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Iversen’s Multiconfused Log (see p.1!)

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Iversen
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 Message 2169 of 3959
11 December 2010 at 10:17pm | IP Logged 
Well well well, I thought I should make a Latin video this evening, but instead I have been buried in Old High German adjectives all evening - you can see the result here... at least it's another dead language - and without doubt even more dead than Latin. Mors venit, et tempus fugit.

Edited by Iversen on 11 December 2010 at 10:44pm

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Iversen
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 Message 2170 of 3959
12 December 2010 at 11:55am | IP Logged 
LAT: Nunc video mea de libro Saxonis "Gesta Danorum" facta est et Youtubae sublevata. Saxo Grammaticus scriba in servicio archiepiscopi Absalonis fuit et ut videtur pensum accepit historiam danorum scribere. Certe non cum certitudine ex legendis cantilenisque de rebus MCC annuum ante tempus suum scribere potebat, et narrationes primas quam famas considerare debemus - sed etiam in famis vestigia memoriae verae praeservata essere possunt. De regibus per fontes francicas, anglicas, teudiscas et danicas verificatibus postea legimmus, quam Gormo Vetus, Haraldus Dens-Caerulea, Suen Bibarbatus ac Canutus Magnus, et cum temporem Saxonis approximamus semper acribiter facta narrat - adhuc historia regis Valdemaris Absalonisque illegibilis per me est quia nimium singulatim descripta sit ... Absalon pedere non potest sine Saxone in vestigia sua sequi ut odorem in tablus referre!   

Factum est: now my video in Latin about Gesta Danorum is in the box .. and uploaded to that voracious monster known as Youtube. For those of you who haven't heard about Saxo: he was a scribe in the service of archbishop Absalon (the founder of Copenhagen), who was the close friend and brother in arms of king Valdemar I the great of Denmark. During the nationalistic epoch of these two gentleman mr. Saxo was apparently summoned to collect all the chronicles, folktales and songs he could find and write a complete history of the glorious deeds of the Danes - especially of their kings. Of course Saxo's tales about persons that supposedly lived 700 years before his time can't be trusted, but from around 800 some historical names turn up - such as Gudfred who fought off an invasion attemp by no less than Charlemagne, and 100 years later we meet the ancestors of queen Margrethe II: Gorm the Old (or Lazy, 'hin Løge'), Harald Bluetooth, Svend Forkbeard, Canute (Knud) the Great and many others. As we approach the time of the Valdemarians the descriptions become so detailed that I just can't take it any more so I intend to skip this section. And I'll also skip the prologue, which is written in long and boring sentences. But in between there are some really interesting and captivating passages. As I mentioned Saxo was in the service of the church, and that can really be seen in his book. For instance the Christian kings Harald and Knud are described almost as saints, while the pagans Gorm and Svend are vilified in the worst possible terms. But you really can't expect an impartial treatment of history in a Medieval source. With all its faults Gesta Danorum is still among the most interesting books written by a Danish author - even though he wrote in Latin as was wont for Medieval clerics.


Edited by Iversen on 12 December 2010 at 12:08pm

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Iversen
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 Message 2171 of 3959
15 December 2010 at 12:36am | IP Logged 
GER: Ich bin jetzt mit dem Durchhören von Musik der wienerischen Familie Strauß fertig und höre stattdessen jetzt Musik von Richard Strauss, der trotz seines Namens keiner Verwandter der Walzerkönigen ist. Von 7 Stunden habe ich jetzt 3 Stunden gehört und die Themen davon aufgezeichnet. Aber die kurze Stücke der Wiener haben mich gezwungen immer wieder neue Deutsche Titel zu lesen, - so ist es aber nicht mit den längeren Stücke von Richard Strauß. Und während ich gestern sein Aus Italien durchhörte, habe ich natürlich Italienische Gedanken gehabt.

DA: I dag har jeg brugt en masse tid på at forberede internet-versionen af min klubs medlemsblad (septembernummeret),
hyperlit.: In day have I used a lot time on to prepare internet-versionThe of my club's member-magazine (September-numberThe)

og jeg er kun halvvejs færdig med dette arbejde - der naturligvis er rent dansksprogligt.
and I am only halfway finished with this job - which naturally is purely Danishlanguagely.

Fasulye (25/11) wrote:

Übrigens hat "Focus Storia" jetzt ein Sonderheft herausgegeben zu der Evolutionsgeschichte der Menschen, ich habe das bei uns im Kiosk gesehen.


IT: Ed in fatto, proprio questa rivista (che ho comprato in Trento) è la lettura di ritorno-a-casa-dal-mio-lavoro in questo momento. Ma gli autobus sono pieni e la luce è male, quindi è faticoso da leggere qualsiasi cosa.

BA I: Dan selain itu, saya telah membuat daftar-daftar dengan kata-kata dari brosur dari Singapura.

