardwired...to Self-Destruct.

 Hitlister og kommerciel succes
"For Evigt" nåede hitlisterne i adskillige lande, og nåede nummer 38 i Danmark, nummer 62 i Østrig og 70 i Finland samt nummer 81 i Sverige.Seal the Deal & Let's Boogie'' blev gruppens femte album i træk, der nåede nummer 1 på den danske albumhitliste. For første gange nåede et af gruppens album også ind i top-5 på den amerikanske Billboard 200-hitliste med en fjerdeplads, med 51.000 solgte eksemplarer i den første uge efter udgivelsen i juni.

Ugentlige hitlister

Års-hitlister

Certificeringer

Referencer

Eksterne henvisninger

Album fra 2016
Volbeat-album

Seal the Deal & Let's Boogie


Die Hansa-Brandenburg GW war ein Torpedoflugzeug im Ersten Weltkrieg.

Beschreibung
Ernst Heinkel entwickelte 1916 bei Hansa-Brandenburg den zweistieliger Doppeldecker als sogenanntes T-Flugzeug (für Torpedobomber) für die deutsche Marine. Die Grundstruktur bestand aus Holz mit einer Stoffbespannung bzw. Sperrholzverkleidung. Das Flugzeug besaß große, einstufige Schwimmer. Es wurde von zwei Motoren angetrieben, die nahe am Rumpf mit Streben befestigt waren. Hansa-Brandenburg baute 21 Flugzeuge für die Kaiserliche Marine.

Technische Daten

Literatur
 Hans Dieter Köhler: Die deutsche Luftfahrt Ernst Heinkel – Pionier der Schnellflugzeuge. Bernard & Graefe, Bonn 1999, ISBN 3-7637-6116-0.
 AERO, Heft 91, S. 2543.

Weblinks

Einzelnachweise

Flugzeugtyp (Kaiserliche Marine)
Schwimmerflugzeug
Torpedobomber
Zweimotoriges Flugzeug mit Kolbenmotoren
Erstflug 1916

Hansa-Brandenburg GW


Askepot er en dansk stumfilm fra 1917 instrueret af Lau Lauritzen Sr. efter manuskript af Harriet Bloch.

Medvirkende

 Frederik Buch
 Arne Weel
 Valdemar Schiøler Linck
 Gerda Christophersen
 Agnes Andersen
 Betzy Kofoed
 Carl Schenstrøm
 Stella Lind
 Agnes Lorentzen

Eksterne henvisninger

Kortfilm fra Danmark
Stumfilm fra Danmark
Danske film fra 1917

Askepot (film fra 1917)


Ronaldo getur átt við:

Cristiano Ronaldo, portúgalskur knattspyrnumaður.
Ronaldo (Ronaldo Luís Nazário de Lima), brasilískur knattspyrnumaður.
Ronaldinho (Ronaldo de Assis Moreira), brasilískur knattspyrnumaður.
Ronaldo Rodrigues de Jesus, brasilískur knattspyrnumaður.

Aðgreiningarsíður

Ronaldo


Velebilje (lat. Atropa), rod otrovnog bilja iz porodice krumpirovki ili pomoćnica. Raširen je po Europi i jugozapadnoj Aziji. Postoji šest priznatih vrsta. Jedini predstavnik u Hrvatskoj je gorsko velebilje

Vrste
 Atropa acuminata Royle ex Miers
 Atropa baetica Willk.
 Atropa belladonna L.
 Atropa komarovii Blin. & Schal.
 Atropa × martiana Font Quer
 Atropa pallidiflora Schönbeck-Temesy

Izvori

Vanjske poveznice

Hyoscyameae

Velebilje


En spinning mule er en maskine, der bruges til at spinde bomuld og andre fibre. De blev fra det sene 18. til det tidlige 20. århundrede i vid udstrækning brugt i spinderierne i Lancashire og andre steder. Mules blev i par betjent af en arbejder, der blev assisteret af to drenge: den lille piecer og den store eller side piecer. Maskinen bar op til 1320 tene og kunne være 140 fod (46 m) lang, og ville over en afstand på 5 fod (1,5) bevæge sig frem og tilbage fire gange i minuttet..Den blev opfundet af Samuel Crompton mellem 1775 og 1779. I 1825 tog Richard Roberts patent på den selvvirkende (automatisk) mule. Ved dens højdepunkt var der alene i Lancashire 50 millioner mule tene. Moderne versioner benyttes stadig til niche produktion og bruges til at spindle uldne garn fra fornemme og ædle fibre såsom cashmere, ultrafint merino og alpaca til markedet for strikkevarer.

Spinning mule spinder tekstilfibre om til garn vha. en sporadisk process. Rovingen bliver i det trækkende slag trukket gennem ruller og bliver snoet; på vej tilbage bliver den svøbt omkring tenen. Dens rival, throstle frame eller ring frame benytter en uafbrudt process, hvor rovingen bliver trukket, snoet og viklet rundt i en mekanisme. Mulen var den mest almindelige spindingsmaskine fra 1790 indtil omkring 1900 og blev stadig helt frem til de tidlige 1980'erne brugt til fine garn. I 1890 havde et typisk bomuldsspinderi over 60 muler, hver med 1320 ten, som kunne betjenes og opereres fire gange i minuttet i 56 timer om ugen.

Se også
 Bomuldsspinderi
 Tidslinje over beklædning og tekstilteknologier

Referencer

Bibliografi

Eksterne henvisninger
 Beskrivelse af en arbejdsdag på en Lancashire spinderi, der forklarer driften af en mule
 Den eneste overlevende mule bygget af dens opfinder er ved Bolton Museum
 Transkription af en 1979 båndoptagelse, der beskriver operationerne af en Taylor og Lang Condenser Mule

Spinding
Tekstilmaskineri
Engelske opfindelser

Spinning mule


Cinchona-vermelha (nome científico: Cinchona pubescens) é uma planta da família das rubiáceas (Rubiaceae), nativa da América Central e do Sul. É conhecida como planta medicinal pelo alto teor de quinina de sua casca - e tem usos semelhantes à quinquina (Cinchona officinalis) na produção de quinina, mais famosa usada no tratamento da malária. Consta em vigésima quinta posição na lista 100 das espécies exóticas invasoras mais daninhas do mundo.

Descrição

A cinchona-vermelha varia de pequena a grande em tamanho, crescendo até 10 metros de altura. Quando cortada, a casca tende a ficar vermelha. As folhas são elípticas a oblatas e finas. As folhas têm dentes pubescentes que ficam vermelhos quando envelhecem, daí o apelido de cinchona vermelha. Suas flores se formam em grandes panículas. Eles são rosa e perfumados, enquanto nas Galápagos são rosa claro.

Ecologia
A cinchona-vermelha tem a distribuição mais ampla de todas as espécies de Cinchona, com a distribuição nativa abrangendo Costa Rica, Panamá, Venezuela, Colômbia, Equador, Peru e Bolívia. No Equador, distribui-se numa altitude de 300 até  metros. Também cresce bem em solo vulcânico com altos níveis de nutrientes. É uma espécie resiliente que é capaz de se recuperar mesmo após danos extremos. Se a árvore for derrubada, mas o toco for deixado, ela pode crescer novamente. Se a casca for removida e o xilema for exposto, a árvore crescerá a casca de volta. A árvore pode até voltar a crescer se as raízes deixadas no solo forem maiores que dois centímetros de diâmetro. Reproduz-se rapidamente e espalha suas sementes pelo vento. Atinge a maturidade e começa a semear em quatro anos. Crescendo a uma taxa de um a dois metros por ano, atinge rapidamente uma altura alta, onde pode sombrear o resto das plantas nativas. As árvores adultas crescem muito mais lentamente do que as juvenis.

Espécie ivasiva

Tornou-se espécie invasora onde plantada fora de sua área nativa, especialmente em ilhas de clima tropical, como Galápagos, Havaí e Taiti. Nas Galápagos, tornou-se espécie dominante nas zonas anteriormente dominadas por arbustos Miconia e zonas de samambaia - ciperáceas (Cyperaceae) na ilha de Santa Cruz. Esteve sujeita a controle no Parque Nacional de Galápagos para reduzir seus impactos usando uma variedade de métodos. No entanto, controlá-la em toda a sua extensão na ilha de Santa Cruz custaria US$ 1,65 milhão, segundo pesquisas feitas pela Fundação Charles Darwin. De acordo com Jäger et al. , a riqueza de espécies na Ilha de Santa Cruz, Ilhas Galápagos diminuiu 33% na Zona Miconia e 10% na Zona Samambaia-Juriço desde a introdução da cinchona-vermelha. Também é invasivo no Havaí. Cinchona-vermelha foi introduzido pela primeira vez para ser cultivado para a colheita de quinino.

