Situated at the south-western tip of Africa, the Table Mountain National Park (TMNP) encompasses the incredibly scenic Table Mountain Chain stretching from Signal Hill in the north to Cape Point in the south and the seas and coastline of the peninsula.
The narrow finger of land with its beautiful valleys, bays and beaches is surrounded by the waters of the Atlantic Ocean in the west and the warmer waters of False Bay and has within its boundaries two world-renowned landmarks - majestic Table Mountain and the legendary Cape of Good Hope.
The Park is recognised globally for its extraordinarily rich, diverse and unique fauna and flora - with rugged cliffs, steep slopes and sandy flats - is a truly remarkable natural, scenic, historical, cultural and recreational asset both locally and internationally. Nowhere else in the world does an area of such spectacular beauty and such rich bio-diversity exist almost entirely within a metropolitan area - the thriving and cosmopolitan city of Cape Town.
January 31, 2010
Syria Culture
Syria is a culturally gifted country and has a traditional society. Strong moral and ethical values are placed on family, religion, education and self discipline and respect. Syrians place a high degree on tradition and present themselves well both at home and abroad. It is normal to find Syrian families all over the world who still live there lives as if they were in the Old Country.
Syria is a living folklore. The Syrian's taste for the traditional arts continues undiminished. It is expressed in dances such as the famous al-Samah, the Dabkes in all their variations and the sword dance, to name but a few. Marriage ceremonies and the birth of children are occasions for the lively demonstration of folk customs.
Traditional Houses of the Old Cities in Damascus, Aleppo and the other Syrian cities are preserved and traditionally the living quarters are arranged around one or more courtyards, typically with a fountain in the middle supplied by spring water, and decorated with citrus trees, grape vines, and flowers arranged for the comfort of the family and entertaining guests. The aura and ambiance of this atmosphere is quite breathtaking and relaxing.
Syrians always welcome guests, friends and strangers into there homes. They do everything possible to make there guest feel right at home. The host is only pleased when they see their guests pleased. They will offer food and drinks and even the wall painting if you stare at it long enough. And they do not accept no as an answer, to them it is an insult.
Some Syrian Customs revolve around there crafts. Traditional crafts are still made the way they were thousands of years ago. The skills of Embroidery, Ceramics, Pottery, Jewelry and Basketry are all passed down from generation to generation. These traditions exemplify Syrian values.
Embroidery - This is one of the most important traditional crafts of Syrian women and one which has, in recent years, been incorporated into high fashion. Elegant gowns and jackets have been created using traditional needlework together with rich, Middle Eastern fabrics.
This art of embroidery has been carried over into the making of cushions, which grace the decor of many Syrian homes. Colors range from shades of red, maroon, purple and pink, with bright additions of green, orange and gold. Simple cross-stitch is the basis for a plethora of complicated designs and recurring motifs include trees, flowers, feathers, waves and geometric zig-zags or triangles.
Ceramics & Pottery - Syria has many natural clay deposits, which have been used for many centuries in the making of pottery. Early examples of pottery consisted of vessels for food storage, which had been sun-cured and baked in a pit fired with straw and dung. Large coil-and-slab pots, known as jarra, were originally used to store water or olive oil.
Jewelry - Jewelry has a long history in Syria. Stores of gold and silver jewelry dating from Roman times have been unearthed on various archaeological sites. Today, gold and silver jewelry is worn by all strata of society. The jewelry includes bracelets, chokers, rings, hair ornaments, long chains and rows of coins attached to necklaces or headdresses. .
Fact about Sweet Pea
Kingdom
Plantae
Division
Magnoliophyta
Class
Magnoliopsida
Order
Fabales
Family
Fabaceae
Subfamily
Faboideae
Tribe
Vicieae
Genus
Lathyrus
Species
odoratus
Sweet Pea is an annual climbing plant, growing to a height of 1-2 m, where suitable support is available. Sweet Pea Flowers bloom in lavender, pink, purple, red, white, yellow in colors among others, and are 2-3.5 cm broad. Sweet Peas are often grown by gardeners for their bright colours and the sweet fragrance that gives them their name.
There is a great deal of variation in the fragrance and intensity of smell in Sweet Pea flowers. The strength of fragrance of a Sweet Pea is sensuous and captivating and depends on a number of factors, such as rain, high temperatures, time of day and the age of the flower. Certainly, some of the older varieties from the Eckford lines are the most reliably fragrant Sweet Pea flowers.
-Sweet peas have been cultivated since the 17th century and a vast number of cultivars are commercially available.
-In the genus Lathyrus, there are 110 species and innumerable cultivars. In broad terms, the genus is commonly known as vetchling or wild pea. Some garden peas (Pisum sativum), such as English peas, podded peas and snow peas are edible.
The leaves on the Sweet Pea vine are pinnate with two leaflets and a terminal tendril.
