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Vancouver Beach at minus octave, a world wrapped in silver. Taken at Kitsilano Beach in Vancouver, I rarely experience this biting cold wind, but I also rarely have such a winter look. The white snow happens to cover everywhere, making the originally "low-value" winter beautiful!
The Octave of Easter, known as Low Sunday, Quasimodo Sunday, has also come to be known in more recent times as "Divine Mercy Sunday." It was through St. John Paul II that the Octave of Easter received this new title in the Church's calendar. Drawing inspiration from the diary of Sister Faustina, the Octave of Easter has received a renewed emphasis on the mercy of God.
In a beautiful homily delivered on this day by St. Augustine of Hippo, he declared to the newly baptized, "You have been buried with Christ by baptism into death in order that, as Christ has risen from the dead, you also may walk in newness of life." For it was traditionally on this day that the Church received her newly baptized catechumens with maternal delight. Holy Mother Church rejoiced over her new children, all of which is made possible by the mercy of God in calling us to Himself while we were yet sinners.
St. Faustina recorded these words from our Lord Himself: "I desire that the Feast of Mercy be a refuge and shelter for all souls, and especially for poor sinners. On that day the very depths of My tender mercy are open. I pour out a whole ocean of graces upon those souls who approach the fount of My mercy." May we turn with trust to the Divine Mercy of Almighty God and seek Him in all things.
The Octave of Easter, known as Low Sunday, Quasimodo Sunday, has also come to be known in more recent times as "Divine Mercy Sunday." It was through St. John Paul II that the Octave of Easter received this new title in the Church's calendar. Drawing inspiration from the diary of Sister Faustina, the Octave of Easter has received a renewed emphasis on the mercy of God.
In a beautiful homily delivered on this day by St. Augustine of Hippo, he declared to the newly baptized, "You have been buried with Christ by baptism into death in order that, as Christ has risen from the dead, you also may walk in newness of life." For it was traditionally on this day that the Church received her newly baptized catechumens with maternal delight. Holy Mother Church rejoiced over her new children, all of which is made possible by the mercy of God in calling us to Himself while we were yet sinners.
St. Faustina recorded these words from our Lord Himself: "I desire that the Feast of Mercy be a refuge and shelter for all souls, and especially for poor sinners. On that day the very depths of My tender mercy are open. I pour out a whole ocean of graces upon those souls who approach the fount of My mercy." May we turn with trust to the Divine Mercy of Almighty God and seek Him in all things.
Melis Bilen is singing Turkish song Asla from Sertab Erener in a Cyprus night club, Mr.Gag Bar&Club Hangar.
The Octave of Easter, known as Low Sunday, Quasimodo Sunday, has also come to be known in more recent times as "Divine Mercy Sunday." It was through St. John Paul II that the Octave of Easter received this new title in the Church's calendar. Drawing inspiration from the diary of Sister Faustina, the Octave of Easter has received a renewed emphasis on the mercy of God.
In a beautiful homily delivered on this day by St. Augustine of Hippo, he declared to the newly baptized, "You have been buried with Christ by baptism into death in order that, as Christ has risen from the dead, you also may walk in newness of life." For it was traditionally on this day that the Church received her newly baptized catechumens with maternal delight. Holy Mother Church rejoiced over her new children, all of which is made possible by the mercy of God in calling us to Himself while we were yet sinners.
St. Faustina recorded these words from our Lord Himself: "I desire that the Feast of Mercy be a refuge and shelter for all souls, and especially for poor sinners. On that day the very depths of My tender mercy are open. I pour out a whole ocean of graces upon those souls who approach the fount of My mercy." May we turn with trust to the Divine Mercy of Almighty God and seek Him in all things.
Octave Tassaert (1800-1874) was a French painter of portraits and genre, religious, historical and allegorical paintings, as well as a lithographer and engraver, though this family was of Flemish origin. He was the grandson of the sculptor Jean-Pierre-Antoine Tassaert.
The Annual Corpus Christi Procession from Warwick Street to Spanish Place, via Farm Street and the Ukrainian Cathedral
© Mazur/cbcew.org.uk
10th November 2010 at Bush Hall, London W12 (Bain, Möller & Molsky gig).
This instrument has many names - Låtmandola (which means fiddle tune-mandola), Nordic Mandola, Drone Mandola, etc. Ale Möller after living in Greece playing the bouzouki returned to Sweden and wanted something on which he could play the fiddle tunes of Dalarna. He settled on the Mandola (Octave Mandolin) and his first instrument was built for him by Stafen Sobell in England. In the 1980s working with luthiers Christer Ådin and Anders Ekvall in Sweden several new design features were incorporated. The five course Mandola was given an extended fretboard on the left side on the two bottom strings enabling drone notes. Frets were added so the quarter tones could be played. As were movable pin-point capos where an individual string set capo can be screwed in to create myriad tunings without having to manually tune the strings.