Estratégias de controle
Existem atualmente duas estratégias para remoção de cinchona-vermelha. Incluem um método físico e um método químico. O método físico envolve o corte manual de árvores adultas e a remoção total dos tocos. As amostras devem ser retiradas do solo. O método químico utiliza herbicidas diluídos em água e pulverizados em marcas de corte na casca. Buddenhagen e colaboradores tentaram isso no Parque Nacional da Ilha de Galápagos usando uma mistura de picloram e metsulfurom. Essa técnica foi recomendada para ser realizada no Taiti e no Havaí, pois também é invasiva.

Buddenhagen e colaboradores também analisaram dados usando seis métodos diferentes de herbicidas de 1999 a 2002 com um teste diferente a cada ano: sal picloram, éster triclopir, sal triclopir, glifosato, óleo diesel e picloram e metsulfurom. O herbicida foi pulverizado nas árvores golpeadas com facões. No primeiro teste, o triclopir éster conseguiu controlar C. pubescens com 77% de chance de as árvores morrerem. No segundo ensaio, uma solução de picloram e metsulfurom foi 100% bem sucedida em concentrações superiores a 4% da solução. No terceiro ensaio, a solução de picloram-metsulfurom com concentrações de 10% ou mais foi bem-sucedida na erradicação da árvore.

Leitura complementar

Plantas descritas em 1790
Árvores do Peru
Flora da Bolívia
Flora do Equador
Flora da Venezuela
Flora da Colômbia
Flora do Panamá
Flora da Costa Rica
Cinchona
100 das espécies exóticas invasoras mais daninhas do mundo

Cinchona-vermelha


«Inferno» es la primera canción de Lordi creada en 1993, que fue publicada en Rovaniemi en el álbum recopilatorio Rockmurskaa dos años después con una combinación de terror, fantasía y música heavy metal de siete minutos. El videoclip de dicha canción también se llevó a cabo por el mismo Mr.Lordi, el cual lo protagonizaban los amigos de Tomi maquillados, con máscaras y con decoraciones de terror creadas por él. En dicho videoclip sale Tomi Putaansuu sin máscara, por lo que el video no ha sido publicado por normas de la banda.

Putaansuu más adelante estableció la banda Lordi junto con los miembros de aquel momento de la banda. La canción era una creación propia de Tomi Putaansuu, al igual que la creación de la banda en 1996.

Referencias

Enlaces externos

Véase también
 Napalm Market
 Bend Over And Pray The Lord

Canciones de Lordi
Canciones de 1995

Inferno (Lordi)


Kurt Keinrath (* 5. Dezember 1956 in Feldbach) ist ein österreichischer Musiker, Komponist und Produzent.

Leben
In frühen Jahren war Keinrath Partner des österreichischen Country/Folk-Musikers Jim Cogan. Die meisten Jahre seiner Karriere verbrachte Keinrath mit der steirischen Rockband Erste Allgemeine Verunsicherung. Seit Anfang der 1990er-Jahre bis zur Auflösung der EAV im Jahr 2019 produzierte er zahlreiche Alben der Band und war seit 1996 auf Grund einiger Umbesetzungen ein festes Mitglied.

Keinrath komponierte ca. 400 Titel, einige für die EAV aber auch für Interpreten wie Schürzenjäger, Carl Peyer, Christina Stürmer, DJ Ötzi, Marianne & Michael sowie Stefan Mross. Er arbeitet im Studio mit z. B. EAV, Aniada a Noar, Wolfgang Ambros, Judy Simone, Carl Peyer, Jim Cogan, Zäus, Wolfgang Strahlhofer bzw. Gegenlicht, Paldauer u. v. a.

Werk

Kompositionen (Auswahl)
 Valérie Sajdik: Es Wird Regen Geben, Audio-CD, Beditech 2008
 Stefan Mross: Weil du bist wie du bist. Album: Immer wieder Stefan, Koch Universal 2006.
 DJ Ötzi: Love, Peace & Vollgas. Album: Love, Peace & Vollgas, ultimaTIEF 2001.
 Marianne & Michael: Was ist das gegen die Ewigkeit. Album: Volksmusik in Gold, Koch Universal 2008.
 Schürzenjäger: Wenn i einmal nimmer bin. Album: Träume sind stärker, Tyrolis/Montana 1996.
 Christina Stürmer:  Liebt sie dich so wie ich?. Single, Universal 2005.
 Gaby Albrecht: Bis wir uns wiederseh`n. Single, BMG 1999
 Christa Fartek: Don`t give up   Album, 3SELECT Music 2018

Einzelnachweise

Weblinks
 keinrath-musik.at Abgerufen am 23. Mai 2012

Erste Allgemeine Verunsicherung
Komponist (Österreich)
Musikproduzent
Österreicher
Geboren 1956
Mann

Kurt Keinrath


Benjamin Totori es un futbolista salomonense que juega como delantero en el Lautoka fiyiano.

Debutó en el Uncles FC (hoy Solomon Warriors) y tuvo un gran paso por el fútbol neozelandés jugando para el YoungHeart Manawatu y el Waitakere United. Entre 2012 y 2013 fue el único futbolista salomonense en jugar al fútbol profesionalmente, siendo contratado por el Wellington Phoenix.

Carrera

En 2004 hizo su debut oficial en el Uncles FC de las Islas Salomón. Jugó allí hasta que en 2005, los dirigentes del YoungHeart Manawatu se interesaron por él y decidieron efectuar su compra. En el club neozelandés, donde jugó hasta 2007, convirtió 32 goles. Posteriormente recaló en el Waitakere United, donde obtuvo el título en el Campeonato de Fútbol de Nueva Zelanda 2007/08. Luego del gran logro jugó un tiempo muy corto en el club estadounidense Portland Timbers en 2008 para volver al Waitakere United ese mismo año. En 2010 regresó a su país para jugar en el Koloale FC, donde ganó la antigua Primera División de las Islas Salomón en 2009/10 y los playoffs de la S-League en 2011. Previo a la temporada 2012/13 de la A-League, el Wellington Phoenix neozelandés lo contrató, convirtiéndose en el único jugador de fútbol de las Islas Salomón que jugaba en un club profesional. En 2013, tras una paupérrima temporada, los dirigentes del Phoenix decidieron rescindirle su contrato y negociaron con el Oakleigh Cannons para que Totori integre el plantel del club australiano. Ese mismo año regresaría a su país para jugar en el Western United.

A principios de 2014 fue contratado nuevamente por el Waitakere United de cara a la Liga de Campeones de la OFC, aunque terminado dicho torneo regresó al Western United. Luego de un corto paso por el Three Kings United en 2017, arribó al Lautoka fiyiano en 2018.

Clubes

Selección nacional

Con la selección de su país jugó dos ediciones de los Juegos del Pacífico, habiendo conseguido la medalla de plata en 2011. Además, participó de la Copa de las Naciones de la OFC 2012, donde le anotó un gol a  y tres a , en dos partidos, y de la edición 2016.

Referencias

Enlaces externos
Totori en transfermarkt

Personas de Honiara
Futbolistas de las Islas Salomón
Futbolistas de las Islas Salomón en la Copa de las Naciones de la OFC 2012
Futbolistas de las Islas Salomón en la Copa de las Naciones de la OFC 2016
Futbolistas del Solomon Warriors
Futbolistas del Manawatu United
Futbolistas del Waitakere United
Futbolistas del Portland Timbers
Futbolistas del Koloale FC
Futbolistas del Wellington Phoenix Football Club
Futbolistas del Oakleigh Cannons
Futbolistas del Western United
Futbolistas del Three Kings United
Futbolistas del Lautoka Football Club

Benjamin Totori


හෙවත් මහා රළ හෝ සරලව රළ යුනවෙන් හැඳින්වෙන්නේ ජපන් උකියෝ-ඉ සිත්තරකු වන හොකුසායි විසින් නිර්මාණය කරන ලද දැවඅච්චු මුද්‍රණයකි. මෙය 1829 සහ 1833 අතර කාලයේ ප්‍රකාශයට පත් කොට ඇත. පසුකාලීන එඩෝ යුගයට අයත් මෙය  හොකුසායිගේ ෆූජි කන්දේ දර්ශන තිස් හය සිතුවම් මාලාවේ පළමු සිතුවම ද වේ. හොකුසායිගේ වඩාත්ම ප්‍රකට කෘතිය වන මෙය, ලොව පුරා වඩාත්ම ප්‍රසිද්ධියට පත් ජපන් කලා නිර්මාණයක් ලෙස ද සැලකේ.