-Sweet peas have been cultivated since the 17th century and a vast number of cultivars are commercially available.
-Henry Eckford, who hybridized and selected Sweet Pea vines for their best characteristics, introduced the "Grandifloras", which revolutionized the Sweet Pea.
-In 1901, Silas Cole, head gardener to the Earl of Spencer, found a natural mutation of Sweet Pea and thus called "Multiflora".
-In recent years, New Zealand has also been a source of new Sweet Pea varieties, especially the with the breeding efforts of Dr. Keith Hammett. He made great strides in the development of new color patterns, many striped varieties, short day flowering, with a focus on fragrance.
-English gardeners call Sweet Peas the Queen of Annuals. These alluring annuals stand uniquely among garden flowers with their vivid colors, fragrance, and length of bloom in the garden.
-The fact that Sweet Pea flowers are long-lasting cut flowers is the icing on the cake. Several stems in a plain vase make a lovely country-style bouquet.
-Unlike most peas, the seeds of the sweet pea (Lathyrus odoratus) are poisonous, and should not be eaten. Sweet pea flowers are also not edible and are poisonous.
Native to the eastern Mediterranean region from Sicily east to Crete, the Sweet Pea (Lathyrus odoratus) flowers come in a wide range of colors.
January 29, 2010
Interesting Facts About the Piano and Piano Music
Christie's Auction House recently sold a Vicorian Steinway grand piano for $1.2 MILLION DOLLARS! The piano was sold to the Sterling and Francine Clark Art Institute of Williamstown, Massachusetts.
What famous piano company was Engelhard Steinweg the founder of?
Maybe this will help. In 1850 he Americanized his name to Henry E. Steinway!
1997 was the 200th Anniversary of his famous Steinway Pianos!
That the piano is known as "The King of Instruments"? The piano earned this title for a number of reasons including it's tonal range ( the piano covers the full spectrum of any instrument in the orchestra from below the lowest note of the double bassoon to above the top note of the piccolo), it's ability to produce melody and accompaniment at the same time (try that on a flute) and it's broad dynamic range. It is also the largest musical instrument (excluding the pipe organ), most versatile and one of the most interesting.
That the average medium size piano has about 230 strings, each string having about 165 pounds of tension, with the combined pull of all strings equaling approximately eighteen tons !
The total string tension in a concert grand is close to Thirty Tons!
That a boxed model D Steinway Grand Piano weighs 1400 Pounds !
That six Steinways are now in the Smithsonian collection.
The working section of the piano is called the action. There are about 7500 parts here, all playing a role in sending the hammers against the strings when keys are struck.
A new piano should be tuned four times the first year, with the change of seasons, and at least twice a year after that.
There are over 10 MILLION pianos in American homes, businesses, and institutions.
The first practical piano with an escapement mechanism for the hammers and capable of being played softly and loudly was built in 1700 by an Italian, Bartolomeo Cristofori (1655-1731).(see Christofori)
The Smithsonian in Washington, DC is celebrating the 300th anniversary of the piano with a wonderful exhibit that runs through March 2001. For more information.
Cristofori made few pianos, his attention was to the building of harpsichords.
The name piano is an abbreviation of Cristofori's original name for the instrument: piano et forte or soft and loud.
Spinet pianos were made by Samuel Blythe as early as 1789 at Salem, Mass.
The term Grand was first used in 1777.
Abraham Lincoln used Chickering Grand #5070 while at the White House.
During 1869 the US produced 25,000 pianos valued at $7,000,000, during 1910 production was 350,000 pianos valued at $100,000,000 !
The term "Tickle the Ivorys" refers to playing the ivory keys of the piano, however, ivory has not been used to make piano keys since about the 1950's (they are plastic, sometimes referred to as "Ivorine").
That there are currently over 50 Brand Names of pianos?
During the past 100 years there have been approximately 5000 Brands of pianos placed on the market. Most are still on display in homes or elsewhere.
Pianos are made of thousands of pieces of wood glued together to form various parts of the playing mechanism as well as the cabinet. Felt, buckskin, paper, steel, iron, copper, and other materials are also used.
Don't forget to visit PianoSuppies.com for piano lamps, bench cushions, tuning equipment and more !
Or the Piano Book Store for great books about pianos .
Independent studies show that children who learn piano tend to do better in school. This is attributed to the discipline, eye-hand coordination, social skills building, learning a new language (music) and the pleasure derived from making your own music.
It should also be noted here that anyone considering a career in any facet of music should consider studying the piano . Many music schools require at least one semester of piano, regardless of your major.
Over the years there have been many attempts at "improving" the piano. One such experiment was to replace some of the wooden action parts with plastic. It didn't work, they cracked with age. (If you own one of these pianos, you might want to check out Piano Tuners to get it repaired or even Piano Dealers to replace it). There were many other ideas that tried and failed including the Jensen piano which had 2 keyboards, a vertical grand, one that had a keyboard that was more like a typewriter and many others.
