Arabic Language Center offering crash course in July
The Arabic Language Center has enrolments open for two Arabic crash courses, during winter (July) holidays in São Paulo. The course for beginners was created for students that have never studied the language before and will teach Classical Arabic, including alphabet, reading, writing, basic conversation, and classes on Arab culture. It is offered to students in two periods from 10 am to noon and from 7 pm to 9 pm, from Monday to Thursday, July 1st to August 1st.
The Colloquial Arabic course will cover informal basic conversations in Arabic, spoken language, accents and Syrian-Lebanese idiomatic expressions and cultural classes on the Arab countries. It is also offered in two periods in the same days and times. Both courses' workload totals 40 hours.
The price is BRL 650 (USD 167) and may be paid in installments. It may be paid in either cash, debit or credit card. There is no registration fee and the payment confirmation may be done in the first class.
Both courses' first classes are free of charge and will take place on July 1st, from 7 pm to 9 pm, at Instituto Base Gênesis, Praça da Sé, 28, 1st floor, at Central Zone of São Paulo. The next classes are at the Arabic Language Center at Viaduto Dona Paulina, 34, cj. 45, also at the Central Zone of São Paulo. Further information viaFacebook , email r Whatsapp 55 11 93009-9689.
From Internet
Source:https://menafn.com/1098653869/Arabic-Language-Center-offering-crash-course-in-July
Тел.: +7 (499) 769-58-15
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The Arabic Language Center has enrolments open for two Arabic crash courses, during winter (July) holidays in São Paulo. The course for beginners was created for students that have never studied the language before and will teach Classical Arabic, including alphabet, reading, writing, basic conversation, and classes on Arab culture. It is offered to students in two periods from 10 am to noon and from 7 pm to 9 pm, from Monday to Thursday, July 1st to August 1st.
The Colloquial Arabic course will cover informal basic conversations in Arabic, spoken language, accents and Syrian-Lebanese idiomatic expressions and cultural classes on the Arab countries. It is also offered in two periods in the same days and times. Both courses' workload totals 40 hours.
The price is BRL 650 (USD 167) and may be paid in installments. It may be paid in either cash, debit or credit card. There is no registration fee and the payment confirmation may be done in the first class.
Both courses' first classes are free of charge and will take place on July 1st, from 7 pm to 9 pm, at Instituto Base Gênesis, Praça da Sé, 28, 1st floor, at Central Zone of São Paulo. The next classes are at the Arabic Language Center at Viaduto Dona Paulina, 34, cj. 45, also at the Central Zone of São Paulo. Further information viaFacebook , email r Whatsapp 55 11 93009-9689.
From Internet
Source:https://menafn.com/1098653869/Arabic-Language-Center-offering-crash-course-in-July
Тел.: +7 (499) 769-58-15
Наш сайт – jobforarabists.com
Анонсы мероприятий – https://vk.cc/9vAtgd
Получить бесплатную книгу – https://vk.cc/9vAtoE
#jobforarabists #workplace #level #levelup #experience #post #employment #working #lifeisgood #life #photo #life #enjoy #join #news #arabnews #newsfromarabcountries #арабскиеновости #новости #новостиизарабскихстран #новости_@jobforarabist
Menafn
Arabic Language Center offering crash course in July
(MENAFN - Brazil-Arab News Agency (ANBA)) From the Newsroom São Paulo - The Arabic Language Center has enrolments open for two Arabic
Music of the Oud review: Baroque twists of Arabic scales
Joseph Tawadros gave an equally jokey and insightful musicological lesson when he and his percussionist brother, James, rejoined the Sydney Symphony Orchestra after the first movement of Mozart's Symphony in G minor (K183). After his oud and James's req (small tambourine) duetted on a brief excerpt, Tawadros observed that, with the harmonies removed, the melodic and rhythmic material was not so very different to Arabic music.
Tawadros astutely chose the Mozart to complete a program otherwise consisting of his own compositions, highlighting the differences and overlaps between the harmony-rich western classical tradition (this being a work in which the 17-year-old Mozart extensively used unison passages), and the linear (melody and rhythm) approach that finds such potent expression in Indian and Arabic music.
The centrepiece was Tawadros's 2017 Concerto for Oud and Orchestra (the SSO under the lively direction of Benjamin Northey), in which orchestrator Jessica Wells allowed Tawadros's gift for striking melodies to glisten, often fattening the sinuous lines with unisons rather than weighting them with harmony. A work of high drama and contrast - it was, in terms of both composition and execution, a massive step forward on Tawadros's earlier attempts at orchestral settings for oud. This is an instrument of lace-like delicacy, so the work, like pre-forte keyboard concertos, had to offer ample solo space, even though the oud and req (which could arguably share the concerto's title) were expertly amplified.