Mandolas are assigned the number 321.321 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonator’s surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.321 = Necked Bowl Lutes. Instrument with a resonator made from a bowl, either natural or carved.
The angklung (Sundanese: ᮃᮀᮊᮣᮥᮀ) is a musical instrument from Indonesia made of a varying number of bamboo tubes attached to a bamboo frame. The tubes are carved to have a resonant pitch when struck and are tuned to octaves, similar to Western handbells. The base of the frame is held in one hand, while the other hand shakes the instrument, causing a repeating note to sound. Each performer in an angklung ensemble is typically responsible for just one pitch, sounding their individual angklung at the appropriate times to produce complete melodies (see Kotekan).
The angklung is popular throughout the world, but it originated in what is now West Java and Banten provinces in Indonesia, and has been played by the Sundanese for many centuries. The angklung and its music have become an important part of the cultural identity of Sundanese communities in West Java and Banten. Playing the angklung as an orchestra requires cooperation and coordination, and is believed to promote the values of teamwork, mutual respect and social harmony.
On November 18, 2010, UNESCO officially recognized the Indonesian angklung as a Masterpiece of the Oral and Intangible Heritage of Humanity, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote performances and to encourage the craftsmanship of the angklung.
ETYMOLOGY
The word angklung may have originated from Sundanese "angkleung-angkleungan", suggesting the movement of the angklung player and the "klung" sound that comes from the instrument.
Another theory suggests that the word angklung was formed from two Balinese words – angka and lung. Angka means "tone", and lung means "broken" or "lost". Angklung thus means "incomplete tone".
HISTORY
According to Dr. Groneman, the angklung had already been a favorite musical instrument of the entire archipelago even before the Hindu era. According to Jaap Kunst in Music in Java, besides West Java, angklung also exists in South Sumatra and Kalimantan. Lampung, East Java and Central Java are also familiar with the instrument.
In the Hindu period and the time of the Kingdom of Sunda, the instrument played an important role in ceremonies. The angklung was played to honor Dewi Sri, the goddess of fertility, so she would bless their land and lives. The angklung also signaled the time for prayers, and was said to have been played since the 7th century in the Kingdom of Sunda. In the Kingdom of Sunda, it provided martial music during the Battle of Bubat, as told in the Kidung Sunda. The oldest surviving angklung is the Angklung Gubrag, made in the 17th century in Jasinga, Bogor. Other antique angklung are stored in the Sri Baduga Museum, Bandung. The oldest angklung tradition is called angklung buhun (Sundanese: "ancient angklung") from Lebak Regency, Banten. The angklung buhun is an ancient type of angklung played by Baduy people of the inland Banten province during the seren taun harvest ceremony.
In 1938, Daeng Soetigna [Sutigna], from Bandung, created an angklung that is based on the diatonic scale instead of the traditional pélog or sléndro scales. Since then, the angklung has returned to popularity and is used for education and entertainment, and may even accompany Western instruments in an orchestra. One of the first performances of angklung in an orchestra was in 1955 during the Bandung Conference. In 1966 Udjo Ngalagena, a student of Daeng Soetigna, opened his Saung Angklung ("House of Angklung") as a centre for its preservation and development.
UNESCO designated the angklung a Masterpiece of the Oral and Intangible Heritage of Humanity on November 18, 2010.
BALINESE GAMELAN ANGKLUNG
In Bali, an ensemble of angklung is called a gamelan angklung. While the ensemble gets its name from the bamboo shakers, they are nowadays rarely included outside of East Bali. An ensemble of mostly bronze metallophones is used instead, generally with about 20 musicians.
While the instrumentation of the gamelan angklung is similar to gamelan gong kebyar, there are several critical differences. The instruments in the gamelan angklung are tuned to a 5-tone slendro scale, although most ensembles use a four-tone mode of the five-tone scale played on instruments with four keys. An exception is the five-tone angklung from the north of Bali, which may have as many as seven keys. In four-tone angklung groups, the flute players will occasionally use an implied fifth tone. Additionally, whereas many of the instruments in gong kebyar span multiple octaves of its pentatonic scale, most gamelan angklung instruments only contain one octave, although some five-tone ensembles have roughly an octave and a half. The instruments are considerably smaller than those of the gong kebyar.
Gamelan angklung is heard in Balinese temples, where it supplies musical accompaniment to temple anniversaries (odalan). It is also characteristic of rituals related to death (pitra yadnya), and is therefore connected in Balinese culture to the invisible spiritual realm and transitions from life to death and beyond. Because of their portability, gamelan angklung instruments may be carried in processions while a funeral bier is carried from temporary burial in a cemetery to the cremation site. The musicians also often play music to accompany the cremation ceremony. Thus, many Balinese listeners associate angklung music and its slendro scale with strong emotions evoking a combination of sacred sweetness and sadness.