"You can tune a piano, but you can't tuna fish"
Answer: Sure you can, you just adjust it's scales!
Presidential Pianos
1st President - George Washington - Longman & Broderip Harpsichord; Schoen & Vinsen Pianoforte
2nd President - John Adams - Currier & Co.
3rd President - Thomas Jefferson - Astor Pianoforte
4th President - James Madison - Square Grand (name destroyed by fire)
5th President - James Monroe - Astor Piano
6th President - John Quincy Adams - Currier & Co.
7th President - Andrew Jackson - T. Gilbert & Co. Square Piano
8th President - Martin Van Buren - Hallet & Cumston Square Piano
9th President - William Henry Harrison - Haines Brothers
10th President - John Tyler - Thomas Tomkinson Upright Piano
11th President - James Knox Polk - Astor & Harwood Square Piano
12th President - Zachary Taylor - name unknown
13th President - Millard Fillmore - name unknown
14th President - Franklin Pierce - Chickering Square Piano
15th President - James Buchanan - Chickering Grand Piano
16th President - Abraham Lincoln - Chickering Square Piano & Chickering Upright
17th President - Andrew Johnson - Steinway & Sons Square Piano
18th President - Ulysses S. Grant - Melodeon
19th President - Rutherford B. Hayes - Bradbury Upright & Harpsichord (name destroyed by fire)
20th President - James A. Garfield - Hallet & Davis Upright
21st President - Chester A. Arthur - Piano cannot be located.
22nd President - Grover Cleavland - Combination Piano & Harpsichord (name destroyed by fire)
23rd President - Benjamin Harrison - J. & C. Fischer Upright Piano, Haines Brothers Square
24th President - Grover Cleveland - (same as above)
25th President - William McKinley - A. H. Gale Co. Square Piano
26th President - Theodore Roosevelt - Chickering Upright, Steinway Grand Piano
27th President - William Howard Taft - Baldwin Grand Piano
28th President - Woodrow Wilson - Ernst Rosenkranst Square Piano, Knabe Grand
29th President - Warren G. Harding - A. B. Chase Electric Player Piano
30th President - Calvin Coolidge - Sohmer Upright Piano
31st President - Herbert Hoover - Knabe Grand & A. B. Chase Grand
32nd President - Franklin D. Roosevelt - Hardman Grand
33rd President - Harry S. Truman - Steinway Grand, Baldwin Grand & Steinway Upright
34th President - Dwight D. Eisenhower - Hallet & Cumston Upright
35th President - John F. Kennedy - Ivers & Pond Grand Piano
36th President - Lyndon B. Johnson - Style L. Steinway, Knabe Console
37th President - Richard M. Nixon - Geo. P. Bent Upright, Baldwin Vertical
38th President - Gerald Ford - No personal piano
39th President - James (Jimmy) Carter - Ludden & Bates
40th President - Ronald Reagan - Steinway Grand
41st President - George Bush - Did not own personal piano.
42nd President - William (Bill) Clinton - Baldwin Grand in the Governor's Mansion.
Jonas Chickering was the first exporter of American made pianos. First shipment to India 1844.
Yamaha, established in 1887 was the first piano manfacturer in Japan.
That pianos were the first meaningful brand names, the first Status Symbol, and the first major items sold on an installment basis, which was the cornerstone of several major banking institutions of today.
A grand piano action is faster than a vertical (spinet, console, upright) because it has a repetition lever. This allows the pianist to repeat the note when it is only half way up. A vertical action requires letting the key all the way up to reset the hammer action.
Piano Sizes
Concert Grand - 8' 11" and larger
Half Concert Grand - 7'4"
Parlour Grand 6'8"
Drawing Room Grand - 6'4"
Professional Grand - 6'
Living Room Grand - 5'10"
Baby Grand - 5'8"
Upright - 51" and up
Vertical - 36" - 51"
Studio - 44" or taller
Console to 42"
Spinet - 36" to 38"
The worlds largest piano is a Challen Concert Grand. This piano is 11 feet long, has a total string tension of over 30 tons and weighs more than a ton !!
The term A-440 concert pitch refers to A above middle C vibrating at 440 cycles per second.
The first note (on a standard 88 note keyboard) is A .
The exact middle of the keyboard is not middle C, it is actually the space between E and F above "middle" C.
The last note of the keyboard is C.
The Bösendorfer Imperial concert grand piano is 9' 6" long and has 9 extra keys stretching to a growling C below bottom C ! (The Imperial grand sold for $55,000 in 1980!) The 9' and 7' 4" grands have four extra bass keys, the lowest of which is F below bottom C.
