Ford Foundation και Καρας ΣΔΕΜ

Κανόνες Δ. Συζήτησης
῾Η χρῆσις τοῦ δημοσιευομένου ὑλικοῦ καὶ τῶν συνημμένων ἀρχείων διέπεται ἀπὸ τοὺς παρακάτω ὅρους·
α) γιὰ τὰ πνευματικὰ δικαιώματα viewtopic.php?f=138&t=430&p=1237#p1236
β) γιὰ τὰ ἐμπορικὰ δικαιώματα viewtopic.php?f=138&t=430&p=1237#p1237

Ford Foundation και Καρας ΣΔΕΜ

Δημοσίευσηαπό mimi » Παρ 07 Αύγ 2009, 21:58:57

Περι
Ford Foundation και
Society for the Dissemination of Greek Music (SDNM)
Σύλλογος Προς Διάδοσιν Της Εθνικής Μουσικής (Καρας)




1) Τι εστι το Ford Foundation ;
http://www.fordfound.org/archives/item/1972/text/1

Annual Report 1972
Annual Report October 1, 1971 to September 30, 1972


The Ford Foundation is a private, nonprofit institution dedicated to the public well-being. It seeks to identify and contribute to the solution of certain problems of national or international importance. The Foundation works principally by granting funds to institutions and organizations for experimental, demonstration, and developmental efforts that give promise of producing significant advances in various fields. Occasionally, the Foundation itself administers projects. As an additional means of accomplishing program objectives, the Foundation in some instances makes grants to individuals whose professional talent or experience corresponds with its programs and activities. The Foundation was established in 1936 by Henry Ford and Edsel Ford and made grants largely to Michigan charitable and educational institutions until 1950, when it became a national organization. Including the fiscal year 1972, the Foundation has made commitments totalling $4.2 billion, including grants to 6,105 institutions and organizations. The recipients have been located in all fifty states, the District of Columbia, and various foreign countries, especially in less-developed areas. □ A board of sixteen trustees determines Foundation policy. A professional staff evaluates grant applications, explores means and opportunities to stimulate advances in fields with which the Foundation is concerned, works with prospective grantees, and recommends proposals for approval by the president and the trustees. □ Applications for grants should set forth objectives and details of methods for carrying them out, the qualifications of the persons and institutions involved, and an estimated budget. The Foundation does not use grant-application forms. Domestic applications and inquiries about how nominations or applications for grants to individuals may be made should be sent to the Secretary of the Foundation; applicants in foreign countries where the Foundation has an office should direct their proposals to the resident representative. □ Activities supported by the Foundation grants must be charitable, educational, or scientific under the appropriate provisions of the Internal Revenue Code and Regulations. Because its funds are limited in relation to the great number of worthwhile proposals it receives, the Foundation limits its grants to efforts likely to have effect throughout the country. It does not grant funds for purely personal or local needs, the routine operating costs of institutions, programs for which government support is readily available, nor, usually, the construction or maintenance of buildings. □ The Foundation is independent of other institutions, commercial and noncommercial.