The structure of the music is similar to gong kebyar, although employing a four-tone scale. A pair of jegog metallophones carries the basic melody, which is elaborated by gangsa, reyong, ceng-ceng, flute, and small drums played with mallets. A medium-sized gong, called kempur, is generally used to punctuate a piece's major sections.
Most older compositions do not employ gong kebyar's more ostentatious virtuosity and showmanship. Recently, many Balinese composers have created kebyar-style works for gamelan angklung or have rearranged kebyar melodies to fit the angklung's more restricted four-tone scale. These new pieces often feature dance, so the gamelan angklung is augmented with heavier gongs and larger drums. Additionally, some modern composers have created experimental instrumental pieces for the gamelan angklung.
OUTSIDE INDONESIA
The angklung was first invented in West Java, Indonesia, with a possibility of cultural transmittance to various other places such as Malaysia and the Philippines over the course of several centuries. In the early 20th century during the time of the Dutch East Indies, the angklung was adopted in Thailand, where it is called angkalung (อังกะลุง). It was recorded that angklung was brought to Siam in 1908 by Luang Pradit Pairoh, a royal musician in the entourage of HRH Field Marshal Prince Bhanurangsi Savangwongse of Siam, who paid a royal visit to Java that year (27 years after the first state visit of his elder brother, King Chulalongkorn, to Java in 1871). The Thai angklung are typically tuned in the Thai tuning system of seven equidistant steps per octave, and each angklung has three bamboo tubes tuned in three separate octaves rather than two, as is typical in Indonesia.
In 2008, there was a grand celebration in the Thai traditional music circle to mark the 100th anniversary of the introduction of angklung to Thailand. Both the Thai and Indonesian governments supported the celebration.
The angklung has also been adopted by its Austronesian-speaking neighbors, in particular by Malaysia and the Philippines, where they are played as part of bamboo xylophone orchestras. Formally introduced into Malaysia sometime after the end of the Confrontation, angklung found immediate popularity. They are generally played using a pentatonic scale similar to the Indonesian slendro, although in the Philippines, sets also come in the diatonic and minor scales used to perform various Spanish-influenced folk music in addition to native songs in pentatonic.
At least one Sundanese angklung buncis ensemble exists in the United States. Angklung Buncis Sukahejo is an ensemble at The Evergreen State College, and includes eighteen double rattles (nine tuned pairs) and four dog-dog drums.
WORLD RECORD
On July 9, 2011, 5,182 people from many nations played angklung together in Washington, D.C., and are listed in the Guinness Book of Records as the largest angklung ensemble.
WIKIPEDIA
Looking across Avenue de Suffren to Avenue Octave Gréard and a floodlit Eiffel Tower, taken from the balcony of my room at the Hilton Paris Eiffel hotel.
P3240134
Octave Chanute Air Museum Rantoul
Lockheed WV-2 Warning Star BuNo141311 Navy SH-14(Port side) TK-311(Starboard side)
Nick named “Willy Victor” by the USN crewmen
1956 to 1965 with U.S,Navy VW-13 (Atlantic Barrier )(BarLant - Atlantic Distant Early Warning) , Patuxent River NAS,
1962 Re-designated EC-121K
1965 Point Magu CA. PMTC-311, Pacific Missile Range (Missile Tracking Flights)
1979 Retired
1983 To Chanute AFB
1993 To Octave Chanute Air Museum
1017 To Yankees Air Museum, Ypsilant-Belleville, MI.
Next Octave Bolero, Talk the Tock tights, Midnight Coil Ring, Locket to Me in Mustachioed Man, Great Lakes Boots, The Wild World of Shorts (Jenna, Adil’s Assistant)
Ukrainian Divine Liturgy - Hieromartyr Anthimus & Venerable Theoctistus, celebrated by Rt Revd Mitred Archpriest Mykola Matwijiwskyj
© Mazur/cbcew.org.uk
Sweetiex2を作ったからって訳でも無いのですが、市場で見かけて思わず買って来てしまいました(笑 流石アフタヌーン連載だけあって、ただの好奇な百合漫画では終わらず、しっかりとした恋愛漫画の趣。ただ一巻では主人公の内面の描写だけで終わってしまった感があるので今後に期待。どろどろな展開になったら即抜けで。アフタヌーン大好きだったんですよ。黒田硫黄とか今何書いてんのかな。
I bought this comic the other day that the theme is lesbian's serious love story. before I bought this, I composed a song as same as the comic's theme. the two events may be closery related. in short, a real love doesn't need the distinction of sex. though I'm a normal.