Comma (or coma) -- A minute interval or difference in the pitches of the same musical tone occasioned by different systems of tuning. The comma of Didymus is an interval such as that between two enharmonically equivalent notes like B-sharp and C-natural, an amount of 24 cents. (cents are 1/100th of a semitone) The syntonic comma is the interval between a just major third (5:4) and a Pythagorean third (81:84). The comma of Pythagoras (known also as the ditonic comma) is the difference between a cycle of just fifths and seven perfect octaves. In equal temperament tuning this comma is absorbed by the diminishing of each successive fifth in the cycle by the amount of 1/12th of the comma.
Paul Janko, Austria, constructed a keyboard of six tiers, one above the other -- runs and arpeggios made less difficult than on regular piano keyboard.
Zumpe created the square piano in England in 1760.
Beethoven's Studio Piano is in the National Museum, Vienna, AustrIa.
The first patent issued to H. Steinway, New York, was May 5, 1857.
G. Hoffman built a symetrically rounded piano in 1804.
M. Welte and Son of Freiburg, Germany and Ludwig Hupfeld introduced the reproducing pianos about 1904.
Sebastian Erard made the first French Square piano in 1777 and the first grand in 1796.
John Broadwood enlarged the strings in the square piano, used two thick strings instead of three thinner ones and moved the wrest plank from the right side to the bottom of the case in 1788.
Johann Christian Schleip built many vertical pianos known as the "Giraffe Piano".
Johann Behrent built the first piano in America at Philadelphia in 1775 under the name "Piano Forte".
Mangeot of Paris built a piano with reversible keyboards in 1876.
Sebastian Erard built a piano and organ combined for Marie Antoinette.
Piano Row was located on 14th Street, New York. This was the headquarters of such fine pianos as Steinway, Steck, Behning, Bradbury, Sohmer and many others.
Nickelodeon is a general term used to describe various electrical coin operated pianos.
The first census giving figures for instrument makers was in 1860 which was 223 - about 110 were piano manufacturers.
About 1870 Daniel F. Beatty advertised rosewood square grands for $255.
Piano player was developed 1863 with push up cabinet, with wooden felt covered fingers that depressed keys. R.W. Pain was probably the first to build a pneumatic self playing piano, a 39 note self contained player for Needham & Sons in 1880.
J.C. Stoddard, Worcester, Massachusetts, invented the Calliope in 1855.
A drop of 1/2 step in pitch can equal a change of 3000 to 5000 Pounds of tension! (Now you know why it is important to keep your piano tuned).
The Lost World of Pompeii
The site of Pompeii is located in western Italy in a region called Campania, near the Bay of Naples. With the coast to the west and the Apennine Mountains to the east, Campania is a fertile plain, traversed by two major rivers and blessed with soil rich in phosphorus and potash. In ancient times, the region's crop yield was six times higher than the average of the rest of the peninsula. Campania was so fertile that some areas had up to three grain crops per year. The region also hosted some of Italy's chief olive groves, and the mountains nourished thousands of sheep.
Though little is known about Campania's first settlers, the first people to settle in this region were probably prehistoric hunters, gatherers and fishers. By at least the eighth century B.C., a group of Italic people known as the Oscans occupied the region; they most likely established Pompeii, though the exact date of its origin is unknown. Ionians also settled in Campania during the eighth century B.C.
Their Greek settlements began as a series of small trading posts, but soon grew into successful merchant cities that eventually dominated the area. For a few centuries the inhabitants of Campania remained under Hellenic control, with Pompeii and the nearby city Herculaneum the center of Greek occupation. During the fifth century B.C. a group of warriors from Samnium, a region north of Campania, invaded the latter region and seized control of Pompeii. Rome, vying with the Samnites over control of the Italic peninsula, drove the Samnites out in the fourth century B.C. and took Pompeii as its own ally about 290 B.C.
Rome's control over Pompeii was distant - the city was allowed to retain its own language and culture, but was required to admit itself subject to Rome without benefiting from the status of Roman citizenship. Pompeii reluctantly accepted this situation for centuries; finally, when the Social War began in 90 B.C., they saw a chance at freedom and joined forces with other Roman "allies" against the city that oppressed them. The rebels and Rome fought for two years but one of Rome's most brilliant generals, Sulla, eventually defeated the Campanians. He took Pompeii and Herculaneum in 89 B.C.
Though the allies were defeated, they were awarded the status of Roman citizenship. In order to quell any further uprisings, however, their former liberties were taken away, and Rome established colonies of army veterans to help keep the order. Eventually, Sulla established the Cornelia Veneria colony in Campania, which began the "romanization" of the region.
Campania adapted to the Romans as easily as it had to the Greeks. Because of the area's natural resources, trade flourished and the standard of living was raised. Pompeii developed its luxury services, trade with foreign countries and agricultural produce. As Rome itself became more prosperous, its wealthy citizens looked to Pompeii and the Gulf of Naples as a relaxing vacation area. The shoreline of the Gulf became host to the splendid country houses of the most powerful people in the world, including emperors, court personages, and Roman aristocracy. It appeared that Pompeii and the surrounding villas had finally found the peace they had longed for.
