Samira - Orangenblüten duften nach Glück - gebunden oder broschiert

EAN (ISBN-13): 9783765516542
ISBN (ISBN-10): 3765516546
Gebundene Ausgabe
Erscheinungsjahr: 2011
Herausgeber: Brunnen
192 Seiten
Gewicht: 0,321 kg
Sprache: ger/Deutsch

Buch in der Datenbank seit 2009-03-01T17:54:12+01:00 (Berlin)
Detailseite zuletzt geändert am 2022-05-30T10:56:05+02:00 (Berlin)
ISBN/EAN: 9783765516542

ISBN - alternative Schreibweisen:
3-7655-1654-6, 978-3-7655-1654-2
Alternative Schreibweisen und verwandte Suchbegriffe:
Autor des Buches: samira, bech
Titel des Buches: düfte, ach glück, orangenblüten, orangen, samira

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Daten vom Verlag:

Autor/in: Samira Bechar
Titel: Samira - Orangenblüten duften nach Glück
Verlag: Brunnen; Brunnen
Erscheinungsjahr: 2011-01-01
Gewicht: 0,326 kg
5,20 € (DE)

BB; gebunden; Hardcover, Softcover / Belletristik/Gegenwartsliteratur (ab 1945); Theologie; Deutsche Literatur; Belletristik; Erinnerungen; Christenverfolgung; Verfolgte Christen; Erlebnisberichte; Erfahrungsberichte; Lebensberichte; Open Doors; Wahre Geschichten; Inhalte: Mädchen in Afghanistan; Sonstige: Frauenschicksal; Geographie: Afghanistan; 3000; Biographien HC/PB; Bücher; Vermarktung: B-Titel; Marker: Herling; 1

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Tag und Nacht fließt ein Bach hindurch mit kühlem, frischem Wasser aus den Bergen. Niemand im Dorf hat so einen Garten. Von seinen Früchten isst die Familie das ganze Jahr. Den ganzen Sommer über duftet es nach Blüten und frischer Minze. Geborgen in der Liebe ihrer Familie wächst Samira auf. Früh kommt sie in die Schule. Doch Samiras leuchtendes, unbeschwertes Glück ist bedroht Hier erzählt sie ihr glückliches, aber auch dramatisches Leben. Gekürzt: Der Garten um ihr Haus in Afghanistan ist für Samira als Kind ein Paradies. Er bringt im Überfluss Früchte und Gemüse hervor. Tag und Nacht fließt ein Bach mit kühlem, frischem Wasser hindurch. Es duftet es nach Blüten und frischer Minze. Geborgen in der Liebe ihrer Familie wächst Samira auf. 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Jazz ist eine produktive Kunst: Musiker in aller Welt, die sich ihm zuwandten, mussten seine Wurzeln als afro-amerikanische Musik genauso kennen und respektieren wie sie aufgefordert waren, ihre eigenen Traditionen mit einzubringen. Von diesen Prozessen zwischen Respekt und Eigenständigkeit handelt dieses Buch. Es geht dabei nicht so sehr um „Weltmusik" an sich als vielmehr um die produktive Auseinandersetzung mit den Traditionen, und um die Tatsache, dass der Jazz mittlerweile jede Menge Impulse aus allen möglichen Ecken der Welt erhält, wo man ihn auch als eigene Musik begreift. Dieser Band enthält die Referate des 10. Darmstädter Jazzforums vom Oktober 2007, in denen unterschiedliche musikalische Annäherungen, Adaptionen oder Adoptionen näher beleuchtet werden. Oft handelt es sich dabei um Ideen, die zwar aus ethnischen Musikrichtungen stammen, aber mit der Spielhaltung des Jazz so hervorragend harmonieren, dass es schwer fällt, die musikalischen Ergebnisse noch unter gängigen Genrebegriffen abzulegen. Weder kann man dann nämlich wirklich von „Weltmusik" sprechen, noch ist es Mainstream-Jazz im herkömmlichen Sinne. Es ist ein kreativer Austausch, der den Jazz verändert, egal ob einem das gefällt oder nicht. Mit Beiträgen von: Andrew W. Hurley: But did the world meet jazz? Behind J-E Berendt's 'Jazz Meets the World' series Maximilian Hendler: Jazz oder nicht Jazz? Torsten Eßer: Jazz in Lateinamerika – eine periphere Erscheinung? Wolfram Knauer: Blowin' Up a (European) Storm. Stanko / Rava / Beckett – ein Vergleich sehr unterschiedlicher Trompetenstimmen im europäischen Jazz Günther Huesmann: "Tokyo Operations" - John Zorn und der japanische Traditionsbegriff Gerhard Putschögl: Zu den Wechselwirkungen zwischen Jazz / afroamerikanischer Musik und Flamenco Nuevo in zeitgenössischen Stilformen spanischer Musik Timothy R. Mangin: Cosmopolitan Roots: Jazz in Senegal Silvia Kurschus: Die gegenwärtigen Jazzszenen in Berlin und Rom. Jazz tradition versus cultural background. "Melting Pot" oder "Salat Bowl"? Ralf Dombrowski: Das Originelle und das Originale. T