Medical Journal Impact Score

Al Andaluz Project

Al Andaluz Project - Deus et Diabolus

Al Andaluz Project is the new musical adventure of Mara Aranda and Efren Lopez, L'Ham de Foc training with veteran German law Estampie recreating ancient music led by singer Sigrid Hausen and its director Michael Popp, joined them Andalusian singer Iman Al Kandousi a girl born in Tetuan. Has spawned a sweeping interpretation of a repertoire inspired by the historical moment referred to by the name of the project. Cantigas are medieval, and traditional Nuba Andalusí Sephardic music performed with a pulse excellent.

Al-Andalus (also Al Andaluz) is the name under which the Umayyad conquerors referred to the Iberian Peninsula. Hispania, ruled by the Moors were known for their high level of tolerance, learning, welfare, trade and flourishing artistic creation. Women and men of Muslim, Jewish and Christian coexisted and influenced each other for centuries. In the court of a western king as Alfonso X "The Wise" of Castile gathered philosophers, poets, artists and musicians, producing a unique and exemplary fusion of cultures.

Beyond borders sought religious truth, the philosophical, scientific and religious, and the diversity and disparity is considered an enrichment, rather than a problem. The Caliphate had nine public baths, thousands of mosques, water and well-lit streets. Toledo had become, in the eleventh century, the intellectual capital of Europe, a Christian town in that Arabic remained the language of culture and scholarship. Through Toledo and translators schools and libraries, the rest of Europe had access to the works of antiquity. After a thorough study of this period confirms the impression that the Middle Ages in Al-Andalus was a time of light rather than darkness, and that this level of religious and cultural fusion has never achieved.

The newly formed Al Andaluz Project attempts to revive these aspects for our present. Through dialogue with the old songs, the singing in different languages \u200b\u200band different cultures coming together of music, building a music conveys this vision of tolerance that described the Andalusian poet Ibn al-Arabi (* 1165, Murcia) in a poem :

"My heart takes all forms, is pasture for gazelles and a monastery for the monk, a temple for idols and the pilgrim Kaaba, tables of the Torah and Book the Koran. The religion they profess is Love, and where will I turn her caravan, for love is my faith and my religion. "

http://arabeoicastello.blogspot.com/2008/06/al-andaluz-project -new-aventura.html

1 Morena (Sephardic trad.)

2 A Virgen mui groriosa (Cantiga de Santa Maria)

3 Nassam Alaina lhaw (Arab -Andalus, trans.)

4 Tambourine (M. Aranda / E. López)

5 De Santa María (Cantiga de Santa María, 13th century)

6 Chamsse Lachi (Kudam Nuba al-maya)

7 The gallant and the Sea (Sephardic trad.)

8 Great Dereitos (Cantiga de Santa Maria)

9 Atiny naya - Solo Iman (Arab-Andalusian, trans.)

10 Lluna (Instr., E. Lopez)

11 Arrache Lfatan (Nuba Garnati)

12 The now-law (Sephardic trad.)

Al Andaluz Project: Al-Maraya

Al-Maraya "(" The Mirror ") is the second album by Al Andaluz Project, the combined originally emerged from the collaboration between Estampie and L'Ham de Foc. Their debut" Deus et Diabolus "got a considerable impact on sales (about 10000 at the international level, with publication in a dozen countries) and international tours, and had finally consolidated the group as such. Like its predecessor, "Al-Maraya" reflects the traditions English music, Sephardic Jewish, Arabic and Christian through vivid contemporary interpretations, and shows the real face of European folk music in all its variety. The encounter between modernity and Al-Andalus is customized project members, is led by three singers Mara Aranda (Spain), Iman Al Kandoussi (Morocco) and Sigi Hausen (Germany), supported by musicians who are versatile as Aziz Samsaoui (Morocco / qanun, oud, violin), Ernst Schwindl (Germany / hurdy gurdy, harmonium), the musical director Michael Popp (Germany / oud, saz, tar, fidel), Jack Martinez (Spain / hurdy-gurdy, cytol), Juan Manuel Rubio (Spain / dulcimer, oud, saz) and Sascha Gotowtschikow (Russia / percussion). Compared with "Deus et Diabolus" to see clearly that the shared experience among the musicians in the 2 years of promoting his first book has served to further refine the ideas and achieve a strong and cohesive sound, without ignoring the variety of styles demanded by the project because of its nature.

http://www.galileo-mc.com/cd.php?formatid=2001

01 Dezilde A Mi Amor 5:03 02

Of The Bargain 4:56 Consuegra

4:36 03 A Novel sirventes

04 Second Twichia Nuba Garibat The 5:59

Hussein

Non Sofre 05 Santa Maria 3:59 06

Orphan Prisoner's Yedi Kule

3:35 07 4:25 Wonderful Et Pious

08 At 5:53 Garnati

The Bulbul

3:32 09 Daughter Mia

10 but Seja A People 6:05

11 Second Twichia Istihlal 5:19

12 Des Oge Mais Eu Quer Trobar I

I would get up 5:49 13

Omag Da Quen A Virgin 5:59

Timeline Of Cervical Muscus

KEYS OF THE KINGDOM REFLECTIONS ON THE INFINITE FINITE

If I have not misunderstood Ignacio de Marinis, and if Ignacio is not misunderstood Hegel, it seems that Hegel says (hermeneutic mediation ... ... ... ... ... ....) Limited infinity so that "it is not "infinite, or finite, a contradiction, and therefore the infinite includes the finite. In other words, an in-finite "is not" the finite is finite and therefore ....

Very important objection. But if Gadamer is reason, I can not leave my horizon to reach me on the horizon of Hegel as if my horizon did not exist. I can, yes, try a fusion of horizons (Gadamer's terminology), in my terms, which added, "intersection of horizons."

And my horizon is that of a Judeo-Christian understanding of the God of Israel and the world as creator and creation, and from the short right-fe of St. Thomas, God is infinite and the world is finite. God embraces the world, yes, but not as being the world but the world as a cause, a cause that penetrates, because he holds in his being, but not to be confused with creation.

From this horizon I can see that the objection Hegel puts us in the limits of language (Wittgenstein). From St. Thomas we deduce that there is a finite cause can not itself be finite, and then, via negation, called in-finite. But because in essence we know or not because first conceive the infinite, then finite, but because we conclude as non-finite. Can not imagine not see it, the guess. And this opens a dialogue with all Christian Neoplatonic metaphysics as we know it is NOT God but not what it is .... But Thomas also added the path to eminence. Because it takes the path of participation. Put less technically, the finite is about what is imminent. For example, Martha Argerich plays Chopin perfectly, eminent. If I was his student, I would approach asymptotically without ever reaching that perfection. And, of course, Martha Argerich NOT be Gabriel. But that Gabriel not take anything away from Marta and eminence of its perfection ....

Deception, knots of language, is produced in us because our language is finite. To speak of the infinite must be terse and careful, almost like a blind man talking about the light. Our language tends to establish two classes: the class of finite and infinite class. Of course, there are ruined everything (St. Thomas and Hegel included). Or we tend to imagine something like this: the finite line in the middle and the other side of infinity, which is, of course, limited, cut in half, that is finite.

"The other of the finite", ie God, speaks with analogies, metaphors, with parables, with shadows that our intellect can understand. And quarens intellectum fides looking for a way to speak of God and then take the analogy of Aristotle and applies it to the Judeo-Christian horizon. That is St. Thomas. But, nothing more :-). Nothing less. Human language reaches its limits, and silence is the distance between the edge and understanding of God.