Abstract: Many of the interrogations or dilemmas of the contemporary world found the answer in what was generically called the appeal to matrix. This genuine spiritual exercise of re-connection of the present to origins, to the primary source, revealed the ontological condition of timelessness, ahistorical, immutable (epi)phenomena, of those pure essences concentrated in the archetypal-referential layer of the human existence. The musical creation was no exception to this trend, the impasse generated by the deterministic excesses of the whole serialism or, conversely, by some questionable results of the extreme indeterminism proper to the avant-garde movements, stimulating the orientation of many composers to rediscover a universal grammar, as an emanation of a new ‘collective’ order (reverse of the utopian individualism). In this context, the music of oral tradition and therefore the world of the ancient modes represented a true revelation for the composers of the twentieth century, who were suddenly in front of some unsuspected (re)sources, with a major impact on all levels of edification of the musical work: morphology, syntax, timbrality, semantics etc. For the contemporary Romanian creators, the music of rituals, existing in the local archaic culture, opened unsuspected perspectives for which it meant to be a synthetic, inclusive and recoverer vision, where the primary (archetypal) genuine elements merge with the latest achievements of language of the European composers. Thus, anchored in a strong and genuine modal source, the compositions analysed in this paper evoke, in a manner as modern as possible, the atmosphere of some ancestral rituals such as: the invocation of rain during the drought (Paparudele, Scaloianul), funeral ceremony (Bocetul), traditions specific to the winter holidays and new year (Colinda, Cântecul de stea, Sorcova, Folklore traditional dances) etc. The reactivity of those rituals in the sound context of the twentieth century meant potentiating or resizing the archaic spirit of the primordial symbolic entities, in terms of some complexity levels generated by the technique of harmonies of chordal layers, of complex aggregates (gravitational or non-gravitational, geometric), of the mixture polyphonies and with global effect (group, mass), by the technique of heterophony, of texture and cluster, leading to the implementation of some processes of collective improvisation and instrumental theatre.
Abstract: This study this is considering Boria as a conventional performance in Malaysia. Boria is a folk performance unique to Penang. This theatre style reached Penang in the mid-19th century and is believed to be derived from the Shia Islamic Passion play performed during the Muslim month of Muharram to commemorate the martyrs of Kerbela. These days in Malaysia (especially Penang) Boria mentions to a choral street performance performed annually by a number of groups composed mostly of Sunni Malaysian. Boria are performed for entertainment and often include an annual singing competition. The size, membership, themes and movements of each Boria troupe may vary from year to year. Similarly, the themes and contents of the Boria performed by the different troupes also changes each year and can have a comical, political or satirical notion. It is common to most groups during the first ten days of Muharram Boria generally is done.
Abstract: This paper describes the architectural design
considerations for building a new class of application, a Personal
Knowledge Integrator and a particular example a Knowledge Theatre.
It then supports this description by describing a scenario of a child
acquiring knowledge and how this process could be augmented by
the proposed architecture and design of a Knowledge Theatre. David
Merrill-s first “principles of instruction" are kept in focus to provide
a background to view the learning potential.
Abstract: Societal security, continuity scenarios and methodological cycling approach explained in this article. Namely societal security organizational challenges ask implementation of international standards BS 25999-2 & global ISO 22300 which is a family of standards for business continuity management system. Efficient global organization system is distinguished of high entity´s complexity, connectivity & interoperability, having not only cooperative relations in a fact. Competing business have numerous participating ´enemies´, which are in apparent or hidden opponent and antagonistic roles with prosperous organization system, resulting to a crisis scene or even to a battle theatre. Organization business continuity scenarios are necessary for such ´a play´ preparedness, planning, management & overmastering in real environments.