මෙමගින් නිරූපණය වන්නේ කනගාවා ප්‍රාන්තයේ මුහුදේ ඇති බෝට්ටු දැවැන්ත රළක බලපෑමට ලක්වන ආකාරයයි. ඇතැම් අවස්ථාවන්හි දී සුනාමියක් යැයි ද අනුමාන කෙරෙන මෙය බොහෝවිට විශාල රළ පහරක් ලෙස සැලකේ. සිතුවම් මාලාවේ සෑම සිතුවමකම පාහේ දක්නට ලැබෙන ෆූජි කන්ද මෙහි ද නිරූපිත ය. එය පසුබිමින් දිස්වේ.

මෙම මුද්‍රණයේ උපස්ථිතීන් මෙට්‍රොපොලිටන් කලා කෞතුකාගාරය, බ්‍රිතාන්‍ය කෞතුකාගාරය, චිකාගෝ කලායතනය, ලොස් ඇන්ජලීස් ප්‍රාන්ත කලා කෞතුකාගාරය සහ මෙල්බර්න්හි වික්ටෝරියා ජාතික කලාගාරය මෙන්ම ප්‍රංශයේ ජිවර්නිහි ක්ලෝඩ් මොනේගේ නිවස ඇතුළු බටහිර එකතූන් ගණනාවකම දැකගත හැක.

සටහන්

බාහිර සබැඳි

 "කනගාවා එපිට මහා රළ" සඳහා මෙට්‍රොපොලිටන් කාල කෞතුකාගාරයේ (නිව් යෝක්) ඇති සටහන
 බීබීසී ශ්‍රව්‍ය ගොනුව ලෝක ඉතිහාසය වස්තූන් 100කින්
 විවිධ ප්‍රකාශකයන්ගේ නොයෙක් පිටපත් සමග මුල් කෘතිය පිළිබඳ අධ්‍යයනයක්

1832 නිර්මාණ
කට්සුෂිකා හොකුසායිගේ නිර්මාණ
සාගර කලාව
බ්‍රිතාන්‍ය කෞතුකාගාරයේ ආසියානු වස්තූන්

කනගාවා එපිට මහා රළ


Jürgen Mauthe (* 4. Januar 1950) ist ein ehemaliger deutscher Fußballspieler.

Karriere
Der Mittelfeldspieler kam im Trikot der SpVgg Erkenschwick in der Saison 1975/76 zu seinen ersten Einsätzen in der zweiten Bundesliga. Nach dem Abstieg der Erkenschwicker wechselte er zum Amateurligisten DSC Wanne-Eickel. Unter Trainer Günter Luttrop wurde Jürgen Mauthe mit dem Klub in der Spielzeit 1977/78 souverän Meister der Verbandsliga Westfalen und schaffte in der Aufstiegsrunde den Sprung in die 2. Bundesliga Nord. In der Saison 1978/79 überzeugte Mauthe mit 37 Einsätzen und zwölf geschossenen Toren. Die folgende Spielzeit 1979/80 endete mit dem Abstieg des DSC Wanne-Eickel, Jürgen Mauthe kam dabei auf 20 Einsätze und zwei Tore.

Weblinks

Einzelnachweise

Fußballspieler (SpVgg Erkenschwick)
Deutscher
Geboren 1950
Mann

Jürgen Mauthe


Zemljopis:
 Aconcagua, planinski vrh u Argentini, najviši vrh Južne Amerike
 Pokrajinski park Aconcagua, u pokrajini Mendoza, Argentina
 Sveučilište Aconcagua, Mendoza, Argentina
 Aconcagua (rijeka), rijeka u Čileu
 San Felipe de Aconcagua (provincija), čileanska provincija

Kultura:
 Aconcagua (1964.), argentinski film iz 1964.
 Aconcagua (videoigra)
 Aconcagua (kultura), predšpanjolska kultura Južne Amerike
 Aconcagua (rod), rod moljaca
 Aconcagua (vinska regija)

Brodovi:
 Aconcagua (parobrod iz 1922.)
 SS Aconcagua (1872.)

Aconcagua (razdvojba)


Eldijana Aganović (Foča, 20. studenoga 1971.), hrvatska i bosanskohercegovačka stolnotenisačica.

Nastupila je na Olimpijskim igrama 1996. U natjecanju parova bila je plasirana od 17. do 24. mjesta. Na OI 2000. pojedinačno je natjecanje završila u drugom kolu, a u parovima je nastupila u četvrfinalu.

Na Mediteranskim igrama 1997. je osvojila zlatnu medalju u parovima. Na europskom prvenstvu 2000. godine ekipno je osvojila brončanu medalju.

Bila je članica fočanske Perućice i zagrebačke Mladosti.

Izvori

Hrvatski stolnotenisači
Bosanskohercegovački stolnotenisači

Eldijana Aganović


La plaza de Armas de Osorno, como indica su nombre, es la plaza de Armas de la ciudad chilena de Osorno en la Región de Los Lagos.
Actualmente es considerada el núcleo del centro de la ciudad, y sitio turístico. Ubicada en la manzana de las calles Eleuterio Ramírez, Manuel Matta, Juan Mackenna y Bernardo O'Higgins.

Descripción y entorno

La plaza de Armas de Osorno se encuentra en el centro de la ciudad, rodeada de los principales edificios públicos de la Ciudad y la Provincia, los que corresponden a la Catedral de San Mateo, la Municipalidad de Osorno y la Gobernación.

Atracciones turísticas de la Plaza
Como parte de la decoración e infraestructura de la plaza, destaca:

En su centro:
 La "gran pileta y fuente de la plaza de Armas", la cual tiene una forma rectangular y posee un enorme espejo de agua, con iluminación nocturna, y grandes chorros de aguas de diferentes alturas.

En sus bordes:
 El Monumento al Toro.
 El Odeón.
 Los 4 monumentos militares (En donde destaca la estatua de Eleuterio Ramírez).

La Plaza igualmente destaca por sus espaciosas áreas verdes, las cuales poseen grandes árboles.

Además se caracteriza por destacar con las decoraciones y ornamentaciones que recibe en las fechas festivas del 18 de septiembre, y la Navidad (decoración de luces, que incluye un árbol navideño, un trineo, estrella; además de un pesebre (nacimiento) a tamaño real).

Historia
La plaza creada luego de la refundación de Osorno, nació con el objetivo de ser el núcleo de la reconstruida ciudad, en cuyo alrededores se construirían los edificios administrativos de la ciudad.

Remodelaciones
A través de su historia la Plaza de Armas de Osorno ha recibido varias remodelaciones.

En el año 1930 se decidió remodelar completamente la plaza, la cual comenzó a llevarse a cabo en 1942. Esta tarea se le encomendó al arquitecto paisajista y urbanista Óscar Prager. En esta remodelación se cambió la estructura de la Plaza trazando caminos en dos ejes, en cruz, de oriente a poniente y de norte a sur. Posteriormente en la década de los 80 se realizaron otros cambios en los cuales se modificó gran parte del diseño original.

La última remodelación se realizó entre los años 2012 y 2013, en la cual se remodeló la "pileta de la Plaza de Armas de Osorno" con nueva iluminación a partir de un moderno sistema de luces led, y un nuevo sistema de bombas de agua que producen chorros de aguas de hasta 5 metros de altura; la cual la hace única, con esas características en el Sur de Chile.

En esta última actualización, también se actualizo su infraestructura (El odeón, con la instalación del escudo de Armas de la ciudad en su bajada, el recambio de mobiliario urbano(bancas e iluminación), reposición de las baldosas e instalación de dibujos e imágenes a ras de suelo representativas de la ciudad, el mejoramiento de soleras, recambio de aceras peatonales de las calles de alrededor de la plaza, habilitación de senderos especialmente destinados a las personas no videntes, habilitación de servicios higiénicos mediante la habilitación de baños públicos bajo suelo y sobre el cual, en la superficie, se habilitó la nueva oficina de turismo comunal); todo ello manteniéndose sus espaciosas áreas verdes por las cuales destaca.