In the thread about endless language studies Tyro asked me how I can get time enough for my languages. Well, yesterday I listened for three hours to music by Richard Strauß. Before that I listened to music by the Viennese family Strauß, and all those short pieces with German names made me think in German. With Richard S this doesn't happen to the same extent because his pieces are longer and have more international titles and - partly - themes. For instance I was pushed towards Italian by his Aus Italian, which quotes several Italian folksongs. Today I have been occupied with the interent version of the September issur of the magazine of my travel club - in in spite of the international activities of the honoured members this is a purely Danophone activity. But I have read parts of the special Focus issue in Italian about the history of the hominids - in pite of full busses and bad light, and I have also had time to make wordlists based on my brochures from Singapore - so in spite of hours spent on linguistically irrelevant activities there will always be time to keep contact to my languages. Where there is a will there is a way.



Edited by Iversen on 20 December 2010 at 4:07pm

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Fasulye
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 Message 2172 of 3959
15 December 2010 at 5:38pm | IP Logged 
Iversen wrote:
Fasulye (25/11) wrote:

Übrigens hat "Focus Storia" jetzt ein Sonderheft herausgegeben zu der Evolutionsgeschichte der Menschen, ich habe das bei uns im Kiosk gesehen.


IT: Ed in fatto, proprio questa rivista (che ho comprato in Trento) è la lettura di ritorno-a-casa-dal-mio-lavoro in questo momento. Ma gli autobus sono pieni e la luce è male, quindi è faticoso da leggere qualsiasi cosa.


ITA: Qualche giorni fa ho deciso di comprare questa rivista. Si chiama "Focus Extra Nr. 47 - Preistoria Le Origini dell'uomo" d'autumno 2010". Adesso sto leggendo pezzino a pezzino.

Nella questa revista c'è una articolo molto interessant che si chiama "A colloquio con Neanderthal" dove un reporter di Focus fa una intervista con un Homo Neanderthalensis. Do si possono leggere le domande del reporter Focus con le risposte che dal Homo Nanderthalensis.

Per esempio:

Homo Sapiens di Focus: "Siete stati accusati anche di cannibalismo...:

Homo Neanderthalensis: "L'accusa di cannibalismo assieme di quella di essere sporchi, è diffusa. Non c'è nulla di vero. Anzi, abbiamo avuto notizia del contrario: un grupo di sapiens avrebbe mangiato bambini Neanderthal nel corso di scontri territoriali. ..."

Fasulye

Edited by Fasulye on 15 December 2010 at 7:36pm

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Iversen
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 Message 2173 of 3959
15 December 2010 at 8:38pm | IP Logged 
IT: Ho letto anche in altre fonti che il Homo sapiens ha mangiato i piccoli bambini dei Neanderthal. Il grande problema con la discussione degli Neanderthal è che se gli guardava all'inizio come cavernicoli brutti che sapevano appena brandire le sue clave, ma oggi alcuni hanno la tendenza a sottovalutare le differenze tra egli e noi. E non erano necessariamente i Neanderthali i sanguinosi barbari.

I have also read elsewhere that Homo sapiens ate the children of the Neanderthal (based on some bone finds with scratch marks like those on the menu of our ancestors) and that there are no evidence of the opposite. In the beginning Neanderthals were depicted as brutish and dimwitted cave dvellers, whereas now sometimes it feels like the differences are played down for the sake of political correctness (which doesn't take into account the utter lack of development in Neanderthal culture before the arrival of Homo Sapiens). However there were certainly differences in living and thinking style between them and us, and sometimes the Neanderthals weren't the barbaric ones.

message to Chung (whose mailbox is full):

I ordered "Pharos: Tweetalige skoolwoordeboek Afrikaans - Engels " directly from a bookstore in South Africa which I found on the internet, but unfortunately I don't remember its name. The letters are small and the paper quality is not high, but I have been quite satisfied with the content and it was quite cheap. I don't have a grammar for Afrikaans


Edited by Iversen on 20 December 2010 at 3:57pm

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Iversen
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 Message 2174 of 3959
17 December 2010 at 10:56am | IP Logged 
GER: Gestern habe ich zuerst anderthalb Stunde Musik von Richard Strauß gehört, und weil ich Partituren für einige seiner Werke von unserer Bibliothek geliehen habe, bemerkte ich, dass er meist schrieb seine Anweisungen auf Deutsch, nicht auf Italienisch - wie wie übrigen auch Wagner. In der Wiener Klassik (Haydn, Mozart, Beethoven) schrieb man fast immer derartigen Kommentaren auf Italienisch. Und wenn es so nicht gewesen wäre, hätte ich vermutlich als Kind nicht beschlossen die italienischen Sprache zu lernen.

