BIBSYS is an administrative agency set up and organized by the Ministry of Education and Research in Norway. They are a service provider, focusing on the exchange and retrieval of data pertaining to research and learning – metadata related to library resources. BIBSYS are collaborating with all Norwegian universities and university colleges as well as research institutions and the National Library of Norway. Bibsys is formally organized as a unit at the Norwegian University of Science and Technology, located in Trondheim, Norway; the board of directors is appointed by Norwegian Ministry of Research. BIBSYS offer researchers and others an easy access to library resources by providing the unified search service Oria.no and other library services. They deliver integrated products for the internal operation for research and special libraries as well as open educational resources; as a DataCite member BIBSYS act as a national DataCite representative in Norway and thereby allow all of Norway's higher education and research institutions to use DOI on their research data.
All their products and services are developed in cooperation with their member institutions. BIBSYS began in 1972 as a collaborative project between the Royal Norwegian Society of Sciences and Letters Library, the Norwegian Institute of Technology Library and the Computer Centre at the Norwegian Institute of Technology; the purpose of the project was to automate internal library routines. Since 1972 Bibsys has evolved from a library system supplier for two libraries in Trondheim, to developing and operating a national library system for Norwegian research and special libraries; the target group has expanded to include the customers of research and special libraries, by providing them easy access to library resources. BIBSYS is a public administrative agency answerable to the Ministry of Education and Research, administratively organised as a unit at NTNU. In addition to BIBSYS Library System, the product portfolio consists of BISBYS Ask, BIBSYS Brage, BIBSYS Galleri and BIBSYS Tyr. All operation of applications and databases is performed centrally by BIBSYS.
BIBSYS offer a range of services, both in connection with their products and separate services independent of the products they supply. Open access in Norway Om Bibsys
Howard Leslie Shore is a Canadian composer, notable for his film scores. He has composed the scores for over 80 films, most notably the scores for The Lord of the Rings and The Hobbit film trilogies, he won three Academy Awards for his work on the first trilogy, with one being for the original song "Into the West", an award he shared with Eurythmics lead vocalist Annie Lennox and writer/producer Fran Walsh, who wrote the lyrics. He is a consistent collaborator with director David Cronenberg, having scored all but one of his films since 1979. Shore has composed a few concert works including one opera, The Fly, based on the plot of Cronenberg's 1986 film premiered at the Théâtre du Châtelet in Paris on July 2, 2008, a short piece Fanfare for the Wanamaker Organ and the Philadelphia Orchestra, a short overture for the Swiss 21st Century Symphony Orchestra. In addition to his three Academy Awards, Shore has won three Golden Globe Awards and four Grammy Awards. Howard Shore was born in Toronto, Canada, the son of Bernice and Mac Shore.
Shore is Jewish. He started studying music at the age of 8 or 9, he learned a multitude of instruments and began playing in bands at the ages of 13 and 14. When Shore was 13, he met and became good friends with a young Lorne Michaels in summer camp, this friendship would be influential in his career. By 17, he decided, he studied music at Berklee College of Music in Boston after graduating from Forest Hill Collegiate Institute. From 1969 to 1972, Shore was a member of the jazz fusion band Lighthouse. In 1970, he became the music director for Lorne Michaels and Hart Pomerantz's short-lived TV program The Hart & Lorne Terrific Hour. Shore wrote the music for Canadian magician Doug Henning's magic musical Spellbound in 1974 and, from 1975 to 1980, he was the musical director for Lorne Michaels' influential late-night NBC comedy show Saturday Night Live, appearing in many musical sketches, including Howard Shore and His All-Nurse Band, dressed as a beekeeper for a John Belushi/Dan Aykroyd performance of the Slim Harpo classic "I'm a King Bee".