Véase también
 Fuerte Reina Luisa
 Parque Pleistocénico de Osorno

Referencias

Arquitectura de Osorno
Osorno

Plaza de Armas de Osorno


The proto-Mongols emerged from an area that had been inhabited by humans and predecessor hominin species as far back as 45,000 years ago during the Upper Paleolithic. The people there went through the Bronze and Iron Ages, forming tribal alliances, peopling, and coming into conflict with early polities in the Central Plain.

The proto-Mongols formed various tribal kingdoms that fought against each other for supremacy, such as the Rouran Khaganate (330–555) until it was defeated by the Göktürks, who founded the First Turkic Khaganate (552–744), which in turn was subdued by the growing strength of the Tang dynasty. The destruction of the Uyghur Khaganate (744–848) by the Yenisei Kyrgyz resulted in the end of Turkic dominance on the Mongolian Plateau.

The para-Mongol Khitan people founded a Chinese dynasty known as the Liao dynasty (916–1125) and ruled Mongolia and portions of the eastern coast of Siberia now known as the Russian Far East, northern Korea, and North China. Over the next few hundred years, the Jurchens in China subtly encouraged warfare among the Mongols as a way of keeping them distracted from invading China proper.

In the 12th century, Genghis Khan was able to unite or conquer the warring tribes, forging them into a unified fighting force that went on to create the largest contiguous empire in world history, the Mongol Empire, which was finally able to conquer the whole of China proper—beginning with his invasion of the Khitan-led Western Liao dynasty and the Tangut-led Western Xia dynasty, and ending with his grandson Kublai Khan's conquest of the Southern Song dynasty. Kublai then founded the Yuan dynasty of China in 1271.

Origins
Archaeological evidence suggests that Upper Paleolithic hominins inhabited Mongolia as early as 45,000 years ago.

By the first millennium BC, bronze-working peoples lived on the Mongolia Plateau. With the appearance of iron weapons by the 3rd century BC, the inhabitants of Mongolia had begun to form clan alliances and lived a hunter and herder lifestyle.

The origins of more modern inhabitants are found among the forest hunters and nomadic tribes of Inner Asia. They inhabited a great arc of land extending generally from the Korean Peninsula in the east, across the northern parts of China to present-day Kazakhstan and to the Pamir Mountains and Lake Balkash in the west. During most of recorded history, this has been an area of constant ferment from which emerged numerous migrations and invasions to the southeast (into China), to the southwest (into Transoxiana—modern Uzbekistan, Iran, and India), and to the west (across Scythia toward Europe).

By the eighth century BC, the inhabitants of western Mongolia evidently were nomadic Indo-European speakers, either Scythians or Yuezhi. In central and eastern parts of Mongolia were many other tribes, such as the Slab Grave culture and the Ordos culture.

Xiongnu

According to a number of sources, one of the ancestors of the Mongols were the Xiongnu, although it is not yet known whether they were proto-Mongols.

The Xiongnu were a group of nomads who dominated the Asian steppe from the late 3rd century BC for more than 500 years. The Xiongnu invasions prompted the kingdoms of North China to begin erecting what later became the Great Wall.

The identity of the ethnic core of Xiongnu has been a subject of varied hypotheses and some scholars, including A. Luvsandendev, Bernát Munkácsy, Henry Hoyle Howorth, Bolor Erike, Alexey Okladnikov, Peter Simon Pallas, Isaac Jacob Schmidt, Hyacinth and Byambyn Rinchen, insisted on a proto-Mongolian origin. There are several other theories about the ethnolinguistic identity of the Xiongnu, such as Turkic, Yeniseian, Iranian, Uralic, multiethnic.

There are many cultural similarities between the Xiongnu and Mongols such as yurt on cart, mounted use of the composite bow, board game, horn bow and long song. The Mongolian long song is believed to date back at least 2000 years. A mythical origin of the long song is mentioned in the Book of Wei, volume 113.

Donghu, Tuoba, and Rouran

The Donghu (or Tung Hu, the Eastern Hu), a proto-Mongol and/or Tunguz group mentioned in Chinese histories as existing as early as the 4th century BC. The language of the Donghu, unlike that of the Xiongnu, is believed by modern scholars to be proto-Mongolic. The Donghu were among the first peoples conquered by the Xiongnu. By the 1st century AD, the Donghu had split, along geographical lines in two: the proto-Mongolic Xianbei in the north and the Wuhuan in the south. After the Xiongnu were driven back into their homeland by the Chinese (48 AD), the Xianbei (in particular) began moving (from apparently the north or northwest) into the region vacated by the Xiongnu.

By the 2nd century AD, the Xianbei had begun attacking Chinese farms south of the Great Wall, established an empire, which, although short-lived, gave rise to numerous tribal states along the Chinese frontier. Among these states was that of the Tuoba, a subgroup of the Xianbei, in modern China's Shanxi Province. The Wuhuan also were prominent in the 2nd century, but they disappeared thereafter; possibly they were absorbed in the Xianbei western expansion. The Xianbei and the Wuhuan used mounted archers in warfare, and they had only temporary war leaders instead of hereditary chiefs. Agriculture, rather than full-scale nomadism, was the basis of their economy. In the 6th century, the Wuhuan were driven out of Inner Asia into the Russian steppe.

Chinese control of parts of Inner Asia did not last beyond the opening years of the 2nd century AD, and, as the Eastern Han Dynasty ended early in the 3rd century AD, suzerainty was limited primarily to the Gansu corridor. The Xianbei were able to make forays into a China beset with internal unrest and political disintegration. By 317 all of China north of the Yangtze River (Chang Jiang) had been overrun by nomadic peoples: the Xianbei from the north; some remnants of the Xiongnu from the northwest; and the Chiang people of Gansu and Tibet (present-day China's Xizang Autonomous Region) from the west and the southwest. Chaos prevailed as these groups warred with each other and repulsed the vain efforts of the fragmented Chinese kingdoms south of the Yangtze River to reconquer the region.

By the end of the 4th century, the region between the Yangtze and the Gobi, including much of modern Xinjiang, was dominated by the Tuoba. Emerging as the partially sinicized state of Dai between AD 338 and 376 in the Shanxi area, the Tuoba established control over the region as the Northern Wei Dynasty (AD 386–533). Northern Wei armies drove back the Ruruan (referred to as Ruanruan or Juan-Juan by Chinese chroniclers), a newly arising nomadic Mongol people in the steppes north of the Altai Mountains, and reconstructed the Great Wall. During the 4th century also, the Huns left the steppes north of the Aral Sea to invade Europe. By the middle of the 5th century, Northern Wei had penetrated into the Tarim Basin in Inner Asia, as had the Chinese in the 2nd century. As the empire grew, however, Tuoba tribal customs were supplanted by those of the Chinese, an evolution not accepted by all Tuoba.

The Ruruan, only temporarily repelled by Northern Wei, had driven the Xiongnu toward the Ural Mountains and the Caspian Sea and were making raids into China. In the late 5th century, the Ruruan established a powerful nomadic empire spreading generally farther north of Northern Wei. It was probably the Ruruan who first used the title khan.

Rise of the Göktürks

Northern Wei was disintegrating rapidly because of revolts of semi-tribal Tuoba military forces that were opposed to being sinicized, when disaster struck the flourishing Rouran Khaganate. The Göktürks, known as Tujue to Chinese chroniclers, revolted against their Ruruan rulers. The uprising began in the Altai Mountains, where many of the Türk were serfs working the iron mines. Thus, from the outset of their revolt, they had the advantage of controlling what had been one of the major bases of Ruruan power. Between 546 and 553, the Göktürks overthrew the Ruruan and established themselves as the most powerful force in North Asia and Inner Asia. This was the beginning of a pattern of conquest that was to have a significant effect upon Eurasian history for more than 1,000 years. The Göktürks were the first people to use this later widespread name. They are also the earliest Inner Asian people whose language is known, because they left behind inscriptions in a runic-like Orkhon script, which was deciphered in 1896.