Though Mt. Vesuvius had once been a very active volcano, it had remained dormant for as long as humans could remember. Since no legacy of destruction had been passed down from their ancestors, the people living near the mountain didn't realize there was any potential for danger. The first warning sign came on February 5th, A.D. 62. About midday, a "long, muffled roar" shook the town; nobody could tell what it was, or where it had come from. Soon the earth began to tremble, and buildings collapsed all around. People rushed out of the town and away from the falling buildings, only to fall prey to deep chasms that ripped open the countryside without warning. The town's nearby reservoir also broke, adding floods to the chaotic scene. Though it was destructive, the first earthquake lasted for only a moment; an hour later, however, the area was seized by another tremor. The quakes continued to occur at unpredictable intervals, inflicting alternate moods of hysteria and hope, until nightfall.
For the next seventeen years Pompeii concentrated on repairing the damages the earthquake had caused, determined to make their town even more splendid than before. Campania was peaceful and prosperous once more, and their maritime trading industry continued to be successful. Signs of the upcoming eruption began at the beginning of August in A.D. 79. Small tremors shook the ground, but the quakes were so insignificant and caused so little damage that few paid any attention to them. Springs and wells also dried up, which in ancient times was often interpreted as a sign of the gods' displeasure.
On August 20th, the earth began to rumble and crack, and the usually calm sea gave way to giant waves. Horses, cattle and birds became uneasy and restless, as if they could foresee the disaster that awaited the town. Finally, on the morning of August 24th, 79 A. D. the volcano burst open with an earsplitting crack. Smoke, mud, flames and burning stones spewed from the summit of the mountain, sending a rain of ash and rock through the surrounding countryside. The mud seeped down the sides of Vesuvius, swallowing nearby farms, orchards and villas. Adding to the destruction were the mephitic vapors that accompanied the falling debris; the fumes first caused deliriousness in their victims, then suffocated them.
Though little is known about Campania's first settlers, the first people to settle in this region were probably prehistoric hunters, gatherers and fishers. By at least the eighth century B.C., a group of Italic people known as the Oscans occupied the region; they most likely established Pompeii, though the exact date of its origin is unknown. Ionians also settled in Campania during the eighth century B.C.
Their Greek settlements began as a series of small trading posts, but soon grew into successful merchant cities that eventually dominated the area. For a few centuries the inhabitants of Campania remained under Hellenic control, with Pompeii and the nearby city Herculaneum the center of Greek occupation. During the fifth century B.C. a group of warriors from Samnium, a region north of Campania, invaded the latter region and seized control of Pompeii. Rome, vying with the Samnites over control of the Italic peninsula, drove the Samnites out in the fourth century B.C. and took Pompeii as its own ally about 290 B.C.
Rome's control over Pompeii was distant - the city was allowed to retain its own language and culture, but was required to admit itself subject to Rome without benefiting from the status of Roman citizenship. Pompeii reluctantly accepted this situation for centuries; finally, when the Social War began in 90 B.C., they saw a chance at freedom and joined forces with other Roman "allies" against the city that oppressed them. The rebels and Rome fought for two years but one of Rome's most brilliant generals, Sulla, eventually defeated the Campanians. He took Pompeii and Herculaneum in 89 B.C.
Though the allies were defeated, they were awarded the status of Roman citizenship. In order to quell any further uprisings, however, their former liberties were taken away, and Rome established colonies of army veterans to help keep the order. Eventually, Sulla established the Cornelia Veneria colony in Campania, which began the "romanization" of the region.
Campania adapted to the Romans as easily as it had to the Greeks. Because of the area's natural resources, trade flourished and the standard of living was raised. Pompeii developed its luxury services, trade with foreign countries and agricultural produce. As Rome itself became more prosperous, its wealthy citizens looked to Pompeii and the Gulf of Naples as a relaxing vacation area. The shoreline of the Gulf became host to the splendid country houses of the most powerful people in the world, including emperors, court personages, and Roman aristocracy. It appeared that Pompeii and the surrounding villas had finally found the peace they had longed for.
Though Mt. Vesuvius had once been a very active volcano, it had remained dormant for as long as humans could remember. Since no legacy of destruction had been passed down from their ancestors, the people living near the mountain didn't realize there was any potential for danger. The first warning sign came on February 5th, A.D. 62. About midday, a "long, muffled roar" shook the town; nobody could tell what it was, or where it had come from. Soon the earth began to tremble, and buildings collapsed all around. People rushed out of the town and away from the falling buildings, only to fall prey to deep chasms that ripped open the countryside without warning. The town's nearby reservoir also broke, adding floods to the chaotic scene. Though it was destructive, the first earthquake lasted for only a moment; an hour later, however, the area was seized by another tremor. The quakes continued to occur at unpredictable intervals, inflicting alternate moods of hysteria and hope, until nightfall.
