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motivated and closely related to his own devoutness and life of faith. Messiaen chooses eclectic text fragments and sound models from various times that are personally important to him, setting them under a uniform contextual framework. The advantage of music lies in conveying authors of the past in a
“Mysteries of the Life of Jesus,” is based on a total of ten quotations from the New Testament. Messiaen quotes most often (four times) from the Gospel of John, which he calls the “most theological” and his “favorite gospel”: “This text is simply wonderful, both in its form and in its content!” 9 As a
Samaritan woman at Jacob’s well and His reference to “living water”: “who but drinks from the water that I give him will never be thirsty again; rather, the water I give him will become in him a bubbling spring, the water of which gives eternal life” (John 4:14). The metaphor of thirst as a longing for God
How did people live in the Middle Ages? What factors shaped and determined their lives and how did they cope with life in their urban environment? These are questions that attract the interest of both the researcher and his readership in a very special way. It should be emphasized here that much
direction.26 Life is rhythmic, its myriad rhythms arising from the milieux that are centred on every living thing. ‘Every milieu is vibratory, a block of space-time consti- tuted by the periodic repetition of a component’ congealed from the chaos of the surrounding cosmos. ‘Rhythm’, say Deleuze and
) and of the European Union (2007). Reform did follow EU accession (though many injustices still remain hidden from view), but one effect of the accession was to accelerate the flow of emigration, as people sought to escape a world where living standards were low, where opportunities for advancement
Greek musical life. But it is significant that the major funding for this project derived not from the Greek Government but from the onassis Foundation, which is also at this moment planning to develop a new Cultural Centre for arts and literature. the tradition of sponsorship from wealthy Greeks
, Cavallini’s essays on music and musical life in renaissance istria were published as a monograph in the series Studi di musica veneta,9 though they also do justice to the influence of german Lutheranism and to the habsburgs. Cavallini’s mapping of dif- ferent cultural strands in istria at a particular
-making takes place. Schutz is very specific about this dichotomy. He writes: . . . the decision to listen to pure music involves a peculiar attitude on the part of the listener. He stops living in his acts of daily life, stops being directed towards their objects. His attention toward life has been diverted
-as-text from the work-as-performance. this tendency was registered in the structures of concert life, in publishing enterprises and in pedagogy, and it really amounted to a gradual shift from a genre- and performance-orientated culture to a work-oriented culture. such moves were considerably delayed in the