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Renzo Piano Box I: The Whitney Museum, New York; The Shard, London; The Stravos Niarchos Foundation, Athens

為了解決Piano的問題，作者 這樣論述：

"One of the great beauties of architecture is that each time, it is like life starting again." -Renzo PianoThe Renzo Piano Box is a set of highly collectible volumes by star architect Renzo Piano. The box is an elegantly designed slipcase that envelops three (11" x 11") gorgeously printed paperbo

und books, each showcasing one of the great architect's iconic buildings: The Whitney Museum, in New York; The Shard in London; and the Stravos Niarchos Foundation in Athens. Callaway plans to publish a box every season, each with three different titles, and to bring to the many readers and fans of

Piano's astonishing architectural masterpieces his entire series of collected works.The Whitney Museum, New York In 2015, the new home of the Whitney Museum opened to the public in downtown Manhattan's Meatpacking District, substantially enlarging the Whitney's exhibition and programming space. The

new building includes some 4,650 sq. meters of gallery space distributed over the fifth, sixth and seventh levels. The fifth level boasting a 1670 sq. meters, column-free gallery - making it the largest open-plan museum gallery in New York City. The book includes many architectural drawings and the

text at the end of the book provides the reader with a "behind the scenes" view. A conception of the museum that starts from the work of art to arrive at the architectural project. A journey that takes the reader through time and space during its realization.The Shard, London: The London Bridge Towe

r, the tallest building in Europe, also known as the Shard, is a 72-storey, mixed-use tower located beside London Bridge Station on the south bank of the river Thames. A mix of uses - residential, offices and retail - creates a building that is in use 24 hours a day. The slender, pyramidal form of t

he tower was determined by its suitability to the mix of large floor plates at the bottom for offices; restaurants, public spaces and a hotel located in the middle; private apartments at the top of the building. The final floors accommodate a public viewing gallery, 240 m above street level. This ar

rangement of functions also allows the tower to taper off and disappear into the sky, and makes the building look like a shard of glass, a particularly important detail for architect Renzo Piano given the building's prominence on the London skyline. The Stravos Niarchos Cultural Centre, Athens The S

tavros Niarchos Cultural Centre was constructed in Kallithea, 4 km south of central Athens. An important cultural and educational project, the site comprises the National Library of Greece and the Greek National Opera in a 170,000 square meter landscaped park. Previously a parking lot left over from

the 2004 Olympic Games, once upon a time the site of a racetrack, this new Renzo Piano project restores the site's lost connections with the city and the sea.

Piano進入發燒排行的影片

布拉姆斯《大學慶典序曲》與《悲劇序曲》之探究與指揮詮釋

為了解決Piano的問題，作者郭愛丹 這樣論述：

德國浪漫樂派作曲家布拉姆斯（Johannes Brahms, 1833-1879），與巴赫 （Johann Sebastian Bach, 1685-1750）、貝多芬（Ludwig van Beethoven, 1770-1827）被德國音樂家畢羅（Hans von Bülow, 1830-1894）譽為 「德國三B」。布拉姆斯作品常運用古典樂派嚴謹莊重的音樂形式，融入浪漫樂派寬廣且極富情感的旋律色彩，以及大量「對位」、「模進」、「發展變奏」等創作手法，呈現深沈繁厚的音響織度。作品中高度連貫性、豐富厚重音響效果、具民謠風格旋律特徵等，展現出布拉姆斯除了「具保守樂派的古典主義者」，還融匯古典

與浪漫之精髓，進而走出屬於他個人獨特的風格。布拉姆斯創作涵蓋鋼琴曲、交響曲、室內樂及藝術歌曲等，而管弦樂序曲終其一生僅完成兩部：《大學慶典序曲》（Academic Festival Overture）和《悲劇序曲》（Tragic Overture）。這兩首作品皆為同一年完成，音樂情感性質卻截然不同。《大學慶典序曲》主要運用當時德國學生數首校園歌曲為題材彙編而成，描繪莘莘學子朝氣蓬勃的青春活力；《悲劇序曲》採用悲劇性格強烈的d小調，使用嚴謹奏鳴曲式結構創作。本論文共分為五章。第一章為研究目的、範圍及方法之撰寫；第二章概述作曲家生平、時代風格與序曲概論；第三章與第四章分別論述《大學慶典序曲》及《悲