Shore suggested the name for The Blues Brothers to Dan Aykroyd and John Belushi. Shore's first film score was to the low budget thriller I Miss You and Kisses, followed by David Cronenberg's first major film, The Brood, he would go on to score all of Cronenberg's subsequent films, with the exception of The Dead Zone, scored by Michael Kamen. The first film he scored, not directed by Cronenberg was Martin Scorsese's After Hours. Following that, he scored The Fly, again directed by Cronenberg. Two years he composed the score to Big, directed by Penny Marshall and starring Tom Hanks, he scored two more of David Cronenberg's films: Dead Ringers and Naked Lunch. During 1991, Shore composed the score for the acclaimed film The Silence of the Lambs, starring Jodie Foster and Anthony Hopkins, directed by Jonathan Demme, he received his first BAFTA nomination for the score. The film became the third to win the five major Academy Awards. Shore is the only living composer to have scored a "Top Five" Oscar-winning film.
During 1993, he composed the scores for M. Butterfly and Mrs. Doubtfire, directed by Chris Columbus; the latter two films were successful, Philadelphia winning Tom Hanks his first Oscar. Shore scored another three films in 1994: The Client, Ed Wood, Nobody's Fool. Ed Wood is notable for being one of the three films directed by Tim Burton that did not feature a score by Danny Elfman. Shore continued to score numerous films from 1995 to 2001, including two David Fincher films and The Game, The Truth About Cats and Dogs, directed by Michael Lehmann. Shore composed the score of the 2000 film The Cell. Major success came in 2001 with his score to The Lord of the Rings: The Fellowship of the Ring, the first film in the acclaimed The Lord of the Rings trilogy; the news that Shore would score the trilogy surprised some, since he was associated with dark, ominous films and had never scored an epic of this scale. However, the score was hugely successful and won Shore his first Oscar, as well as a Grammy Award, garnered Shore nominations for a Golden Globe and a BAFTA.
A cue from this film was used in Man of Steel. The following year, Shore composed the scores to Panic Room, Gangs of New York, The Lord of the Rings: The Two Towers, the second film in the trilogy. Shore's score for The Two Towers was going to be deemed ineligible for submission to the Academy, due to a new rule that disallowed the submission of scores which contained themes from previous work. However, the implementation of this rule change was subsequently postponed, meaning the score remained eligible; the Two Towers score did not receive an Academy Award nomination. In 2003, he composed the score for the final film in The Lord of the Rings trilogy, The Lord of the Rings: The Return of the King; the film was the most successful of the year. Shore won his second Oscar for Best Original Score, as well as a third for Best Original Song for "Into the West
Ryland Peter "Ry" Cooder is an American musician, film score composer, record producer. He is a multi-instrumentalist but is best known for his slide guitar work, his interest in roots music from the United States, his collaborations with traditional musicians from many countries. Cooder's solo work draws upon many genres, he has played with John Lee Hooker, Captain Beefheart, Ali Farka Touré, Eric Clapton, The Rolling Stones, Van Morrison, Neil Young, Randy Newman, David Lindley, The Chieftains, The Doobie Brothers, Carla Olson & the Textones. He formed the band Little Village, he produced the Buena Vista Social Club album, which became a worldwide hit. Wim Wenders directed the documentary film of the same name, nominated for an Academy Award in 2000. Cooder was ranked eighth on Rolling Stone magazine's 2003 list of "The 100 Greatest Guitarists of All Time". A 2010 ranking by Gibson placed him at number 32. Cooder was born in Los Angeles, California, to father Bill Cooder and Italian-American mother Emma Casaroli.
He grew up in Santa Monica and graduated from Santa Monica High School in 1964. During the 1960s, he attended Reed College in Portland, Oregon, he began playing the guitar. He has had a glass eye when he accidentally stuck a knife in his left eye; as a young man Cooder performed as part of a pickup trio with Bill Monroe and Doc Watson, in which he played banjo. The trio was not a success, but Cooder applied banjo tunings and the three-finger roll to guitar instead. Cooder first attracted attention playing with Captain Beefheart and his Magic Band, notably on the 1967 album Safe As Milk, after having worked with Taj Mahal and Ed Cassidy in the Rising Sons. At a vital "warm-up" performance at the Mt. Tamalpais Festival shortly before the scheduled Monterey Pop Festival, the band began to play "Electricity" and Don Van Vliet froze, straightened his tie walked off the 10 ft stage and landed on manager Bob Krasnow, he claimed he had seen a girl in the audience turn into a fish, with bubbles coming from her mouth.