It was not long before the tribes in the region north of the Gobi—the Eastern Göktürks—were following invasion routes into China proper used in previous centuries by Xiongnu, Xianbei, Tuoba, and Ruruan. Like their predecessors who had inhabited the mountains and the steppes, the attention of the Göktürks quickly was attracted by the wealth of China proper. At first these new raiders encountered little resistance, but toward the end of the 6th century, as China proper slowly began to recover from centuries of disunity, border defenses stiffened. The original Göktürk state split into eastern and western parts, with some of the Eastern Göktürk acknowledging Sui overlordship.

For a brief period at the beginning of the 7th century, a new consolidation of the Göktürks, under the Western Göktürk ruler Tardu, again threatened China proper. In 601 Tardu's army besieged Chang'an (modern Xi'an), then the capital of the Sui dynasty. Tardu was turned back, however, and, upon his death two years later, the Göktürk state again fragmented. The Eastern Göktürk nonetheless continued their depredations, occasionally threatening Chang'an.

Tang Dynasty and the Uyghur Empire

From 629 to 648, a reunited China proper under the Tang dynasty (618-907) destroyed the power of the Eastern Göktürk north of the Gobi; established suzerainty over the Khitans, a semi-nomadic proto-Mongol people who lived in areas that became the modern Chinese provinces of Heilongjiang and Jilin; and formed an alliance with the Uyghurs, who inhabited the region between the Altai Mountains and Lake Balkash. Between 641 and 648, the Tang conquered the Western Göktürk, reestablishing Chinese control over Xinjiang and exacting tribute from west of the Pamir Mountains. The Göktürk empire finally ended in 744.

For half a century, the Tang retained control of Central Asia and modern-day Mongolia and parts of Inner Asia. Both sides of the Great Wall came under Tang rule. During this period, the Tang expanded Chinese control into the Oxus Valley. At the same time, their allies, the Uyghurs, conquered much of western and northern Mongolia until, by the middle of the 8th century, the Uyghur seminomadic empire extended from Lake Balkash to Lake Baykal.

Despite these crippling losses, the Tang recovered and, with considerable Uyghur assistance, held their frontiers. Tang dependence upon their northern allies was apparently a source of embarrassment for its rulers, who surreptitiously encouraged the Kirghiz and the Karluks to attack the Uyghurs, driving them south into the Tarim Basin. As a result of the Kirghiz action, the Uyghur empire collapsed in 846. Some of the Uyghurs emigrated to the Turpan Depression, where they established the Kingdom of Qocho that freely submitted to Genghis Khan several centuries later. Ironically, this weakening of the Uyghurs undoubtedly hastened the decline and fall of the Tang Dynasty over the next fifty years.

Khitan and Jurchen

Free of Uyghur restraint, the Para-Mongolic Khitan expanded in all directions in the latter half of the 9th century and the early years of the 10th century. By 925 the Khitan ruled eastern Mongolia, most of Manchuria, and the Sixteen Prefectures of northern China. By the middle of the 10th century, Khitan chieftains had declared themselves as Chinese emperors and chose a dynastic name in the Chinese fashion; their rule was known as the Liao dynasty (916–1125).

The period of the 11th and 12th centuries was one of consolidation, preceding the most momentous era in Mongol history, the era of Genghis Khan. During those centuries, the vast region of deserts, mountains, and grazing land was inhabited by people resembling each other in racial, cultural, and linguistic characteristics; ethnologically they were essentially Mongol. The similarities among the Mongols, Göktürk, and Tatars who inhabited this region cause considerable ethnic and historical confusion. Generally, the Mongols and the closely related Tatars inhabited the northern and the eastern areas; the Göktürk (who already had begun to spread over western Asia and Eastern Europe) were in the west and the southwest; the Tangut, who were more closely related to the Tibetans than were the other nomads and who were not a Turkic people, were in eastern Xinjiang, Gansu, and western Inner Mongolia. The Liao state was homogeneous, and the Khitan had begun to lose their nomadic characteristics. The Khitan built cities and exerted dominion over their agricultural subjects as a means of consolidating their empire. To the west and the northwest of Liao were many other Mongol tribes, linked together in various tenuous alliances and groupings, but with little national cohesiveness. In Gansu and eastern Xinjiang, the Tangut—who had taken advantage of the Tang decline—had formed a state, Western Xia (1038–1227), nominally under Song suzerainty. Xinjiang was dominated by the Uyghurs, who were loosely allied with the Song dynasty.

The people of Mongolia at this time were predominantly spirit worshipers, with shamans providing spiritual and religious guidance to the people and tribal leaders. There had been infusion of Buddhism.

A Tungusic people, the Jurchen, ancestors of the Manchu, formed an alliance with the Song and reduced the Liao dynasty to vassal status in a seven-year war (1115–1122). The Jurchen leader proclaimed himself the founder of a new Chinese dynasty, the Jin dynasty. Scarcely pausing in their conquests, the Tungusic Jurchen subdued neighboring Goryeo (Korea) in 1226 and invaded the territory of their former allies, the Song, to precipitate a series of wars with China that continued through the remainder of the century. Meanwhile, the defeated Liao ruler had fled with the small remnant of his army to the Tarim Basin, where he allied himself with the Uyghurs and established the Qara Khitai state (known also as the Western Liao dynasty, 1124–1234), which soon controlled both sides of the Pamir Mountains. The Jurchen turned their attention to the Mongols who, in 1139 and in 1147, warded them off.

Shiwei and Menggu

Some Shiwei tribes, though little is known, have been considered the ancestors of the Mongols according to ancient Chinese records. Term "Shiwei" was an umbrella term of the Mongolic and some Tungusic peoples in the 6th to 12th centuries.
During the 5th century, they occupied the area east of the Greater Khingan Range, what is the Hulun Buir, Ergune, Nonni (Noon), Middle Amur, and the Zeya Watersheds. They may have been divided into five to twenty tribes. They were said to be dressed in fish skins. They may have been nomadic, staying in the marshy lowlands in the winter and the mountains during the summer. The burial was by exposure in trees. Their language is described as being similar to Manchu-Tungusic languages and Khitan. The Türk dynasties (550-740) installed tuduns, or governors over the Shiwei and collected tribute. Other Shiwei may have stayed and become the Ewenkis. The Kitans conquered the Shiwei during the late 9th century. One Shiwei tribe, living near the Amur and Ergune rivers, was called the "Menggu" (Mongol). A few scholars believe they, other Shiwei tribes, and many other peoples from the area moved west from the forest to the Mongolian proper steppe.

States established by proto-Mongols
The proto-Mongols founded many states such as the Xianbei state, the Rouran Khaganate, and the Liao dynasty.

See also
 List of Mongol states
 List of medieval Mongol tribes and clans
 Mongol Empire
 Urheimat
 Ethnic groups in Chinese history
 Guifang
 Five Barbarians

References

Citations

Sources

 Atwood, Christopher (2004). The Encyclopedia of Mongolia and the Mongol Empire.
  publication link as of 10 December 2021

Proto-Mongols
History of Mongolia
Ethnic groups in Chinese history

Proto-Mongols


Max Heilmaier, né le  à Isen et mort le  à Munich, est un sculpteur et médailleur allemand.

Biographie

Heilmaier, qui descend d'une vieille famille de la bourgeoisie d'Isen, commence sa formation de sculpteur à l'atelier de Jakob Bradl à Munich et y reste jusqu'à ses vingt-et-un ans. Il rencontre nombre d'artistes munichois de l'époque comme Franz Maier, Bernauer, Eberle, qui travaillent tous à l'embellissement des châteaux de Louis II de Bavière.

En 1891, il étudie à l'Académie des beaux-arts de Munich où il s'inspire de l'art naturaliste de. Il reçoit la grande médaille de l'académie en 1895.

Heilmaier se fait connaître du public avec  et Heinrich Düll lorsqu'ils œuvrent pour le monument de la paix de Munich. Ce monument est remarqué pour son grand style et lui apporte la notoriété. Heilmaier se distingue ensuite par des petites figures dans le genre gothique allemand et se spécialise dans l'art religieux. En 1907, il est professeur à l'académie des arts décoratifs de Nuremberg. Il se fait un nom dans l'art de la médaille à partir de 1910.