For the next seventeen years Pompeii concentrated on repairing the damages the earthquake had caused, determined to make their town even more splendid than before. Campania was peaceful and prosperous once more, and their maritime trading industry continued to be successful. Signs of the upcoming eruption began at the beginning of August in A.D. 79. Small tremors shook the ground, but the quakes were so insignificant and caused so little damage that few paid any attention to them. Springs and wells also dried up, which in ancient times was often interpreted as a sign of the gods' displeasure.
On August 20th, the earth began to rumble and crack, and the usually calm sea gave way to giant waves. Horses, cattle and birds became uneasy and restless, as if they could foresee the disaster that awaited the town. Finally, on the morning of August 24th, 79 A. D. the volcano burst open with an earsplitting crack. Smoke, mud, flames and burning stones spewed from the summit of the mountain, sending a rain of ash and rock through the surrounding countryside. The mud seeped down the sides of Vesuvius, swallowing nearby farms, orchards and villas. Adding to the destruction were the mephitic vapors that accompanied the falling debris; the fumes first caused deliriousness in their victims, then suffocated them.
Debussy-French composer and critic. Debussy's music is often associated with the contemporary impressionist movement in painting
"The primary aim of French music," Claude Debussy wrote in 1904, "is to give pleasure." Debussy, more than anything, was interested in the sensuous quality of music. Even as a student he let his concept of sound override many of the rules he was so assiduously taught by his teachers (much to their consternation). From this he developed a style that was wholly his own, but that also owed much to a wide variety of disparate influences. He also was a passionate champion of a purely French style, and he proudly referred to himself as "Claude Debussy, musicien français."
Debussy was educated at the Paris Conservatory, and in 1885 he won the coveted Prix de Rome. His period in Rome, however, was not pleasant for Debussy and he longed to return to Paris. His early works show his desire to break the constraints of Western harmony and form (he especially disliked sonata-allegro form, which he came to see as overly Germanic and not fitting for a French composer). His Prelude to The Afternoon of a Faun departs from any sense of development, relying instead on a series of free repetitions and variations of the basic themes. As a student and a young composer, Debussy was also an ardent Wagnerite, seeing in the German composer the future of music, specifically musical drama. He later turned away from Wagner, describing him as "a beautiful sunset mistaken for a dawn." Yet his one completed opera, Pelléas et Mélisande, owes much of its conception to this influence, even if the musical language is markedly different.
The other strong influences on Debussy at this time were the symbolist and decadent movements in poetry, with their concern for sound and abstract meaning. While Pelléas was his only opera, he worked on various subjects by Edgar Allan Poe, one of his favorite writers and a strong influence on the symbolist writers. Debussy's interest in the exquisite and sensual also led him to an appreciation of the music of other cultures, and his use of various scales beyond the traditional major and minor ones shows the influence of Oriental and Russian music. A decisive influence was the Paris Exhibition of 1889, where he first encountered the music of the Indonesian gamelan orchestra.
The different scales, as well as the floating qualities of form and rhythm, would find their way into his work, especially his piano music. Late in his life, Debussy turned his interests to abstract forms, producing three remarkable sonatas (he had originally conceived of six for various instruments, with the final one planned for all the instruments of the previous five). In these works, Debussy's rich melodic and harmonic language found a new and intriguing expression. Sadly, this endeavor was cut short by the composer's death at the height of World War I. The conflict of German and French civilization was for him a violent reflection of the musical conflict he dealt with his entire life
Debussy was educated at the Paris Conservatory, and in 1885 he won the coveted Prix de Rome. His period in Rome, however, was not pleasant for Debussy and he longed to return to Paris. His early works show his desire to break the constraints of Western harmony and form (he especially disliked sonata-allegro form, which he came to see as overly Germanic and not fitting for a French composer). His Prelude to The Afternoon of a Faun departs from any sense of development, relying instead on a series of free repetitions and variations of the basic themes. As a student and a young composer, Debussy was also an ardent Wagnerite, seeing in the German composer the future of music, specifically musical drama. He later turned away from Wagner, describing him as "a beautiful sunset mistaken for a dawn." Yet his one completed opera, Pelléas et Mélisande, owes much of its conception to this influence, even if the musical language is markedly different.
The other strong influences on Debussy at this time were the symbolist and decadent movements in poetry, with their concern for sound and abstract meaning. While Pelléas was his only opera, he worked on various subjects by Edgar Allan Poe, one of his favorite writers and a strong influence on the symbolist writers. Debussy's interest in the exquisite and sensual also led him to an appreciation of the music of other cultures, and his use of various scales beyond the traditional major and minor ones shows the influence of Oriental and Russian music. A decisive influence was the Paris Exhibition of 1889, where he first encountered the music of the Indonesian gamelan orchestra.