2) Ποιοι οι αποφασιζοντες της εποχης εκεινης;
Board of Trustees // Executive Committee // Alexander Heard, Chairman // McGeorge Bundy // Kermit Gordon // J. Irwin Miller // Charles E. Wyzanski, Jr. // Finance Committee // William H. Donaldson, Chairman // McGeorge Bundy // Kermit Gordon // Alexander Heard // John H. Loudon // Patricia M. Wald // Alexander Heard, Chairman of the Board Chancellor, Vanderbilt University, Nashville, Tennessee // McGeorge Bundy, President // William H. Donaldson - Chairman of the Board, Donaldson, Lufkin & Jenrette, New York, New York // James R. Ellis - Partner, Preston, Thorgrimson, Ellis, Holman & Fletcher, Seattle, Washington // Benson Ford - Vice President, Ford Motor Company, Dearborn, Michigan // Henry Ford II - Chairman of the Board, Ford Motor Company, Dearborn, Michigan // Kermit Gordon - President, Brookings Institution, Washington, D.C. // Walter A. Haas, Jr. - Chairman of the Board, Levi Strauss & Co., San Francisco, California // Vivian W. Henderson - President, Clark College, Atlanta, Georgia // Edwin H. Land - Chairman and President, Polaroid Corporation, Cambridge, Massachusetts // John H. Loudon - Chairman of the Board, Royal Dutch Petroleum Company, The Hague, The Netherlands // Robert S. McNamara - President, International Bank for Reconstruction and Development, Washington, D.C. // Dorothy N. Marshall - Dean of Faculties/Provost, University of Massachusetts, Boston, Massachusetts // J. Irwin Miller - Chairman of the Board, Cummins Engine Company, Columbus, Indiana // Patricia M. Wald - Attorney, Washington, D.C. // Charles E. Wyzanski, Jr. - Senior District Judge, United States District Court, Boston, Massachusetts // Executive Officers // McGeorge Bundy - President // David E. Bell - Executive Vice President // Harold Howe II - Vice President // Roger G. Kennedy - Vice President // W. McNeil Lowry - Vice President // Mitchell Sviridoff - Vice President // Arthur D. Trottenberg - Vice President // Howard R. Dressner - Secretary and General Counsel // Thomas H. Lenagh - Treasurer //



3) Δια ΠΟΙΟΝ ΛΟΓΟΝ (τουλαχιστον ΕΠΙΣΗΜΩΣ) εδωθησαν επιχωρηγησεις;
http://www.fordfound.org/archives/item/0213/text/41

MUSICOLOGY
"Tradition," Gustav Mahler once quipped, "is the last generation's bad habits." For example, in the early part of this century a number of "traditional" practices distorted musical performances: pianists playing Mozart customarily began a trill on the wrong note; Bach's choral works were performed by grossly oversized choruses and orchestras; recitatives in eighteenth-century operas were accompanied by piano rather than harpsichord.
In recent decades, musicologists and musicologically enlightened performers have effected a revival of stylistic authenticity in the performance of earlier music. There has also been a deluge of revivals of nearly forgotten works, both in public performance and on recordings. The revivals—and the changes in performance practice—drew in large part from information in the International Inventory of Musical Sources (Repertoire International des Sources Musicales, known internationally as RISM). Founded in 1963, RISM compiles and publishes listings of all extant published and manuscript music before 1800. Joining the Ford Foundation in support of this program have been the United Nations Educational, Scientific and Cultural Organization (UNESCO), the Martha Baird Rockefeller Fund for Music, the American Musicological Society, and the Volkswagen Foundation.
One organization specializing in revivals of neglected music is the New York–based Clarion Music Society under the direction of conductor Newell Jenkins. Among Clarion's many contributions have been recorded performances of two forgotten operas: Simone Mayr's Medea in Corinto and Rossini's La pietra del paragone. In the early 1960s, Jenkins and seven other musicians not regularly associated with academic institutions received Foundation grants enabling them to pursue a variety of scholarly subjects. Jenkins, for example, prepared seventeenth- and eighteenth- century music for contemporary performance. Another recipient, Noah Greenberg, prepared scores of medieval music for his New York Pro Musica Antiqua, the most prestigious pre-baroque musical organization of the 1960s.
In the case of Ervin Nyiregyhazi, a Foundation grant helped preserve a more recent musical tradition. Once a pianist of near-legendary stature, Nyiregyhazi had disappeared from the public eye for more than forty years. In 1978 he was discovered living in a run-down section of San Francisco. At the age of seventy-three he still played the piano in the grand manner of the nineteenth-century romantic virtuosos. The Foundation undertook to preserve his playing in a series of recordings, which were described by the music critic of the Boston Globe as "not like anything you've ever heard before—only like what you've read about in the accounts of Liszt's own playing."
Among other efforts to preserve and disseminate the music of many traditions, the Foundation also made grants to:
—The International Institute of Comparative Music Studies, which seeks to make African and Asian music available to the Western world through a variety of activities including recording and publication.
—The Early American Jazz Archives at Tulane University, for a program in oral history on the origins and experiences of jazz musicians in New Orleans and to preserve early jazz recordings and memorabilia.
—The Society for the Dissemination of Greek Music, for a program to record Greek folk and church music. Twenty recordings have been made to date.