Quelques œuvres

 Eiréné à Isen, hôtel de ville en 1893 et depuis octobre 2014 au  d'Erding
 Monument de la paix à Munich (1896-1899), avec Heinrich Düll et Georg Pezold
 Lamentation du Christ, sépulture de la famille Haselwanter,  d'Innsbruck (vers 1900)
 Grotte de Lourdes à Isen (1901)
 Les Douze Apôtres à Wasserburg am Inn, église paroissiale (1902-1906)
 Prométhée à Munich, pont Maximilien-Joseph (1903)
 Le Feu à Munich, pont Maximilien-Joseph (vers 1903)
 Fontaine Luitpold à Deggendorf (1905-1907)
 Reliefs de la Fortune et de la Richesse à Bozen, nouvelle caisse d'épargne (1907)
 Portail, caisse d'épargne de Bozen
 Vigneron au pressoir et femme avec une corbeille de fruits, chapelle funéraire du cimetière de Meran
 Portail de l'église Saint-Antoine de Nuremberg (1910)
 Louis II de Bavière, monument à Nuremberg (1911)
 Façade du Gymnasium Melanchthon-Gymnasium de Nuremberg (1911)
 Autel de la Vierge  de la cathédrale de Metz (1914)
 Portail avec la statue de Guillaume III de Henneberg et de son épouse Marguerite au  (1917)
 Diane au repos parc du  près de Münsing, lac de Starnberg
 Fontaine aux Ours château de Weidenkam

Références

Bibliographie
 Georg Lill: Max Heilmaier, ein deutscher Bildhauer. Parcus Verlag, München 1922
 Friedrich Haack: Neue Werke von Max Heilmaier. Kunst und Handwerk 1920
 Ludwig Heilmaier: Das altbayerische Geschlecht der Heilmaier. München, lose Folge 1920er Jahre
 A. Heilmeyer: Neue Arbeiten von Bildhauer Max Heilmaier. Beiträge zur Stilbildung der kirchlichen Plastik der Gegenwart. In: Die christliche Kunst. Monatsschrift für alle Gebiete der christlichen Kunst sowie für das gesamte Kunstleben. 14. Jg. (1917/1918), n° 1 du 1er octobre 1917, pp. 1-14.
 Leihgabe fürs Museum Erding: Eirene erwacht aus dem Dornröschenschlaf, sur Merkur.de, 2 juin 2014

Liens externes

Sculpteur allemand du XIXe siècle
Sculpteur allemand du XXe siècle
Médailleur allemand
Naissance en juin 1869
Naissance en Bavière
Naissance dans le royaume de Bavière
Décès en août 1923
Décès à Munich
Décès à 54 ans

Max Heilmaier


Berklee College of Music is a private music college in Boston, Massachusetts. It is the largest independent college of contemporary music in the world. Known for the study of jazz and modern American music, it also offers college-level courses in a wide range of contemporary and historic styles, including rock, hip hop, reggae, salsa, heavy metal and bluegrass.

Since 2012, Berklee College of Music has also operated a campus in Valencia, Spain. In December 2015, Berklee College of Music and the Boston Conservatory agreed to a merger. The combined institution is known as Berklee, with the conservatory becoming The Boston Conservatory at Berklee. Berklee alumni have won 310 Grammy Awards, more than any other college, and 108 Latin Grammy Awards. Other accolades for its alumni include 34 Emmy Awards, seven Tony Awards, eight Academy Awards, and three Saturn Awards.

History

Schillinger House (1945–1954)
In 1945, pianist, composer, arranger and MIT graduate Lawrence Berk founded Schillinger House, the precursor to the Berklee School of Music, after quitting his job at Raytheon. Located at 284 Newbury St. in Boston's Back Bay, the school specialized in the Schillinger System of harmony and composition developed by Joseph Schillinger. Berk had studied with Schillinger. Instrumental lessons and a few classes in traditional theory, harmony, and arranging were also offered. At the time of its founding almost all music schools focused on classical music, but Schillinger House offered training in jazz and commercial music for radio, theater, television, and dancing. At first, most students were working professional musicians. Many students were former World War II service members funded through the G.I. Bill. Initial enrollment was fewer than 50 students, but by 1949 there were more than 500 students. In 1954, when the school's curriculum had expanded to include music education classes and more traditional music theory, Berk changed the name to Berklee School of Music, after his 12-year-old son Lee Eliot Berk, to reflect the broader scope of instruction.

Berklee School of Music (1954–1970)
Lawrence Berk emphasized learning from practitioners, as opposed to academics, and generally hired working musicians as faculty members. Several of the school's best-known musician-educators arrived after the school's name change. In 1956, trumpeter Herb Pomeroy joined the faculty and remained until his retirement in 1996. Drummer Alan Dawson and saxophonist Charlie Mariano became faculty members in 1957. Reed player John LaPorta began teaching in 1962. Like many of Berk's ideas, this practice continues. Although far more emphasis is placed on academic credentials among new faculty hires than in the past, experienced performers such as Gary Burton, Mick Goodrick, Pat Metheny, Arif Mardin, Aydin Esen, Hal Crook, Dave Santoro, Ed Tomassi, Ted Pease, Joe Lovano, and Danilo Perez have served as faculty over the years.

Also during the mid-1950s, the school began to attract more international students. For example, Japanese pianist Toshiko Akiyoshi arrived in 1956. Multiple Grammy-winning producer Arif Mardin came from Turkey to study at the school in 1958.

In 1957, Berklee initiated the use of technology in music education with Jazz in the Classroom, a series of LP recordings of student work, accompanied by scores. These albums contain early examples of composing, arranging, and performing by students who went on to prominent jazz careers, such as Gary Burton, John Abercrombie, John Scofield, Ernie Watts, Alan Broadbent, Sadao Watanabe, and many others. The series, which continued until 1980, was a precursor to subsequent Berklee-affiliated recording labels. These later releases provided learning experiences not only for student composers and performers, but also for students in the new majors in music engineering and production, and music business and management.

Berklee awarded its first bachelor of music degrees in 1966. Members of the first graduating class to receive degrees included Alf Clausen, Stephen Gould and Michael Rendish. Gould taught film scoring at Berklee and became the program director for the Educational Leadership PhD program at Lesley University. During the 1960s, the Berklee curriculum began to reflect new developments in popular music, such the rise of rock and roll, soul and funk, and jazz-rock fusion. In 1962, Berklee offered the first college-level instrumental major for guitar. The guitar department began with nine students, and developed into the largest instrumental major at the college. Guitarist Jack Petersen accepted an invitation by Berk to design and chair the first formal guitar curriculum. Berk discovered Petersen through his affiliation with the Stan Kenton Band Clinics. Trombonist Phil Wilson joined the faculty in 1965. His student ensemble, the Dues Band, helped introduce contemporary popular music into the ensemble curriculum, and later as the Rainbow Band, performed world music and jazz fusions. In 1969, courses in rock and popular music were added to the curriculum, the first to be offered at the college level. The first college course on jingle writing was also offered in 1969.

Berklee College of Music (1970–present)

The school became Berklee College of Music in 1970 and bestowed its first honorary doctorate on Duke Ellington in 1971. Vibraphonist Gary Burton joined the faculty in 1971, helping to solidify the place of jazz-rock fusion in the curriculum. As Dean of Curriculum from 1985 to 1996, Burton led the development of several new majors, including music synthesis and songwriting, and facilitated the school's transition to technology-based education. Curriculum innovations during the 1970s included the first college-level instrumental major in electric bass guitar in 1973, and the first jazz-rock ensemble class in 1974.

In 1979, Berklee founder Lawrence Berk stepped down as president. The board of trustees appointed his son, Lee Eliot Berk, to replace him. Under new leadership, the school underwent further growth and diversification of its curriculum. The college offered the world's first undergraduate degree program in film scoring starting in 1980. Beginning in 1981, the string department curriculum expanded to include many stylistic idioms besides classical music. In 1986, the world's first college-level major in music synthesis was offered, followed by the world's first college songwriting major in 1987. Instrumental majors also expanded to include the first college hand-percussion major in 1988. The college was also the first third-level institution in the world to offer a course in Electric Bass Guitar. While many conservatories offer a major in Double Bass, Berklee's former bass chair Rich Appleman was a pioneer in bass education and understood the impact this change could bring.

The number of international students has grown steadily to 24.2% of total enrollment in 2010 and 28% .

Berklee expanded its community outreach efforts in 1991 with the launch of City Music, a program designed to make music instruction available to underserved youth in the Boston area. On a global scale, Berklee partnered with selected music schools around the world to form the Berklee International Network in 1993. Other new majors, in Music Business & Management and music therapy, were offered beginning in 1994 and 1996 respectively. In 2003, the school began offering classes online through Berkleemusic.com, called Berklee Online under the leadership of Dave Kusek. Other curriculum developments included the incorporation of a hip-hop course in 2004.