This aborted any opportunity of breakthrough success at Monterey, as Cooder decided he could no longer work with Van Vliet quitting both the event and the band on the spot. Cooder played with Randy Newman, including on 12 Songs. Van Dyke Parks worked with Cooder during the 1960s. Parks arranged Cooder's "One Meatball" according to Parks' 1984 interview by Bob Claster. Cooder was a session musician on various recording sessions with The Rolling Stones in 1968 and 1969, his contributions appear on the albums Let It Bleed, Sticky Fingers, on which he contributed the slide guitar on "Sister Morphine". During this period, Cooder joined with Mick Jagger, Charlie Watts, Bill Wyman, longtime Rolling Stones sideman Nicky Hopkins to record Jamming with Edward!. Cooder played slide guitar for the 1970 film soundtrack Performance, which contained Jagger's first solo single, "Memo from Turner"; the 1975 compilation album Metamorphosis features an uncredited Cooder contribution on Bill Wyman's "Downtown Suzie".
Cooder collaborated with Lowell George of Little Feat, playing pedal steel guitar on the original version of "Willin'". Throughout the 1970s, Cooder released a series of Warner Bros. Records albums that showcased his guitar work on the Reprise Records label, before being reassigned to the main Warners label along with many of Reprise's artists when the company retired the imprint. Cooder explored bygone musical genres and found old-time recordings which he personalized and updated. Thus, on his breakthrough album, Into the Purple Valley, he chose unusual instrumentations and arrangements of blues, gospel and country songs; the album opened with the song "How Can You Keep on Moving" by Agnes "Sis" Cunningham about the Okies who were not welcomed when they migrated west to escape the Dust Bowl in the 1930s – to which Cooder gave a rousing-yet-satirical march accompaniment. In 1970 he collaborated with Ron Nagle and performed on his Bad Rice album released on Warner Brothers, his 1970s albums do not fall under a single genre description, but his self-titled first album could be described as blues.
His 1979 album Bop Till You Drop was the first popular music album released, recorded digitally, using the early 3M digital mastering recorder. It yielded his biggest hit, an R&B cover version of Elvis Presley's 1960s recording "Little Sister". Cooder is credited on Van Morrison's 1979 album, Into the Music, for slide guitar on the song "Full Force Gale", he played guitar on Judy Collins' 1970 concert tour, is featured on Living, the 1971 live album recorded during that tour. He learned from and performed with Gabby Pahinui and "Atta" Isaacs in Hawaii during the Hawaiian Renaissance of the early 1970s, he is credited for guitars on several 1971 recordings by Nancy Sinatra that were produced by Andy Wickman and Lenny Waronker – "Is Anybody Goin' To San Antone," "Hook & Ladder," and "Glory Road." Cooder is credited as a mandolin player on Gordon Lightfoot's Don Quixote album in 1972. Cooder
Szczyrzyc is a village in Poland, located in the Lesser Poland Voivodeship, Limanowa County, Jodłownik Commune. Geographically it is located in the Stradomka river valley, it lies 4 kilometres west of Jodłownik, 20 km north-west of Limanowa, 36 km south-east of the regional capital Kraków. Szczyrzyc is notable for its 13th-century Cistercian abbey; the village itself dates from the 14th century. It is the birthplace of Władysław Orkan and Zygmunt Konieczny, the only place where the Polish Red cattle still exist. In the Kingdom of Poland and Polish-Lithuanian Commonwealth, Szczyrzyc was the seat of Szczyrzyc County - a large county, which stretched from the Vistula to the Tatras, and, disbanded in 1772. Cistercian Abbey in Szczyrzyc
Lim Giong is a Taiwanese musician, DJ, an active figure in the Taiwanese experimental electronic music scene. Lim Giong's music career began in 1990 with the release of Marching Forward. At the time, he was associated with the genre known as New Taiwanese Song and gave rousing performances of folk-pop songs, such as "A Soundless Place" from the soundtrack of Dust of Angels. From his third album onwards, his compositions, inspired by Taiwanese traditional music, became infused with electronic music and evolved from drum and bass, break beat and electronica towards more experimental and freestyle work; this trend continued with his next two albums: Folk Paradise. Having studied acting and after appearing in films as an actor, he became the favorite composer of Hou Hsiao-hsien, for whom he wrote the music of Goodbye South and Millennium Mambo. From these experiences, he developed an original perspective in the interaction between sound and image in a form called "Stereo Picture", his album Insects Awaken was released in 2005 in Europe on a French label and, a few months in Taiwan on the Taiwanese label EWise Digital Multimedia Corp.
