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On 12 April 1961 Yuri Gagarin became the first man to orbit the Earth. One month later, President John F. Kennedy challenged the American nation to land a man on the Moon before the decade was out. On 16 July 1969, Neil Armstrong, Michael Collins and Buzz Aldrin set off in Apollo 11 to attempt this audacious mission, and succeeded magnificently. This book tells the story of Apollo 11, starting with crew selection and training, the choice of the landing site, and the assembly of the space vehicle, then a detailed account of the mission, featuring the lunar landing and moonwalk, and a review of how our knowledge of the Moon's history was revolutionised as a result. The story is enlivened by dialogue between the astronauts in space and the flight controllers in Mission Control.

Space flight to the moon. --- Apollo 11 (Spacecraft) --- Project Apollo (U.S.) --- Moon --- Exploration. --- Apollo Project (U.S.) --- United States. --- Progetto Apollo (U.S.) --- Apollo XI (Spacecraft) --- Apollo Eleven (Spacecraft) --- Flight to the moon --- Lunar expeditions --- Lunar flight --- Astronomy. --- Astrophysics. --- Popular Science in Astronomy. --- Astronomy, Observations and Techniques. --- Space Sciences (including Extraterrestrial Physics, Space Exploration and Astronautics). --- Astronomical physics --- Astronomy --- Cosmic physics --- Physics

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Tells the story of the exciting and challenging years in space flight, with two superpowers engaged in a titanic struggle to land one of their own people on the moon. This book explores the inspirations, ambitions, personalities, and experiences of the select few whose driving ambition was to fly to the moon.

Space race --- Astronautics --- Space flight to the moon. --- Space sciences --- Aeronautics --- Astrodynamics --- Space flight --- Space vehicles --- Flight to the moon --- Lunar expeditions --- Lunar flight --- History. --- History --- Project Apollo (U.S.) --- Apollo Project (U.S.) --- United States. --- Progetto Apollo (U.S.)

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Quel est l'" être profond " d'Apollon, l'Archer musicien et omniscient du panthéon hellénique ? Au pied du palmier de Délos, l'énergique nouveau-né proclame siens la lyre, l'arc et la mantique. L'Archer est le Musicien. Les Grecs ressentent la quasi-identité qui unit l'arc et la lyre, ces instruments à bras et à cordes, sonores et musicaux. Moins attributs qu'éléments constitutifs du dieu, ces objets font tenir Apollon. C'est entre la lyre et l'arc, et plus précisément autour de la figure de l'archer, que l'auteur situe le noyau organisateur des domaines et des façons d'agir d'Apollon. L'Instrumentiste à cordes est aussi le dieu omniscient. Son noûs fuse comme une flèche vers la cible en abolissant la distance. Les oracles de Loxias, mais aussi le dauphin et le serpent, vont droit au but en zigzaguant comme les flèches à la décoche. Quant à la Pythie de Delphes, Apollon l'inspire à la façon d'un musicien ou d'un archer qui s'empare, sans le forcer, d'un instrument à cordes saisi par l'enthousiasme. Comment procéder pour rechercher cette sorte de substrat qui fait qu'Apollon est lui et pas un autre ? En multipliant les méthodes d'approche et en frappant à la porte de plusieurs grands maîtres. En confrontant le discours mythique sur Apollon au discours en paroles et en images tenu par les Grecs sur divers champs d'activités du dieu, le tir à l'arc, le jeu de la lyre, la mantique, mais aussi sur le palmier-dattier et sur certains " pensionnaires " de son bestiaire. En prêtant la plus grande attention à la langue grecque et en mariant intimement textes et iconographie. En s'ouvrant au comparatisme et à l'anthropologie historique : interroger un archer traditionnel japonais et un Indien de l'Inde védique ou d'Amazonie qui n'ont ni lu Homère ni vu l'Acropole, c'est mesurer au plus près comment l'omniscience apollinienne procède de l'archer et de l'archerie. Ce livre porte sur Apollon un regard original, analogique et presque poétique qui, sans prétendre atteindre le dieu dans tous ses territoires, montre bien qui il est et l'explique beaucoup.

Apollo (Greek deity) --- Mythology, Classical. --- Oracles, Greek. --- Lyre --- Archery --- Music --- Musical instruments --- Mythology, Greek. --- Gods, Greek. --- Apollon (Divinité grecque) --- Oracles grecs. --- History. --- History and criticism. --- Greece --- Grèce --- Histoire. --- 292.211 --- Religion Classical Greek and Roman Gods, goddesses, divinities and deities --- Apollo --- Apollon (divinité grecque) --- Arcs --- Divination --- Philologie grecque --- Littérature grecque --- Antiquité --- Thèmes, motifs

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The music Mozart composed in Vienna closely examined, bringing out the processes of re-invention and re-formulation it displays. The stylistic evolution of Mozart's Viennese instrumental repertory as a whole [1781-1791] has never been systematically addressed. This book fills this gap through a study of stylistic re-invention, a practically- and empirically-based theory that explains how innovative, putatively inspired ideas take shape in Mozart's works and lead to stylistic re-formulation. The stylistic evolution of Mozart's Viennese instrumental repertory as a whole [1781-1791], closely tied to historical and contextual lines of enquiry, has yet to receive systematic attention. This book fills the gap through a study of stylistic re-invention, a practically- and empirically-based theory that explains how innovative, putatively inspired ideas take shape in Mozart's works and lead to stylistic re-formulation. Re-invention comprises a two-stage process: Mozart manipulates pre-existent stylistic features of his music to climactic effect, in so doing introducing a demonstrably 'new' stylistic dimension with broad aesthetic resonance; he subsequently re-appraises his style in response to the dimension in question. From close examination of a variety of Mozart's works [piano concertos, string quartets and symphonies in particular], supported by study of Mozart's other chamber and dramatic works, the author shows that stylistic re-invention is a consistent and coherent manifestation of stylistic development. Ultimately re-invention puts centre stage the interaction of intellectual and imaginative elements of Mozart's musical personality, accounting both for processes of reflection and re-appraisal and for striking conceptual leaps. SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.

