The church's mission in the world, by Louis and Andrâe Râetif. Translated from the French by Reginald F. Trevett.

http://www.archive.org/details/churchsmissionin013224mbp

History of Christian missions / by Charles Henry Robinson

http://www.archive.org/details/historyofchristi003076mbp

Additions à la bibliographie de Charles Porset sur les sciences du langage de Port-Royal aux Idéologues (1660-1818)

info:eu-repo/semantics/published

SOLOS DE CONCOURS FOR FLUTE AT THE PARTS CONSERVATORY: TWO DECADES-1900s AND 1940s

The topic of this dissertation is the concours pieces for flute at the Paris Conservatory covering two decades. The works are used for exit examination pieces for graduating students at the conservatory. The music is chosen by the director, the professors in the performance area, and a committee of other professors. These pieces still seem to be among the more important pieces known by flutists in the twenty-first century, and they are also frequently used as required audition pieces by conservatories, orchestras, and competitions. I have performed the works used for examination in two decades separated by almost half a century: The pieces from 1900 to 1909 and from 1940-1949, This performance dissertation contains three recital programs, and the recordings of the recitals are filed electronicaIly. I have grouped them according to contrasting styles in three recitals. Works performed are Agrestide (1942) by Eugene Bozza, Andante et Scherzo (1945) by Francois J. Brun, Preude et Scherzo (1908) by Henri Busser, Concertino (1902) by Cecile Chaminade, sixth Solo (1855) by Jules Demersseman (it was on the concours of 1896, dates which are outside the scope of this dissertation), Sonatine (1943) by Henri Dutilleux, Cantabile et Presto (1904) by Georges Enesco, Andante et Scheno (1901) by Louis Ganne, Fantaisie (1920) by Philippe Gaubert, Nocturne et Allegro Scherzando (1906) by Philippe Gaubert, Chant de Linos (1944) by Andre Jolivet, Fantasiestuck (1947) by Henri Martelli, Eglogue (1909) by Jules Mouquet, Concerto in A (1945-1949) by mile Passani, Ballade (1903) by Albert Perhilou, Sonatine (1946) by Pierre Sancan, Andante Pastorale et Scherzettim (1907) by Paul Taffanel, and Concertino in E Major (1945) by Henri Tornasi. Cantabile et Presto was required in both 1904 and 1940, and Andante et Scherzo was required in both 1901 and 1905.

Paleoenvironmental reconstruction of the coastal Monte Léon and Santa Cruz formations (Early Miocene) at Rincón del Buque, Southern Patagonia: A revisited locality

© 2015 Elsevier Ltd.Sedimentological, ichnological and paleontological analyses of the Early Miocene uppermost Monte León Formation and the lower part of the Santa Cruz Formation were carried out in Rincón del Buque (RDB), a fossiliferous locality north of Río Coyle in Santa Cruz Province, Patagonia, Argentina. This locality is of special importance because it contains the basal contact between the Monte Léon (MLF) and the Santa Cruz (SCF) formations and because it preserves a rich fossil assemblage of marine invertebrates and marine trace fossils, and terrestrial vertebrates and plants, which has not been extensively studied. A ~90m-thick section of the MLF and the SCF that crops out at RDB was selected for this study. Eleven facies associations (FA) are described, which are, from base to top: subtidal-intertidal deposits with Crassotrea orbignyi and bioturbation of the Skolithos-Cruziana ichnofacies (FA1); tidal creek deposits with terrestrial fossil mammals and Ophiomorpha isp. burrows (FA2); tidal flat deposits with Glossifungites ichnofacies (FA3); deposits of tidal channels (FA4) and tidal sand flats (FA5) both with and impoverish Skolithos ichnofacies associated; marsh deposits (FA6); tidal point bar deposits recording a depauperate mixture of both the Skolithos and Cruziana ichnofacies (FA7); fluvial channel deposits (FA8); fluvial point bar deposits (FA9); floodplain deposits (FA10); and pyroclastic and volcaniclastic deposits of the floodplain where terrestrial fossil mammal remains occur (FA11).The transition of the MLF-SCF at RDB reflects a changing depositional environment from the outer part of an estuary (FA1) through the central (FA2-6) to inner part of a tide-dominated estuary (FA7). Finally a fluvial system occurs with single channels of relatively low energy and low sinuosity enclosed by a broad, low-energy floodplain dominated by partially edaphized ash-fall, sheet-flood, and overbank deposits (FA8-11). Pyroclastic and volcaniclastic materials throughout the succession must have been deposited as ash-fall distal facies in a fluvial setting and also were carried by fluvial streams and redeposited in both estuarine and fluvial settings. These materials preserve most of the analyzed terrestrial fossil mammals that characterize the Santacrucian age of the RDB's succession. Episodic sedimentation under volcanic influence, high sedimentation rates and a relatively warm and seasonal climate are inferred for the MLF and SCF section.Lateral continuity of the marker horizons at RDB serve for correlation with other coastal localities such as the lower part of the coastal SCF south of Río Coyle (~17.6-17.4Ma) belonging to the Estancia La Costa Member of the SCF.

A SURVEY OF FRENCH KEYBOARD MUSIC FROM 1880 TO 1950

French music flourished from the last quarter of the nineteenth century into the early twentieth century, especially in the genres of opera and orchestral music. Although French keyboard music enjoyed less popularity, being overshadowed by these predominant genres, prominent impressionist figures Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) . . brought its revival to the French music. Scholars consider Debussy to be a frontrunner of Impressionism, and his influence had a major impact on subsequent composers. As a result of his popularity, other significant works by French composers seem to be overlooked by pianists and audiences and are not as often performed. Because keyboard works by Debussy and Ravel are a popular performance choice among pianists, I was eager to examine music by other French composers. Through my resea,rch, I found many great works that warranted further study and deserve a place in the keyboard repertoire. This recording project contains works by lesser-known French composers written between the years of 1880 and 1950, namely Emmanuel Chabrier (1841-1894), Gabriel-Urbain Faure (1845-1924), Charles Koechlin (1867-1950), Albert Roussel (1869-1937), Erik Satie (1866-1925), Francis Poulenc (1899-1963), Darius Milhaud (1892-1974), Robert Casadesus (1899-1972) and Henri Dutilleux (b.1916). Since piano repertoire is abundant, it is sometimes difficult to create a performance program. Therefore, it frequently becomes the default to choosing familiar repertoire rather than using the opportunity to expand the repertoire. As a pianist, I feel responsible to search for hidden musical treasures with which pianists and audiences alike are not so well acquainted. This recording project explores nine lesser-known French compositions written between 1880 and 1950. I expect this to be an opportunity to introduce both pianists and audiences to outstanding but unfamiliar works by French composers. This dissertation was recorded on two compact discs in Dekelboum Concert Hall at Clarice Smith Performing Arts Center of the University of Maryland. The recordings are archived in the University of Maryland Library.