Amid Tawadros's discernible influences is a reverence for Vivaldi, yet the work is no mere baroque throwback. Its gripping orchestral introduction beckoned Tawadros's dark opening statement on the bottom string of his extended-range seven-course oud. Later the rampant emotional colour of quarter-tones in his improvising suggested the orchestration could have more fully explored the string section's capacity to generate quarter-tones, itself. A stark oboe melody established the slow movement, the oud's theme subsequently echoed by the strings, while the last movement contained a startling cadenza of diverging and converging patterns between the oud's bass and treble strings, before granite-like blocks of orchestral punctuation signalled a thrilling finale.
Among the shorter pieces Point of Departure (arranged by Tawadros and Richard Tognetti) had luxuriant strings framing the concert's most moving improvisation, the oud's notes dripping like tears into a wishing well. Less successful was the solo Constellation, a minor Tawadros composition lacking a little finesse in its performance.
From Internet
Source:https://www.smh.com.au/entertainment/music/music-of-the-oud-review-baroque-twists-of-arabic-scales-20190623-p520ez.html
Тел.: +7 (499) 769-58-15
Наш сайт – jobforarabists.com
Анонсы мероприятий – https://vk.cc/9vAtgd
Получить бесплатную книгу – https://vk.cc/9vAtoE
#jobforarabists #workplace #level #levelup #experience #post #employment #working #lifeisgood #life #photo #life #enjoy #join #news #arabnews #newsfromarabcountries #арабскиеновости #новости #новостиизарабскихстран #новости_@jobforarabist
Joseph Tawadros gave an equally jokey and insightful musicological lesson when he and his percussionist brother, James, rejoined the Sydney Symphony Orchestra after the first movement of Mozart's Symphony in G minor (K183). After his oud and James's req (small tambourine) duetted on a brief excerpt, Tawadros observed that, with the harmonies removed, the melodic and rhythmic material was not so very different to Arabic music.
Tawadros astutely chose the Mozart to complete a program otherwise consisting of his own compositions, highlighting the differences and overlaps between the harmony-rich western classical tradition (this being a work in which the 17-year-old Mozart extensively used unison passages), and the linear (melody and rhythm) approach that finds such potent expression in Indian and Arabic music.
The centrepiece was Tawadros's 2017 Concerto for Oud and Orchestra (the SSO under the lively direction of Benjamin Northey), in which orchestrator Jessica Wells allowed Tawadros's gift for striking melodies to glisten, often fattening the sinuous lines with unisons rather than weighting them with harmony. A work of high drama and contrast - it was, in terms of both composition and execution, a massive step forward on Tawadros's earlier attempts at orchestral settings for oud. This is an instrument of lace-like delicacy, so the work, like pre-forte keyboard concertos, had to offer ample solo space, even though the oud and req (which could arguably share the concerto's title) were expertly amplified.
Amid Tawadros's discernible influences is a reverence for Vivaldi, yet the work is no mere baroque throwback. Its gripping orchestral introduction beckoned Tawadros's dark opening statement on the bottom string of his extended-range seven-course oud. Later the rampant emotional colour of quarter-tones in his improvising suggested the orchestration could have more fully explored the string section's capacity to generate quarter-tones, itself. A stark oboe melody established the slow movement, the oud's theme subsequently echoed by the strings, while the last movement contained a startling cadenza of diverging and converging patterns between the oud's bass and treble strings, before granite-like blocks of orchestral punctuation signalled a thrilling finale.
Among the shorter pieces Point of Departure (arranged by Tawadros and Richard Tognetti) had luxuriant strings framing the concert's most moving improvisation, the oud's notes dripping like tears into a wishing well. Less successful was the solo Constellation, a minor Tawadros composition lacking a little finesse in its performance.
From Internet
Source:https://www.smh.com.au/entertainment/music/music-of-the-oud-review-baroque-twists-of-arabic-scales-20190623-p520ez.html
Тел.: +7 (499) 769-58-15
Наш сайт – jobforarabists.com
Анонсы мероприятий – https://vk.cc/9vAtgd
Получить бесплатную книгу – https://vk.cc/9vAtoE
#jobforarabists #workplace #level #levelup #experience #post #employment #working #lifeisgood #life #photo #life #enjoy #join #news #arabnews #newsfromarabcountries #арабскиеновости #новости #новостиизарабскихстран #новости_@jobforarabist
The Sydney Morning Herald
Music of the Oud review: Baroque twists of Arabic scales
Joseph Tawadros's Concerto for Oud and Orchestra is realised in a thrilling collaboration with the Sydney Symphony Orchestra.