In 2004, Lee Eliot Berk stepped down as president of the school his father had founded, and Roger H. Brown was installed as the college's third president. Under Brown's leadership the college's enrollment has grown and diversified, admission has become highly selective, and significant increases have occurred in the retention (above 80% in 2016) and graduation rate (above 60% in 2015). In 2006, mandolin and banjo were accepted as principal instruments for the first time. The college also initiated an Africana Studies program, the Berklee Global Jazz Institute, and an American Roots Music Program. In October 2013, Berklee Online launched its online degree programs, and began accepting applications for the Bachelor of Professional Studies in two majors: music production, and music business. In January 2014, the college launched the Berklee Institute for Creative Entrepreneurship (Berklee ICE), a new campus center which offers courses, workshops, research and an incubation environment to encourage music businesses startup companies.

In June 2015, Berklee College of Music and The Boston Conservatory announced that the governing boards for the two schools had approved plans to pursue a proposed merger. On January 19, 2016, the two schools announced that they would be merging. The agreement was signed the next day, with Berklee College of Music being renamed Berklee, and the Conservatory being renamed The Boston Conservatory at Berklee.

On October 22, 2020, Berklee announced its new president-elect, Erica Muhl, as President Brown announced his retirement. Muhl previously worked at the University of Southern California (USC), where she was dean and founding executive director of the Jimmy Iovine and Andre Young Academy for Arts, Technology and the Business of Innovation.

For the fall semester of 2020, the college taught classes remotely as a result of the COVID-19 pandemic. The college then moved to a hybrid model learning system in the spring semester of 2021.

In August 2021, The Berklee College of Music announced it would begin offering a Bachelor of Arts program in Music Industry Leadership and Innovation starting in the fall of 2022. The program will be the first undergraduate Bachelor of Arts degree to be available in the college's history.

Sexual harassment allegations
In November 2017, The Boston Globe reported a culture of sexual harassment existed on the campus, with at least three male professors allowed to quietly leave the school in 2008 after student reports of sexual misconduct with teachers. Berklee's administrators released a statement saying, in part, that the college has rigorous policies and procedures in place to deal with claims of sexual harassment. On November 13, students staged a silent protest and class walkout to address the allegations of sexual harassment by teachers and staff. Also on November 13, college president Roger Brown addressed over 1,200 students, apologized to the affected students, and pledged to "root out abusive behavior." He also stated that the school has terminated eleven faculty members in the past thirteen years due to sexual harassment and sexual assault. The college has worked to strengthen policies to prevent sexual harassment and abuse and has taken a number of measures to create a better and safer environment, including instituting "training courses, creating a working group, and diversifying leadership."

Academics
Berklee College of Music is accredited by the New England Commission of Higher Education (NECHE). The college stated that it was the first to offer online undergraduate degrees in 2002, and introduced graduate degrees in 2018, starting with programs in music production and music business.

Admission
Berklee's admission process is holistic; it focuses primarily on an audition, an interview, and on the applicant's academic record.

For the 2017–2018 school year, the acceptance rate for the Berklee College of Music Boston was 33.8%, for the Boston Conservatory it was 38%, and for Berklee Online it was 66%.

From 2014 to 2017, Berklee reported acceptance rates ranging from 28 to 36%. As of fall 2018, Admissions updated its applications reporting to count only paid applications. Previous years' totals includes all partial applications, regardless of status or payment.

Berklee offers three different terms for entering full-time students: the traditional fall semester, spring, and summer. Unlike other colleges, entering students may choose their own entering semester. Typically, the deadlines are November 1 (early action) and January 15 (regular action) for fall semester, July 1 for spring semester, and December 1 for summer semester.

As part of the application to the college, applicants are required to complete a live audition and interview. An integral part of selecting the entering class is the audition and interview experience, designed to show applicants' strengths while helping the school to assess applicants' talent and potential to succeed in Berklee's dynamic environment. Although there is a general format for the audition and interview, each experience is unique. Berklee considers all applicants for both admission and scholarship through the audition and interview process. Starting in 2014, the college will audition some applicants online using high speed internet technology.

Berklee is known for its high cost of attendance, with the yearly undergraduate cost without aid at $73,391. The high cost of attendance has forced many low-income students to quit after the first two semesters, or take out large loans, as the school offers very few merit-based scholarships, and close to no need-based grants.

Demographics
As of the 2021–2022 academic year, total enrollment at Berklee was 7,943 (7,177 undergraduates and 766 graduates). Among undergraduate students, 42% were female and 58% were male. Among graduate students, 46% were female and 54% were male. 73 students out of the total 7,943 identified as transgender or gender diverse. Students from 97 countries outside the U.S. accounted for approximately 25% of the student population. China, Canada, India, Brazil, and Colombia were the top five countries of origin. In addition to students attending the Berklee campus in Boston, in the 2021-2022 academic year, 1,895 students took online courses through Berklee Online.

Facilities

Berklee remained at its original location at 284 Newbury Street from its founding in 1945 to 1966, when it moved into the larger 1140 Boylston Street building, the former Hotel Bostonian. Beginning in 1972 an era of more rapid expansion began with the purchase of the Fenway Theatre and the adjoining Sherry Biltmore Hotel at 150 Massachusetts Avenue. The theater was renovated and opened as the 1,227-seat Berklee Performance Center in 1976. The former Biltmore Hotel provided additional classroom and practice room spaces and residence halls. It also houses the library, which was renamed the Stan Getz Library and Media Center in 1998. The 150 Massachusetts Avenue building is also the site of the Berklee Learning Center, which when it opened in 1993, was the world's largest networked computer learning facility for music education.

The Genko Uchida Center at 921 Boylston Street opened in 1997 and houses the offices for enrollment, admissions, scholarships and student employment, the registrar, financial aid, bursar, rehearsal and classroom space, and the 200-seat David Friend Recital Hall. At 939 Boylston Street, Café 939, the nation's only student-run, all-ages night club, hosts a full program of student performers, local and national acts, and community programs.

, Berklee occupied 25 buildings primarily in the Back Bay area of Boston, near the intersection of Boylston Street and Massachusetts Avenue. Within these buildings were 40 recording studios, 5 film/video scoring and editing facilities, and 9 music synthesis facilities. The studios of the five-channel, commercial-free Berklee Internet Radio Network (BIRN), which launched in 2007, were also housed on campus. A new Liberal Arts building at 7 Haviland Street was dedicated in 2010. It houses the Liberal Arts, Music Therapy, and Music Business Departments, as well as the Africana Studies program.

In early 2011, Berklee College of Music announced its plan of constructing 3 new buildings along Massachusetts Avenue. The first building, a 16-story mixed-use building at 160 Massachusetts Avenue that include 370 dorm rooms, a two-story cafeteria, a performance center,  of recording studios, and retail space, opened in February 2014. The Boston Globe architecture critic Robert Campbell described it "as (a) very good building". The building received the American Institute of Architects' 2015 Housing Award, being named one of the best 10 residential projects of the previous year. The second building is planned to be built on top of the existing 130–136 Massachusetts Avenue (The Berklee Performance Centre). The new building is expected to house additional 450 students, as well as a performing center, in its 24-story tall structure. The third building is planned to be at 161–171 Massachusetts Avenue, which is expected to contain more academic and administrative space for the Berklee College of Music.

Berklee València

Berklee València is the college's first international campus, housed in the Palau de les Arts Reina Sofía. Queen Sofía Palace of the Arts is the final structure built as part of a grand City of Arts and Sciences concept designed by the Valencia-born and internationally known architect Santiago Calatrava, which began construction in 1995 and was opened on 8 October 2005.

Special programs and professional certificates
Berklee's campus in València regularly offers unique programs in contemporary music. These include clinics, workshops, and seminars as well as short, concentrated sessions in areas such as performance, flamenco, film scoring, music business, technology and production, and education.

It also offers a two-week summer performance program in addition to the five-week program in Boston.

BerkleeNYC

BerkleeNYC is the college's campus in New York. Housed in the Power Station studios in Hell's Kitchen, it offers a one year, three-semester, Master of Arts in Creative Technology.

Boston Conservatory at Berklee

On January 19, 2016, the Berklee and Boston Conservatory announced that they would merge under an institutional umbrella called Berklee, consisting of Boston Conservatory at Berklee, Berklee College of Music, Berklee Online, and Berklee Valencia.