He was invited to perform music from this album for an outdoor event at the 2005 Cannes Film Festival, with images of the National Palace Museum's collection. This album won the award of Best Crossover Album at the 17th Golden Melody Awards in 2006, he produced the music for a special 90 seconds commercial film commissioned to celebrate the 80th anniversary of the National Palace Museum, in October 2005. This short film won the gold award at the American Association of Museums' 2006 Muse Award, he participates in the activities of the Creative Commons in Taiwan. Marching Forward Hiòng chiân kiâⁿ: 向前走 Spring Breeze Young Bro. Chhun-hong siàu-liân hiaⁿ: 春風少年兄 Entertainment World:娛樂世界 Goodbye South, Goodbye: 南國再見,南國 The Best of Linchung: 向前走林強 China Fun: 歡樂電子中國年 China Fun Folk Paradise: 電民謠 Folk Paradise Insects Awaken Jia Zhang-Ke Movie Music Collection – Music by Lim Giong: 賈樟柯電影音樂作品集 Dust of Angels: 少年吔，安啦！ Treasure Island: 只要為你活一天 The Puppetmaster: 戲夢人生 Good Men, Good Women: 好男好女 Goodbye South, Goodbye: 南國再見,南國 March of Happiness: 天馬茶房 So-Called Friend: 哥兒們 Goodbye South, Goodbye: 南國再見,南國 Millennium Mambo: 千禧曼波 Two Summers: 兩個夏天 The World:世界 Reflections: 愛麗絲的鏡子 Quiet Summer: 寧静夏日 Three Times: 最好的時光 Do Over: 一年之初 Joyful Life: 樂生 Still Life:三峡好人 Dong: 東 Our Ten Years: 我們的十年 Useless: 無用 24 City: 二十四城记 City of Trance: 迷樂上海 Tree of us: 我們三個 Yang Yang: 陽陽 I Wish I Knew: 海上傳奇 R U There Deep In The Clouds: 碧羅雪山 A Touch of Sin:天註定 Forgetting to Know You:忘了去懂你 The Assassin: 刺客聶隱娘 Kaili Blues: 路邊野餐 Fly, Kite Fly: 老鷹想飛 City of Jade: 翡翠之城 The Road to Mandalay: 再見瓦城 Small Talk: 日常對話 The Priestess Walks Alone: 我和我的T媽媽 The Gangsters Daughter: 林北小舞 Missing Johnny: 強尼．凱克 End of Summer: 西小河的夏天 The Foolish Bird: 笨鳥 Return: 回程列車 Chi-Yi: 起義 Last Year When the Train Passed by: 去年火車經過的時候 Emerald Horizon Bird Without Borders:返家八千里 Taipei Golden Horse Film Festival Best Original Film Song: Goodbye South, Goodbye Best Original Film Score: Millennium Mambo Best Original Film Score: Do Over Best Original Film Score: A Touch of SinAmerican Association of Museums' Muse awardsThe Gold Winner of the Promotional and Marketing 2006: "Old is New" The Golden Melody AwardsBest Crossover Album: Insects Awaken 11th Taipei Film Festival Narrative Features, Best Music: LIM Giong, for Yang Yang 13Th Shanghai International Film Festival Award for Best Music: LIM Giong, for Deep In The Clouds Ghent International Film Festival The Georges Delerue Prize for Best Music: LIM Giong, for A Touch of Sin Cannes Film Festival Soundtrack Award: LIM Giong, for The Assassin Giong Lim on IMDb ACIDplanet: "lim going" MK2 THE MOVIE MIX NIGHT CANNES 2005 National Palace Museum – Movie Downloads AAM's 2006 Muse award Creative Commons Lim Giong@The New York Times Lim Giong@Taiwan Cinema Taiwan Beat of Midem in Cannes,France 2007 lim giong recent music work
Musical theatre is a form of theatrical performance that combines songs, spoken dialogue and dance. The story and emotional content of a musical – humor, love, anger – are communicated through the words, music and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue and other elements. Since the early 20th century, musical theatre stage works have been called musicals. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre emerged during the 19th century, with many structural elements established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America; these were followed by the numerous Edwardian musical comedies and the musical theatre works of American creators like George M. Cohan at the turn of the 20th century.