劇序曲》創作背景、樂曲分析、指揮詮釋及有聲資料之速度與音色探討；第五章為結論。藉由兩部管弦樂作品探討與研究、樂團演練實踐等，深入剖析作曲家傳遞的音樂言語，達到作品真實且完整的詮釋。

Angela’’s Mixtape / The History of Light

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為了解決Piano的問題，作者 這樣論述：

Eisa Davis is an award-winning actor, writer, and singer-songwriter working on stage and screen. She was a finalist for the Pulitzer Prize in Drama for her play Bulrusher, and wrote and starred in Angela’s Mixtape, named a best of the year by The New Yorker. Other plays include Ramp (Ruby Prize winn

er), The History of Light (Barrymore nomination), Paper Armor, Umkovu, Six Minutes, Warriors Don’t Cry, Mushroom, and : Girls:: Chance:: Music: . Collaborations include Maze at The Shed, The House on Coco Road, Active Ingredients, Hip Hop Anansi, and Cirque du Soleil’s first ice show, Crystal. Works

in progress include a sound art installation/performance piece entitled The Essentialisn’t, and a musical version of Devil In A Blue Dress. Eisa wrote for both seasons of the Netflix series She’s Gotta Have It, and is creating a limited series based on the memoir by Carlotta Walls LaNier, the young

est member of the Little Rock Nine. Eisa is a 2020 Creative Capital recipient. She was awarded the prestigious Herb Alpert Award in Theatre, and was a resident playwright at New Dramatists, where she won the Helen Merrill Award and the Whitfield Cook Award, among others. She has received fellowships

from Sundance, Yaddo, the MacDowell Colony, Cave Canem, and the Doris Duke, Van Lier and Mellon Foundations. As an actor, she is an Obie Award winner for Sustained Excellence in Performance. Eisa’s recent work includes a microplay by Lynn Nottage in the virtual series Theatre For One, the role of J

une in the musical adaptation of The Secret Life of Bees (AUDELCO award, Lortel nomination), Kings at the Public (Drama League nomination), the 2017 Shakespeare in the Park production of Julius Caesar, and Preludes created by Dave Malloy and Rachel Chavkin, for which she received her second Lucille

Lortel nomination. Other theatre performances include Antigone in Ferguson, Luck of the Irish (Lucille Lortel and AUDELCO nominations), the world premieres of This and The Call, the first revival of The Piano Lesson at Yale Rep (also composer and music director), and the acclaimed Broadway rock mus

ical Passing Strange, captured on film by Spike Lee. Current television work includes Betty, Bluff City Law, God Friended Me, Rise, Condi Rice on The Looming Tower, and Succession.

馬勒第五號交響曲之指揮詮釋與分析

為了解決Piano的問題，作者許峻瑋 這樣論述：

本論文以古斯塔夫．馬勒（Gustav Mahler, 1860- 1911）《第五號交響曲》指揮詮釋為研究重點，其次為錄音版本比較與樂曲分析研究。第一章為緒論，闡述《第五號交響曲》的研究動機與目的、研究範圍與方法、文獻探討；第二章為論述馬勒與《第五號交響曲》之間的創作時空背景以及其首演評論；第三章為各指揮名家錄音之比較，目的為找出研究者認為合宜的詮釋版本；第四章為指揮詮釋與分析，探討樂團演出的技巧、排練的方式與指揮詮釋表達，並深入研究樂曲的形式、和聲與動機；第五章為結論，為前面觀點作一個總結，彙整論文的研究結果；第六章為引用文獻；最後附錄德文音樂術語翻譯。