—The Society for the Dissemination of Greek Music, for a program to record Greek folk and church music. Twenty recordings have been made to date.



==============

http://www.fordfound.org/archives/item/1974/text/28

MUSIC
Continuing its interest in encouraging musical ensembles that offer innovative approaches to performances and management, the Foundation made a final supplemental grant to the St. Paul Civic Philharmonic Society. In its five-year history, the chamber orchestra has made great strides in developing new functions for itself and its musicians—residencies at colleges, small chamber groups from within the orchestra membership, and individual engagements for musicians.
To better prepare critics who review music performances,

==========================


4) Ποια ποσα ενεκριθησαν και ποσα εδωθησαν εις τον συλλογον οπου ητο ο Καρας;


1972
Ford Foundation Annual Report 1972

http://www.fordfound.org/archives/item/1972/text/115

Society for the Dissemination of Greek Music 47

http://www.fordfound.org/archives/item/1972/text/62

Society for the Dissemination of Greek Music
Production and distribution of records of Byzantine and folk music 113,889 29,000

===============
Ford Foundation Annual Report 1973
http://www.fordfound.org/archives/item/1973/text/114

Society for the Dissemination of Greek Music 47

==============








Ford Foundation Annual Report 1974

http://www.fordfound.org/archives/item/1974/text/95
Society for the Dissemination of Greek Music 14


http://www.fordfound.org/archives/item/1974/text/28


Society for the Dissemination of Greek Music Production and distribution of records of Byzantine and folk music [$113,889—1972] 30,000
===============
5) Ποσοι οι δισκοι του Συλλογου αυτου;

> 30 CD ( ?!!!)


The most complete collection is issued by the Greek Society for the Dissemination of National Music -- over 30 CDs under its SDNM label.

Read more:
http://www.frommers.com/destinations/gr ... JBKVR3TL&C

===================

6) Ποιοι συμμετιχαν;

==ΠΟΙΟΙ οι ερμηνευτες, =
==και απο που προερχοντο αι μουσικαι γραμμαι;

Δηλαδη, ακουγονται ΑΥΘΕΝΤΙΚΕΣ παραδοσιακες φωνες οπως Παπασιδερης, Κολλητηρι, Ζαχος
η μηπως ακουγονται #φωνες# οπως Δομνα Σαμιου;


Τι ειχε υποσχεθη εις το FORD FOUNDATION ο Συλλογος;

Ανταποκριθηκε ως προς οτι ειχε υποσχεθη;


Δια ποιον λογον εδωσε επιχωρηθησεις το FORD FOUNDATION
===== δια ΠΑΡΑΔΟΣΙΑΚΗΝ ΜΟΥΣΙΚΗΝ
==== η δια ΚΑΤΑ ΚΑΡΑΝ #παραδοσιακην# μουσικην;


7) Ποιαι αι συνεπειαι;

ΟΠΟΙΑΔΗΠΟΤΕ να ειναι τα αιτια, σημερον ακουγεται η ΝΟΘΕΥΣΙΣ της μουσικης μας,

==== με ΚΑΤΑΜΕΤΡΗΘΕΝΤΑ ΑΝΗΠΑΡΚΤΑ εν τη κοινη ηχογραφημενη παραδοση διαστηματα (και, εν ολιγοτερω βαθμω, λαρυγγισμους)

==== και αναμηξιν του ΕΚΚΛΗΣΙΣΑΤΙΚΟΥ ολιγοργου παρεστιγμενου μετα δημοτικης ΑΝΕΥ παρεστιγμενων, και αντικαταστασιν του πολυγοργου της δημοτικης δια του νεο εισαχθεντος ΙΛΑΡΟΧΟΡΕΥΤΙΚΟΥ ισοχρονου γοργου