RU: После этого я изучил текст на русском языке о средневековой Грузии, включая проход о крепкой королеве Тамарае (თამარი), правнучка Давида IV Агмадшенебели 'Строитель' - кторая вступал в брак Георгия, сын российского короля Андрея Боголюбского. Но она вышибала его из Грузии, когда поддержал боярыx против ее. После вступал в брак Давида Сослана. Армии Тамары также разбили армию турецкого султана, и он почти был взят в плен. К сожалению страна была побеждена Монголами вскоре после ее смерти.


Yesterday I first listened to 1½ hour of Richard Strauß - Ein Heldenleben and Don Quixote, and because I had borrowed some scores I noticed that he wrote almost all his directives to the players in German, just like Wagner. Earlier composers used Italian for this purpose, and without that I might never have decided to learn Italian as a child.

Afterwards I studied a text in Russian about Medieval Georgia, including a passage about the tough queen Tamara - great granddaughter of David IV Aghmadshenebeli 'the builder' - who was married to a son Georgij (or Yurij?) of the Russian king Andrej Bogoljubov. First her armies warded off an attack by a Turkish sultan (and completely routed his army), but then Georgij not only didn't support her efforts to centralize and strengthen the country, but he activiely supported the recalcitrant feudal nobility. OK, goodbye Georgi - he got a kick in his butt out of Georgia, and she married a more adequate local man, David Suslan.

After that I did some Bahasa wordlists, and finally I fell asleep while rereading Kauderwelsch's book about Irish - I have been somewhat lazy with that language lately, due to other obligations.


Edited by Iversen on 18 December 2010 at 12:04am

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Iversen
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 Message 2176 of 3959
19 December 2010 at 2:26pm | IP Logged 
Kuikentje wrote:
In which language do the conductors talk with their orchestra?


Good question. In major orchestras the musicians are selected through an international competition, and therefore you can have people from many countries sitting in the same orchestra. Conductors are if possible even more international, and even though some may be polyglots they can't cover all languages.

I think the point is that the Italian musical terms like "adagio", "allegro", "fortissimo", "sonata" and "segue") still are functioning as some kind of glue. But only to a certain extent. For instance I doubt that all musicians know what "andante" actually means - they just know that music using this word is somewhat slow, but not extraordinarily so. Actually it means "walking".

The same thing happens with newer scores with words in English, German and French (or even Russian) - I am fairly sure that there are some musicians who don't know what the words actually mean. But they know how the music should sound, and then that must be the meaning of the explanations in the score.

Let's take an example: Debussy once wrote a small orchestral piece with a solo flute called "Prélude à l'après-midi d'un Faune". OK, first problem - pronounce that! In the score the first words are "Tempo modéré et très souple"; "Assez lent" and "doux et expressif", and later on we find "Dans ce 3/4 les crochets gardent le même mouv.t" and "PP subito mais le chant bien en dehors". OK, you will learn the meaning of those words when you hear the music - and even more if you try to play it.

The conductor must of course know the meaning, but (s)he is basically in the same situation - you learn the words alongside the music, not as something in a certain language. However some composer have the habit of describing in flowery terms how the music should sound, and then the poor hapless musician or conductor must of course look it up or find a translation. Actually international musicians have good reasons to learn at least some basic English, German, French and maybe Italian so the task is not too impossible.

And you have to know some German (and Italian) to really understand what for instance Gustav Mahler wrote in his 8. Symphony: "A tempo. Etwas [aber unmerklich] gemäßigter, immer mehr fliessend". Or what he meant by "Schalltrichter auf" (all wind instruments should turn the hole at the end of the instruments directly towards the audience). And "Volles Werk" as an order to an organist means "pull all stops". Btw. The 8. Symphony is also called "Symphonie der Tausende" because of all the forces required to perform it. I have read somewhere that orchestral musicians are more likely to be hit by tinnitus and deafness than rock musicians. Those who play Mahler's 8 should wear earplugs.

OK, what about the conductors? I have watched a number of rehearsals of classical music on TV, and it seems that the conductors use the main languages generously interspersed with musical terms like those I have mentioned above (and supplemented by more or less standardized hand signs). And top classical musicians are probably rather well versed in languages. But a few times I have had the distinct feeling that a conductor almost exclusively used 'musical' terms which could be a sign that he didn't really speak the language used at the location of the orchestra. But musicians generally prefer playing to listening to long lectures so that way of communicating may not be a problem at all.

Kuikentje wrote:
...the Ring seems ridiculous, about some days or weeks long haha!!


Well, I only like the instrument parts (or transcription for orchestra of the rest) so that cuts down the time to something manageable. But Das Rheingold, Die Valküre, Siegfried and Götterdämmerung each last some 3-4 hours, so if you started listening in the early morning you could be through the ordeal before midnight. Parsifal and Die Meistersinger are longer.


Edited by Iversen on 14 September 2011 at 1:31am



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