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Lamprophyre in the Precambrian of Ontario, Canada.
This is part of an igneous dike composed of a rare igneous rock called lamprophyre. Such rocks are ultrapotassic, mafic to ultramafic, intrusive igneous rocks. This one is a gray hornblende lamprophyre with altered mantle xenoliths (= lighter colored objects; "xeno" = foreign; "lith" = rock). Xenoliths are pieces of rock that have fallen from the walls or roof of a cooling magma chamber. The examples at this locality are composed of talc and acicular/bladed actinolite.
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Description from Wilson (2006):
These rocks are characterized by prominent round, to elliptical inclusions of actinolite or actinolite plus talc. Xenoliths are altered to fine-grained actinolite with or without talc, and some display zoning from talc core to an actinolite rim. The actinolite inclusions may consist of prismatic green crystals as large as 8 centimeters in length, which may be randomly oriented or radiating inward towards the core. The inclusions containing talc consist of a talc core with the prismatic to acicular actinolite projecting radially inward towards the core. The xenoliths are believed to represent at least two original mafic compositions which are likely to be originally of lower crust origin or deeper.
This dike may be the one described by Higgins (1986). He reported that the dike consists of 60% euhedral amphibole, 20% biotite replacing amphibole and 15% plagioclase. Minor sphene and opaque minerals are present and chromite is reported from the core of the talc-bearing clasts. The bulk composition of the nodules is reportedly pyroxenite, but Higgins did not indicate whether their source was mantle or crust. The rounded outline of the clasts may reflect magmatic erosion during transport and the present mineralogy is the product of regional metamorphism (Higgins 1986).
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Geologic unit and age: Dubreuilville Dike, Archean
Locality: Route 17 roadcut, south of the Route 519-Route 17 intersection, southeast of Princess Lake & north of the town of Wawa, Ontario, southeastern Canada (48° 15' 12.05" North latitude, 84° 52' 59.72" West longitude)
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See info. at:
en.wikipedia.org/wiki/Lamprophyre
and
en.wikipedia.org/wiki/Xenolith
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References cited:
Higgins (1986) - Nodule-bearing spessartite (lamprophyre) dike near Wawa, northern Ontario. GAC-MAC-GCU-AGC-AMC-UCG Program with Abstracts 11: 81.
Wilson (2006) - Unusual diamond-bearing rocks of the Wawa area. Institute on Lake Superior Geology, 52nd Annual Meeting, Sault Ste. Marie, Ontario 52(3).
The three Waltzes, Op. 34, were composed by Frédéric Chopin from 1834 until 1838 and published in 1838.
These three waltzes were published as Grandes valses brillantes, but this title is usually reserved for the Waltz in E-flat major, Op. 18.
Being among the longest of Chopin's waltzes, this waltz is in A-flat major. The piece is introduced with a fanfare before modulating to D-flat major for a dreamy middle section. The A-flat material is succeeded by a coda, which leads to the end of the piece. This waltz was dedicated to Josefina von Thun-Hohenstein.
Frédéric Chopin’s waltzes are pieces of moderate length adhering to the traditional 3/4 waltz time, but are remarkably different from the earlier Viennese waltzes in that they were not designed for dancing but for concert performance. Some of them are accessible by pianists of moderate capabilities, but the more difficult of them require an advanced technique. Carl Maria von Weber's Invitation to the Dance was an early model for Chopin's waltzes.
Chopin started writing waltzes in 1824, when he was fourteen, and continued until the year of his death, 1849. He wrote 36 in total, of which 20 are numbered.
Probably the most famous are the Minute Waltz in D-flat major and the C-sharp minor waltz of 1847, two of the last set of waltzes Chopin published before his death (Op. 64).
💡HOW ? 🔽
🎥 Original Video: youtu.be/I7DuRjEJYOg
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🎥 VIDEO EDITING (eMotion) :
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~~~ --- 🎥 VIDEO 🎵 MUSIC :
👸 Anna Lipiak
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⚓ Recorded on Bechstein Grand Piano in Piano Salon www.pianina.pl in Pszczyna
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Frédéric Chopin
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~~~ ---
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📋WHAT ? 🔽
🌟Anna Lipiak - Waltz (in A-flat major Op. 34 no 1) [Frédéric Chopin]
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WHO ? 🔽
🎵Music Composed by Frédéric Chopin
🎵Music Play by Anna Lipiak
📡Posted by Laurent Guidali
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🎆 1838 [Chopin Music]
🎆 11.03.2020 [Play]
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I composed this so as to avoid a guy just out of view at the bottom who was putting on hip waders to do a little nite fishing. I took this shot before he stepped into the water, slipped on some rocks and fell in. He set off ripples that completely destroyed the reflection so I stopped shooting.
Local poet, Thax Douglas, watches the Aluminum Group. I want the hear the poem he's writing in his head right now.