Berklee Online

Berklee Online is the online extension school of Berklee College of Music. The school delivers access to Berklee's curriculum to students around the world.

Berklee Online's online music courses, multi-course certificate programs, and Bachelor of Professional Studies online degree programs are accredited and taught by the college's faculty and industry professionals. The school also provides free Berklee online music resources through Berklee Shares, massive open online courses (MOOCs) including Coursera, EdX, and Kadenze.

From 2005 to 2012, the University Professional Continuing Education Association (UPCEA) awarded Berklee Online with its Best Online College Course Award. Since its inception, Berklee Online has taught more than 30,000 students from 144 countries.

Former Berklee Online students include members of Nine Inch Nails, Dave Matthews Band (Stefan Lessard), Karmin (Amy Heidemann), Sugarland (Annie Clements, Brandon Bush, Thad Beatty), and Train.

Online degree programs
In October 2013, the online school began accepting applications for its 120-credit online degree in two majors: Bachelor of Professional Studies in Music Production and Bachelor of Professional Studies in Music Business. In November 2014, Berklee Online added three new degree majors to its Bachelor of Professional Studies program: Electronic Music Production and Sound Design, Music Composition for Film, TV, and Games, and Interdisciplinary Music Studies, a major that allows students to build their own program based on their musical interests and goals. Since then, the college has continued to expand its online bachelor's degree major offerings, adding Guitar, Songwriting, and Songwriting and Producing Music to the roster. The college is reportedly the first nonprofit music institution to offer regionally accredited bachelor's degrees online.

Alumni

See also
 Real Book

References

Further reading
 Small, Mark, "All the Right Moves – Lee Eliot Berk", Berklee Today, Vol. 15, Issue 3, Spring 2004. Interview with Lawrence Berk's son, Lee Eliot Berk, the then retiring second president of Berklee College of Music.

External links

Cultural history of Boston
Culture of Boston
Universities and colleges established in 1945
Music schools in Massachusetts
Universities and colleges in Boston
Private universities and colleges in Massachusetts
Back Bay, Boston
1945 establishments in Massachusetts

Berklee College of Music


Tit Labijen (otpr. 100 pr. Kr. - 17 Ožujka 45. pr. Kr.) bio je Cezarov legat i bliski prijatelj iz Galskih ratova. Za vrijeme Cezarovog građanskog rata, Labijen otkazuje lojalnost Cezaru i prelazi na stranu Pompeja. Poginuo je u Bitci kod Munde u provinciji Hispaniji 45. pr. Kr. boreći se uz ostatke pompejevskih snaga.

Rani život
O Labijenu nema mnogo podataka prije 63. pr Kr., kada postaje pučki tribun. 59. ili 60. godine prije Krista, postaje pretorom. Vukao je porijeklo iz rimske viteške obitelji, pretpostavlja se iz grada Cinguluma. Razlog za ovakvu pretpostavku je to što je navodno u spomenutom gradu dao izgraditi nekoliko zgrada o vlastitom trošku. Imao je sina Kvinta Labijena.

Ratna kampanja u Galiji
Tijekom Cezarovih pohoda po Galiji, Labijen je nakon Gaja Julija Cezara bio druga osoba po hijerahiji. Na početku pohoda postavljan je na dužnost Legata pro praetora U trenutku kad je Cezar nakratko otišao nazad za Italiju, Labijenova glavna preokupacija bila je obrana rimskih fortifikacija na rijeci Rhôni, koje su zadržavale Helvećane od prelaska rijeke, što je uspješno činio.

Tijekom Cezarove kampanje protiv Belga, koje su Rimljani gonili s tri legije, Labijen je zapovjedao IX i X legijom koje su činile lijevo krilo rimske vojske. Istovremeno su Nervijci iznenadili rimske snage blizu Sabisa. Nakon što je porazio Atrebate i razorio neprijateljski kamp, popeo se na jednu uzvisinu s koje je vidio da je desno krilo rimske vojske snažno pritisnuto napadima Nervijaca. Labijen potom izdaje naređenje X. legiji da zaobiđe neprijateljski vojsku i napadne ih odostraga što je preokrenulo bitku i Rimljanima donijelo pobjedu.

U 52. godine pr. Kr. Labijen je zapovjedao četiri legije kod Agedincuma, dok je Cezar otišao sa šest legija prema Gergoviji. Pleme Parišana pripremalo je zamku za rimske snage koje je vodio Labijen, ali ovaj ih je taktičkom varkom doveo u neugodan položaj i na kraju porazio.

Labijen je također sudjelovao u velikoj završnoj Bitci kod Alezije.

Građanski rat i smrt
Unatoč tome što je bio veoma blizak Cezaru, nakon Cezarovog prelaska Rubikona i početka građanskog rata, Labijen se stavlja na raspolaganje Gneju Pompeju. Ova "izdaja" Cezara i danas je tema o kojoj raspravljaju povjesničari. Blake Tyrell, primjerice, smatra da je razlog za Labijenov prelazak u tabor Optimata bio motivran obranom rimskih državnih tradicija, koje su bile u očitoj suprotnosti s Cezarovim osobnim ambicijama.

Labijen je učestvovao u odluujućoj Bitci kod Farsala 48. pr. Kr. gdje je vodio Pompejevo konjaništvo. Labijenov marš na protivničke redove nesretno je završio jer su upali u zamku četvrtog, skriveni reda pješaka koji su u ključnom trenutku izvadili svoja koplja na koja su se Labijenovi konjanici u jurišu masovno ponabijali, što im je uzrokovalo velike gubitke radi čega su se u konačnici povukli s bojišta. Sama bitka završila je katastrofalnim porazom za Pompejevu vojsku, dok sam Pompej bježi i biva ubijen u Egiptu.

Labijen odlazi u Hispaniju gdje se anti-cezarovska vojska još jednom okuplja ali je ista poražena u Bitci kod Munde, gdje i sam Labijen pogiba tijekom borbe.

Literatura
Tyrrell, Blake, Biography of Titus Labienus, Caesar's Lieutenant in Gaul, Michigan State University, 1970.

Rimski vojskovođe

Tit Labijen


Ronela Hajati (Tirana, Albânia, 2 de setembro de 1989), também conhecida como Ronela, é uma cantora, compositora e dançarina albanesa. Nascida e criada em Tirana, começou a apresentar-se em várias competições de canto e dança quando criança antes de seguir carreira na música.. Hajati é conhecida pela sua versatilidade na música, estilo e interpretação. Depois de vencer a 60ª edição do Festivali i Këngës em 2021, foi escolhida como representante da Albânia no Festival Eurovisão da Canção 2022

Discografia

Álbuns

 RRON (TBA)

Singles

 "Requiem" (com Orgesa Zajmi) (2006)
 "Me ty nuk shkoj" (2007)
 "Shume Nice" (2009)
 "Kam frikë te të dua" (2009)
 "Harroje" (2010)
 "Neles" (em colaboração com Visari Skillz) (2011)
 "Nuk ka më kthim" (2012)
 "Mala Gata" (2013)
 "Mos ma lsho" (2013)
 "Veç na" (com Agon Amiga) (2014)
 "A do si kjo" (2015)
 "Amini" (2016)
 "Marre" (2016)
 "Syni i jemi" (com Young Zerka) (2016)
 "Mos ik" (2017)
 "Ladies" (2017)
 "Sonte" (com Lyrical Son) (2017)
 "Diamanta" (com Young Zerka) (2017)
 "Maje men" (2018)
 "Do ta luj" (2018)
 "Vuj" (2018)
 "Pa dashni" (2019)
 "Çohu" (em colaboração com Don Phenom) (2019)
 "Lage" (2019)
 "MVP" (2019)
 "Genjeshtar je X Pare" (2020)
 "Bardh e blu" (2020)
 "Prologue" (2021)
 "Shumë i mirë" (2021)
 "Aventura" (2021)
 "Alo" (em colaboração com Vig Poppa) (2021)
 "Leje" (em colaboração com Klement) (2021)
 "Secret" (2021)
 "Gips" (com MatoLale) (2022)

Singles em colaboração

 "Ka je 2x" (em colaboração com Adrian Gaxha) (2017)
 "Dilema" (em colaboração com Don Phenom) (2019)

Cantores da Albânia
Participantes do Festival Eurovisão da Canção 2022

Ronela Hajati