The Princess Theatre musicals and other smart shows like Of Thee I Sing were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to such groundbreaking works as Show Boat and Oklahoma!. Some of the most famous musicals through the decades that followed include West Side Story, The Fantasticks, Hair, A Chorus Line, Les Misérables, The Phantom of the Opera, The Producers and Hamilton. Musicals are performed around the world, they may be presented in large venues, such as big-budget Broadway or West End productions in New York City or London. Alternatively, musicals may be staged in smaller venues, such as fringe theatre, Off-Broadway, Off-Off-Broadway, regional theatre, or community theatre productions, or on tour. Musicals are presented by amateur and school groups in churches and other performance spaces. In addition to the United States and Britain, there are vibrant musical theatre scenes in continental Europe, Australasia and Latin America.
Since the 20th century, the "book musical" has been defined as a musical play where songs and dances are integrated into a well-made story with serious dramatic goals, able to evoke genuine emotions other than laughter. The three main components of a book musical are its music and book; the book or script of a musical refers to the story, character development and dramatic structure, including the spoken dialogue and stage directions, but it can refer to the dialogue and lyrics together, which are sometimes referred to as the libretto. The music and lyrics together form the score of a musical and include songs, incidental music and musical scenes, which are "theatrical sequence set to music combining song with spoken dialogue." The interpretation of a musical is the responsibility of its creative team, which includes a director, a musical director a choreographer and sometimes an orchestrator. A musical's production is creatively characterized by technical aspects, such as set design, stage properties and sound.
The creative team and interpretations change from the original production to succeeding productions. Some production elements, may be retained from the original production. There is no fixed length for a musical. While it can range from a short one-act entertainment to several acts and several hours in length, most musicals range from one and a half to three hours. Musicals are presented in two acts, with one short intermission, the first act is longer than the second; the first act introduces nearly all of the characters and most of the music and ends with the introduction of a dramatic conflict or plot complication while the second act may introduce a few new songs but contains reprises of important musical themes and resolves the conflict or complication. A book musical is built around four to six main theme tunes that are reprised in the show, although it sometimes consists of a series of songs not directly musically related. Spoken dialogue is interspersed between musical numbers, although "sung dialogue" or recitative may be used in so-called "sung-through" musicals such as Jesus Christ Superstar, Les Misérables and Hamilton.
Several shorter musicals on Broadway and in the West End have been presented in one act in recent decades. Moments of greatest dramatic intensity in a book musical are performed in song. Proverbially, "when the emotion becomes too strong for speech, you sing. In a book musical, a song is ideally crafted to suit the character and their situation within the story; as The New York Times critic Ben Brantley described the ideal of song in theatre when reviewing the 2008 revival of Gypsy: "There is no separation at all between song and character, what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be." Many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore, there is less time to develop drama in a musical than in a straight play of equivalent length, since a musical devotes more time to music than to dialogue. Within the compressed nature of a musical, the writers must develop the plot; the ma
Tan Dun is a Chinese contemporary classical composer and conductor, most known for his scores for the movies Crouching Tiger, Hidden Dragon and Hero, as well as composing music for the medal ceremonies at the 2008 Beijing Olympics. His works incorporate audiovisual elements. In 2013, he was named a UNESCO Goodwill Ambassador, he has won numerous awards for his works, including an Academy Award, a Grammy Award and a BAFTA award. Tan Dun was born in 1957 in a village in Changsha in the Hunan province of China; as a child, he was fascinated by the rituals and ceremonies of the village shaman, which were set to music made with natural objects such as rocks and water. Due to the bans enacted during the Cultural Revolution, he was discouraged from pursuing music and was sent to work as a rice planter on the Huangjin commune, he joined an ensemble of other commune residents and learned to play traditional Chinese string instruments. Following a ferry accident that resulted in the death of several members of a Peking opera troupe, Tan Dun was called upon as a violist and arranger.