I composed a shot of the signs and the street, and just as I pressed the shutter, this little boy stepped in to the frame. I never saw him until he was in the frame . . . we had agreed that we wouldn't photograph anyone in this neighborhood without their permission, for safety's sake. No one noticed.
The Park Güell is a public park system composed of gardens and architectural elements located on Carmel Hill, in Barcelona, Catalonia, Spain. Carmel Hill belongs to the mountain range of Collserola – the Parc del Carmel is located on the northern face. Park Güell is located in La Salut, a neighborhood in the Gràcia district of Barcelona. With urbanization in mind, Eusebi Güell assigned the design of the park to Antoni Gaudí, a renowned architect and the face of Catalan modernism.
The park was built from 1900 to 1914 and was officially opened as a public park in 1926. In 1984, UNESCO declared the park a World Heritage Site under "Works of Antoni Gaudí".
Park Güell is the reflection of Gaudí's artistic plenitude, which belongs to his naturalist phase (first decade of the 20th century). During this period, the architect perfected his personal style through inspiration from organic shapes. He put into practice a series of new structural solutions rooted in the analysis of geometry. To that, the Catalan artist adds creative liberty and an imaginative, ornamental creation. Starting from a sort of baroquism, his works acquire a structural richness of forms and volumes, free of the rational rigidity or any sort of classic premises. In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style and that would culminate in the creation of the Basilica and Expiatory Church of the Holy Family (Catalan: Sagrada Familia).
Güell and Gaudí conceived this park, situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch. They also envisioned a community strongly influenced by symbolism, since, in the common elements of the park, they were trying to synthesize many of the political and religious ideals shared by patron and architect: therefore there are noticeable concepts originating from political Catalanism – especially in the entrance stairway where the Catalan countries are represented – and from Catholicism – the Monumento al Calvario, originally designed to be a chapel. The mythological elements are so important: apparently Güell and Gaudí's conception of the park was also inspired by the Temple of Apollo of Delphi.[citation needed]
On the other hand, many experts[who?] have tried to link the park to various symbols because of the complex iconography that Gaudí applied to the urban project. Such references go from political vindication to religious exaltation, passing through mythology, history and philosophy. Specifically, many studies claim to see references to Freemasonry, despite the deep religious beliefs of both Gaudí and Count Güell. These references have not been proven in the historiography of the modern architect. The multiplicity of symbols found in the Park Güell is, as previously mentioned, associated to political and religious signs, with a touch of mystery according to the preferences of that time for enigmas and puzzles.
Composer Duncan Chapman coaches a student in a Fanfare Competition workshop at the Royal Opera House.
Find out more about Royal Opera House Education
Photograph: Sim Canetty-Clarke
My hands compose music and through the music I bring eastern beauty to merge into the modern American culture. I am the founder of the Firebird Youth Chinese Orchestra. We train over 100 young musician, playing new compositions with traditional Chinese instruments. We bring the Chinese musical heritage into a modern form.
Opera;
Vincent van Woerkom, mime and choir consisting of members of the Opleiding Docent Muziek, HKU Utrechts Conservatorium;
De Nationale Opera presenteert OFF, Opera Forward Festival '17;
OFF Day #2: Talents;
Nationale Opera & Ballet, Amsterdam,
March 24th, 2017;
© co broerse
Opera;
Choir of students of Fontys Conservatorium Tilburg;
De Nationale Opera presenteert OFF, Opera Forward Festival '17;
OFF Day #1: New Compositions;
Nationale Opera & Ballet, Amsterdam,
March 22nd, 2017;
© co broerse
For the Daily Dog Challenge -- 7/25 "Nicely Composed"
For 365: The 2013 Edition -- 206/365
There's just something about the lines and curves of a Greyhound that really draws me. Bunny is always really good about indulging me, too!
You can read more about Bunny at TalesAndTails.com.
Written, composed, and recorded in 1493 AL when Zina was 17 years old. It is the only song she released with her original singing partner, Sarena Clare, before Sarena's tragic death. This song resonates with the simplicity and idealism of youth yet speaks true to the feelings that come alive the first time we have a crush on another. Zina wrote the words to describe how she felt when she met a young man in Melian the year before while down from Larissa to visit Sarena.
Later on, she found out the man was Sarena's lifelong friend and beloved; at this, Zina was quite embarrassed and kept the incident to herself. Later on, Sarena found the lyrics and liked them so much that she put the words to music and arranged a duet for the two of them to sing. How ironic that they would share in singing about falling in love with the man who had captured both their hearts.
If you're wondering why the song is directed at falling in love with a woman, it's because this was Zina's way of hiding the fact that a song was about herself when she wanted. She also wanted the meaning of this song to be two-fold; she wanted to express both her feelings when she saw this man but also how she hoped he had felt when first seeing her - thus, the use of the feminine.
Regular text is sung by Zina; italicized text is sung by Sarena; bold text is sung by both.