Instrumental music --- Analysis, appreciation. --- Mozart, Wolfgang Amadeus, --- Mozart, Wolfgang Amadeus --- Mozart, Johannes Chrysostomus Wolfgangus Theophilus --- Criticism and interpretation. --- Mot︠s︡art, Volʹfgang Amadeĭ, --- Mōtsaruto, --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib, --- Mozart, Johann Chrysostom Wolfgang Amadeus, --- Mozart, W. A. --- Mozart, Wolfgango Amadeo, --- Mot︠s︡art, V. A. --- Mocartas, V. A., --- Motsart, Volphnkank Amedaios, --- Mot︠s︡art, Volfang Amadeus, --- Mozzart, Apollo, --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus, --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus, --- Mozhate, --- Моцарт, Вольфганг Амадей, --- מוצרט, --- מוצרט, וולפגנג אמדאוס, --- 莫札特, --- Mozart, Wolfgang Amadeusz, --- Mozart, W.A. --- Mot︠s︡art, Volʹfgang Amadeĭ --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib --- Mozart, Johann Chrysostom Wolfgang Amadeus --- Mozart, Wolfgango Amadeo --- Mocartas, V. A. --- Motsart, Volphnkank Amedaios --- Mot︠s︡art, Volfang Amadeus --- Mozzart, Apollo --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus --- Mozhate --- Моцарт, Вольфганг Амадей --- Mozart, Wolfgang Amadeusz --- MUSIC / History & Criticism. --- Chamber Music. --- Mozart. --- Music History. --- Piano Concertos. --- String Quartets. --- Stylistic Development. --- Stylistic Re-Invention. --- Symphonies. --- Viennese Instrumental Music.

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In this erudite and elegantly composed argument, Karol Berger uses the works of Monteverdi, Bach, Mozart, and Beethoven to support two groundbreaking claims: first, that it was only in the later eighteenth century that music began to take the flow of time from the past to the future seriously; second, that this change in the structure of musical time was an aspect of a larger transformation in the way educated Europeans began to imagine and think about time with the onset of modernity, a part of a shift from the premodern Christian outlook to the modern post-Christian worldview. Until this historical moment, as Berger illustrates in his analysis of Bach's St. Matthew Passion, music was simply "in time." Its successive events unfolded one after another, but the distinction between past and future, earlier and later, was not central to the way the music was experienced and understood. But after the shift, as he finds in looking at Mozart's Don Giovanni, the experience of linear time is transformed into music's essential subject matter; the cycle of time unbends and becomes an arrow. Berger complements these musical case studies with a rich survey of the philosophical, theological, and literary trends influencing artists during this period.

Music --- History and criticism --- History and criticsm --- Bach, Johann Sebastian, --- Mozart, Wolfgang Amadeus, --- Criticism and interpretation. --- History and criticism. --- Mozart, Wolfgang Amadeus --- Mozart, Johannes Chrysostomus Wolfgangus Theophilus --- Bach, Johann Sebastian --- Bach, Jean-Sébastien --- Bakh, Iogann Sebastian, --- Bakh, Y. S., --- Bach, Jean Sébastien, --- Bach, G. S., --- Bach, Jan Sebastian, --- Bachas, J. S., --- Bach, J. S. --- Bahs, Johans Sebatjans, --- Pa-ha, Te, --- Bakh, Ĭ. S. --- Bakh, Ĭokhan Sebastian, --- Bach, Joh. Seb. --- Bakh, Yohan Sebasṭyan, --- Bach, Iohann Sebastian, --- Bahha, J. S., --- Bahha, Yohan Sebasutian, --- Bach, I. S., --- Bach, Juan S., --- Bach, John Sebastian, --- Bach, Giovanni Sebastiano, --- באך, יוהן סבסטיאן --- Mot︠s︡art, Volʹfgang Amadeĭ, --- Mōtsaruto, --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib, --- Mozart, Johann Chrysostom Wolfgang Amadeus, --- Mozart, W. A. --- Mozart, Wolfgango Amadeo, --- Mot︠s︡art, V. A. --- Mocartas, V. A., --- Motsart, Volphnkank Amedaios, --- Mot︠s︡art, Volfang Amadeus, --- Mozzart, Apollo, --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus, --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus, --- Mozhate, --- Моцарт, Вольфганг Амадей, --- מוצרט, --- מוצרט, וולפגנג אמדאוס, --- 莫札特, --- Mozart, Wolfgang Amadeusz, --- Mozart, W.A. --- Mot︠s︡art, Volʹfgang Amadeĭ --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib --- Mozart, Johann Chrysostom Wolfgang Amadeus --- Mozart, Wolfgango Amadeo --- Mocartas, V. A. --- Motsart, Volphnkank Amedaios --- Mot︠s︡art, Volfang Amadeus --- Mozzart, Apollo --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus --- Mozhate --- Моцарт, Вольфганг Амадей --- Mozart, Wolfgang Amadeusz --- 18th century. --- academic. --- argument. --- artist. --- artistic trends. --- artistic. --- bach. --- beethoven. --- case studies. --- christian. --- christianity. --- classical composers. --- classical music. --- composers. --- don giovanni. --- historical. --- instrumental music. --- literary. --- monteverdi. --- mozart. --- music composers. --- musical composition. --- philosophical. --- philosophy. --- post christian. --- premodern. --- scholarly. --- st matthew passion. --- theology.