The different scales, as well as the floating qualities of form and rhythm, would find their way into his work, especially his piano music. Late in his life, Debussy turned his interests to abstract forms, producing three remarkable sonatas (he had originally conceived of six for various instruments, with the final one planned for all the instruments of the previous five). In these works, Debussy's rich melodic and harmonic language found a new and intriguing expression. Sadly, this endeavor was cut short by the composer's death at the height of World War I. The conflict of German and French civilization was for him a violent reflection of the musical conflict he dealt with his entire life
January 16, 2010
WELCOME TO ARIA HOTEL PRAGUE
WELCOME TO ARIA HOTEL PRAGUE
A virtuoso hotel could only be inspired by music
One of the world’s leading musical destinations, Prague, with its rich cultural heritage, served as the inspiration for architecture firm Spatium best known for their work for Gianni Versace. Architect Rocco Magnoli, along with his partner Lorenzo Carmellini, was commissioned to create a beautiful and architecturally distinctive luxury Prague hotel. Magnoli incorporated the notes of past and present to create an exquisitely-designed 5 star luxury Prague hotel. This central Prague hotel was transformed from a row of modest gray stone and yellow stucco buildings into a luxurious musical haven.
One of the most exquisite original features is the ancient Gregorian chant represented in Italian mosaic which forms a path leading guests from the wrought iron gates at the entrance of the hotel, through reception, building to a crescendo as it enters the Winter Garden. Our luxury Prague hotel rooms are warm and spacious and furnished with opulent antiques.
Artists celebrated by the Aria Hotel range from Dvořák to Elvis, Mozart to Billie Holiday. Each room is enhanced with original artwork and a selection of books. A flat screen computer in each room is equipped with the biography of the featured composer or artist and an iPod connection loaded music of 52 composers. From the Music Library to the Private Screening Room, guests of our luxury 5 star hotel in Prague can explore the wide range of opportunities to experience the joy of music. Dr Ivana Stehlikova, who has a PhD in Musicology, is Aria Hotel’s Music Director. She is available to provide advice on current cultural and musical activities in Prague to guests.
A virtuoso hotel could only be inspired by music
I really love this Hotel
source
www.ariahotel.net
A virtuoso hotel could only be inspired by music
One of the world’s leading musical destinations, Prague, with its rich cultural heritage, served as the inspiration for architecture firm Spatium best known for their work for Gianni Versace. Architect Rocco Magnoli, along with his partner Lorenzo Carmellini, was commissioned to create a beautiful and architecturally distinctive luxury Prague hotel. Magnoli incorporated the notes of past and present to create an exquisitely-designed 5 star luxury Prague hotel. This central Prague hotel was transformed from a row of modest gray stone and yellow stucco buildings into a luxurious musical haven.
One of the most exquisite original features is the ancient Gregorian chant represented in Italian mosaic which forms a path leading guests from the wrought iron gates at the entrance of the hotel, through reception, building to a crescendo as it enters the Winter Garden. Our luxury Prague hotel rooms are warm and spacious and furnished with opulent antiques.
Artists celebrated by the Aria Hotel range from Dvořák to Elvis, Mozart to Billie Holiday. Each room is enhanced with original artwork and a selection of books. A flat screen computer in each room is equipped with the biography of the featured composer or artist and an iPod connection loaded music of 52 composers. From the Music Library to the Private Screening Room, guests of our luxury 5 star hotel in Prague can explore the wide range of opportunities to experience the joy of music. Dr Ivana Stehlikova, who has a PhD in Musicology, is Aria Hotel’s Music Director. She is available to provide advice on current cultural and musical activities in Prague to guests.