This initial success earned him a seat in the orchestra, from there he went to study at the Central Conservatory of Music in Beijing in 1977. While at the Conservatory, Tan Dun came into contact with composers such as Toru Takemitsu, George Crumb, Alexander Goehr, Hans Werner Henze, Isang Yun, Chou Wen-Chung, all of whom influenced his sense of musical style. In 1986, he moved to New York City as a doctoral student at Columbia University, once again studying with Chou Wen-Chung, who had studied under Edgard Varèse. At Columbia, Tan Dun discovered the music of composers such as Philip Glass, John Cage, Meredith Monk, Steve Reich, began incorporating these influences into his compositions, he completed his dissertation and Fire: Dialogue with Paul Klee, in 1993. Inspired by a visit to the Museum of Modern Art and Fire is a short symphony that engages with the paintings of Paul Klee. On June 15, 2016, he created the Grand Opening Theme Song of Shanghai Disney Resort. During his time at Columbia University, Tan Dun created his first opera, a setting of nature poems by Qu Yuan called Nine Songs.
The poems are sung in both Classical Chinese and contemporary English alongside a small ensemble of Western and Chinese instruments. Among these are a specially built set of 50 ceramic percussion and wind instruments, designed in collaboration with potter Ragnar Naess. To emphasize the shamanistic nature of Qu Yuan's poetry, the actors dance and move in a ritualized manner. Tan Dun's second work in the genre, Marco Polo, set to a libretto by Paul Griffiths, is an opera within an opera, it begins with the spiritual journey of two characters and Polo, their encounters with various historic figures of literature and music, including Dante Alighieri, William Shakespeare, Sigmund Freud, John Cage, Gustav Mahler, Li Po, Kublai Khan. These sections are presented in an Peking opera style. Interwoven with these sections are the travels of the real-life Marco Polo, presented in a Western operatic style. Though the score calls for traditional Western orchestral instrumentation, additional instruments are used to indicate the location of the characters, including recorder, sitar, singing bowls, Tibetan horn and pipa.
The opera won the Grawemeyer Award for Music Composition in 1998. That same year, Tan Dun premiered his next opera, an adaptation of Tang Xianzu's 1598 Kunqu opera The Peony Pavilion. Directed by Peter Sellars in its original production, Tan Dun's The Peony Pavilion is performed in English, though one of the characters must be trained in Peking or Kunqu style; the small ensemble of six musicians performs electronics and Chinese instruments onstage with the actors. Stylistically, the music is a blend of Chinese opera. At this point in his career, Tan Dun had created many works for "organic instruments," i.e. instruments constructed from materials such as paper, water and stone. For his fourth opera, Tea: A Mirror of Soul, co-authored by librettist Xu Ying, organic instruments factor prominently into the structure of the opera itself; the title of each act corresponds to the materials of the instruments being used, as well as the opera's plot. The first act, entitled "Water, Fire", opens with a tea ceremony onstage while percussionists manipulate glass bowls of water.
The second act, "Paper", features music on rice paper drums and depicts the characters' search for The Classic of Tea, the first book to codify tea production and preparation in China. The third and final act, "Ceramic, Stones", depicts the death of the protagonist's love. Percussionists play on pitched flowerpots, referred to as "Ceramic chimes" in the score. Tan Dun's most recent opera, The First Emperor, was commissioned by the Metropolitan Opera with the title role created for Plácido Domingo. Co-authored by Tan Dun and Chinese novelist Ha Jin, the opera focuses on the unification of China under Qin Shi Huang, first emperor of the Qin Dynasty, his relationship with the musician Gao Jianli. Like Tan Dun's previous operas, The First Emperor calls for Chinese instruments in addition to a full orchestra, including guzheng and bianzhong; the original Met production was directed by Zhang Yimou, with whom Tan Dun had collaborated on the film Hero. Tan Dun earned more widespread attention after composing the score for Ang Lee's Crouching Tiger, Hidden Dragon, for which he won an Academy Aw