===τουτεστην, την γενικην ΦΑΛΤΣΟΠΟΙΗΣΙΝ και ΕΚΘΗΛΙΚΕΥΣΙΝ της πατροπαραδοτου μουσικης μας


8) Ποια εισιν τα αιτια;
ΕΡΩΤΗΜΑ == ΠΟΙΑ ητο η πραγματικη ΓΝΩΣΙΣ του FORD FOUNDATION δια την#ΕΞΑΠΛΩΣΙΝ# και #ΔΙΑΔΩΣΙΝ# τοιαυτης ουχι ΔΙΑΣΩΘΗΣΙΣ αλλα ΔΙΑΣΚΟΤΗΣΘΗΣΙΣ ελληνικης μας μουσικης; Δηλαδη, ΕΓΝΩΡΙΖΕ η δεν εγνωριζε ΠΟΥ και ΔΙΑ ΤΙ εδιδε χρηματα, και ΠΟΙΑΙ θα ητο αι συνεπειαι;





Και οι Ελληνες χρηματοδοτουντες, ΔΙΑ ΠΟΙΟΝ ΛΟΓΟΝ χρηματοδοτουν

http://www.costopoulosfoundation.org/pa ... id=21&la=2

http://www.costopoulosfoundation.org/pa ... id=53&la=2

SOCIETY FOR THE DISSEMINATION OF NATIONAL MUSIC for its activities
Πνέων πατριαρχικοῦ ὕφους ἀὴρ // ἐντελῶς ἐξηφάνισται // Σίμωνος κάρα τε καὶ πέτρας αἰθὴρ.
Γεώργιος Κων/νου ΜΙΧΑΛΑΚΗΣ
Άβαταρ μέλους
mimi
 
Δημοσ.: 41
Εγγραφη: Σάβ 11 Οκτ 2008, 14:01:11
Τοποθεσια: Poitiers, FRANCE

ΜαρίαΦραντζεσκοπούλου #Πολίτισαα# ΑΡΧΟΝΤΙΣΣΑ Κυρία

Δημοσίευσηαπό mimi » Κυρ 09 Αύγ 2009, 08:19:17

Μαρία (Μαρίκα) Φραντζεσκοπούλου #Πολίτισαα#
η ΑΡΧΟΝΤΙΣΣΑ Κυρία

(http://www.youtube.com/watch?v=exDcNeaavfQ)

μετα ΜΟΥΣΙΚΟΛΟΓΙΚΗΣ και ΠΟΛΙΤΙΚΗΣ αναλυσεως και παραλληλισμον μετα του συγχρονου #μουσικολογικου# ζητηματος δια το οποιον, απ οτι επληροφορηθην, #αμφισβητη# .... η μαλλον ΑΡΝΗΤΑΙ την υπαρξην του ακομη και ο νυν Αρχιεπισκοπος Αθηνων.....

Δηλαδη, αναμεταξυ
===ΜΕΘΥΣΟ ΔΗΜΟΤΙΚΟ ΒΟΡΒΟΡΥΓΜΟ ΚΡΑΥΓΩΝ
= =και
===ΙΛΑΡΟΧΟΡΕΥΤΙΚΟ ΣΥΓΚΙΝΗΤΙΚΟ ΕΚΘΥΛΙΚΕΥΣΜΕΝΗΣ ΑΣΜΑΤΩΔΙΑΣ

=θελουν να μας πεισουν οτι.... ΔΕΝ ΥΠΑΡΧΕΙ ΠΡΟΒΛΗΜΑ !!!!
Πνέων πατριαρχικοῦ ὕφους ἀὴρ // ἐντελῶς ἐξηφάνισται // Σίμωνος κάρα τε καὶ πέτρας αἰθὴρ.
Γεώργιος Κων/νου ΜΙΧΑΛΑΚΗΣ
Άβαταρ μέλους
mimi
 
Δημοσ.: 41
Εγγραφη: Σάβ 11 Οκτ 2008, 14:01:11
Τοποθεσια: Poitiers, FRANCE


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