A virtuoso hotel could only be inspired by music
I really love this Hotel
source
www.ariahotel.net
airport in korea
Town Aiport name ICAO IATA Usage Customs Runway IFR Rwy length
Cheju Cheju Intl RKPC CJU Civ. Yes Paved Yes 9800 ft
Chinhae R-813 RKPE CHF Mil. Paved No 3600 ft
Chinju Sachon Aero RKPS Mil. Paved Yes 8900 ft
Chongju Chongju Intl RKTU CJJ Civ. Paved Yes 9000 ft
Choongwon Choongwon
Aero RKTI Mil. Paved No 9300 ft
Chunchon A-306 RKNC QUN Mil. Paved No 4000 ft
Galmi R-510 Aero Priv. Paved No 5200 ft
Jhunju Jhunju RKJU Civ. Paved No 4900 ft
Kanam-Ni R-222 RKSD Mil. Paved No 3500 ft
Kangnung Kangnung
Aero RKNN KAG Mil. Paved Yes 8900 ft
Kunsan Kunsan Ab RKJK KUV Mil. Paved Yes 9000 ft
Kwangju Kwangju
Aero RKJJ KWJ Mil. Paved Yes 9300 ft
Mokpo Mokpo RKJM MPK Civ. Paved Yes 5200 ft
Non San
Korea R-536 Aero Mil. No Paved No 3900 ft
Osan Osan Ab RKSO OSN Mil. Paved Yes 8900 ft
Pochun R-217
Aero RKSI Mil. Paved No 3600 ft
Pohang Pohang Aero RKTH KPO Mil. Paved Yes 7000 ft
Pusan Kimhae Intl RKPK PUS Civ. Yes Paved Yes 8900 ft
Pusan Pusan Aero RKPP Mil. Paved No 6500 ft
Pyongtaek A-511 Aaf RKSG Mil. Paved Yes 6200 ft
Pyongyang Sunan ZKPY FNJ Civ. Yes Paved Yes 13100 ft
Seosan Seosan RKTP Civ. Paved No 9000 ft
Seoul Kimpo Intl RKSS SEL Civ. Yes Paved Yes 11800 ft
Seoul Seoul Ab RKSM SSN Mil. Paved Yes 9600 ft
Sokcho Sokcho Aero RKND SHO Mil. Paved Yes 5100 ft
Susaek Susaek Aero RKSK Mil. Paved No 3700 ft
Suwon Suwon RKSW SWU Mil. Paved No 9200 ft
Taegu Taegu Aero RKTN TAE Mil. Paved Yes 9000 ft
Ulsan Ulsan RKPU USN Civ. Paved Yes 6500 ft
Wonju Wonju RKNW WJU Mil. Paved Yes 8900 ft
Yangku R-404 RKNY Mil. Paved No 3600 ft
Yechon Yechon Aero RKTY YEC Mil. Paved Yes 8900 ft
Yeosu Yeosu RKJY RSU Civ. Paved Yes 5000 ft
Cheju Cheju Intl RKPC CJU Civ. Yes Paved Yes 9800 ft
Chinhae R-813 RKPE CHF Mil. Paved No 3600 ft
Chinju Sachon Aero RKPS Mil. Paved Yes 8900 ft
Chongju Chongju Intl RKTU CJJ Civ. Paved Yes 9000 ft
Choongwon Choongwon
Aero RKTI Mil. Paved No 9300 ft
Chunchon A-306 RKNC QUN Mil. Paved No 4000 ft
Galmi R-510 Aero Priv. Paved No 5200 ft
Jhunju Jhunju RKJU Civ. Paved No 4900 ft
Kanam-Ni R-222 RKSD Mil. Paved No 3500 ft
Kangnung Kangnung
Aero RKNN KAG Mil. Paved Yes 8900 ft
Kunsan Kunsan Ab RKJK KUV Mil. Paved Yes 9000 ft
Kwangju Kwangju
Aero RKJJ KWJ Mil. Paved Yes 9300 ft
Mokpo Mokpo RKJM MPK Civ. Paved Yes 5200 ft
Non San
Korea R-536 Aero Mil. No Paved No 3900 ft
Osan Osan Ab RKSO OSN Mil. Paved Yes 8900 ft
Pochun R-217
Aero RKSI Mil. Paved No 3600 ft
Pohang Pohang Aero RKTH KPO Mil. Paved Yes 7000 ft
Pusan Kimhae Intl RKPK PUS Civ. Yes Paved Yes 8900 ft
Pusan Pusan Aero RKPP Mil. Paved No 6500 ft
Pyongtaek A-511 Aaf RKSG Mil. Paved Yes 6200 ft
Pyongyang Sunan ZKPY FNJ Civ. Yes Paved Yes 13100 ft
Seosan Seosan RKTP Civ. Paved No 9000 ft
Seoul Kimpo Intl RKSS SEL Civ. Yes Paved Yes 11800 ft
Seoul Seoul Ab RKSM SSN Mil. Paved Yes 9600 ft
Sokcho Sokcho Aero RKND SHO Mil. Paved Yes 5100 ft
Susaek Susaek Aero RKSK Mil. Paved No 3700 ft
Suwon Suwon RKSW SWU Mil. Paved No 9200 ft
Taegu Taegu Aero RKTN TAE Mil. Paved Yes 9000 ft
Ulsan Ulsan RKPU USN Civ. Paved Yes 6500 ft
Wonju Wonju RKNW WJU Mil. Paved Yes 8900 ft
Yangku R-404 RKNY Mil. Paved No 3600 ft
Yechon Yechon Aero RKTY YEC Mil. Paved Yes 8900 ft
Yeosu Yeosu RKJY RSU Civ. Paved Yes 5000 ft
January 6, 2010
Visit Korea year:2010 - 2012
Korea has designated 2010 to 2012 as the ‘Visit Korea Years’, and during this time they will be organizing special tours of Korea and a variety of events under the themes of culture, ecology and the ocean. Several “Pre-Visit Korea Year” events have also been planned for 2009, such as the PRADA TRANSFORMER and the KOREAN EYE
source
Korea Tourism Organization
source
Korea Tourism Organization
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