manu/mldr-zoomed-100char-total-queries-documents

chunk_id stringlengths 3 9	chunk stringlengths 1 100
141_35	water for irrigation is reducing the level of the lake and is the subject of concern in Kenya.
141_36	Fishing in the lake is also another source of employment and income for the local population. The
141_37	lake varies in level greatly and almost dried up entirely in the 1890s. Lake levels in general
141_38	follow the rainfall pattern in the catchment area.
141_39	Lake Naivasha, once described as the Jewel in the Crown of all the East African lakes, has in
141_40	recent decades been subjected to a series of devastating human pressures, not least the
141_41	establishment of a vast horticulture and agriculture industry along its shorelines, but also the
141_42	ever-increasing inflows of nutrients from siltation, sewage and other effluents emanating from a
141_43	lakeside human population now approaching a million people.
141_44	In 1981, the first geothermal plant for Lake Naivasha was commissioned and by 1985, a total of 45
141_45	MW of electricity was being generated in the area.
141_46	The water level for Lake Naivasha reached a low of 0.6 m depth in 1945,
141_47	but the water level rose again, with minor drops, to reach a maximum depth of nearly 6 m in 1968.
141_48	There was another major decline of the water level in 1987, when the depth reached 2.25 m above the
141_49	lake bottom. The decline of the lake water level in 1987 increased concern in the future of
141_50	geothermal industry, and it was speculated that Lake Naivasha underground water might be feeding
141_51	the geothermal reservoir at Olkaria. Hence, the decline in the lake water would affect the future
141_52	of the geothermal industry.
141_53	References External links AFP-TV report about the lake drying up
141_54	Lakes of the Great Rift Valley Lakes of Kenya Endorheic lakes of Africa Lake Naivasha
141_55	Lake Naivasha Lake Naivasha
142_0	Antonio Buonomo (born in Naples in 1932) is an Italian composer, solo percussionist and music
142_1	educator. Professor of percussion at the conservatories of "S.Pietro a Majella in Naples" of
142_2	Naples and "S.Cecilia" of Rome, Antonio Buonomo's professional experience includes performing as
142_3	timpani soloist in various orchestras (such as the "San Carlo" of Naples and "La Fenice" of Venice)
142_4	and director of one of Europe's first all-percussion instrument groups. His many compositions and
142_5	transcriptions for percussion instruments have been published by the main houses of this sector and
142_6	include teaching materials as well as music for plays and television documentaries. They have been
142_7	performed for the occasion of prestigious avant-garde musical events, television and radio programs
142_8	as well as in public concerts.
142_9	Biography
142_10	In the preface to his biography Antonio Buonomo says that “Being born into a family of musicians
142_11	doesn't give you much choice”.
142_12	The fifth of ten children, he began studying music before he even knew how to read or write. He was
142_13	already performing at the age of 12 (as a conservatory student), playing the trumpet and drums with
142_14	his father in many nightclubs in Naples in front of an audience of American soldiers from the
142_15	Allied Forces. A career that was built on “coming up through the ranks” and playing just about any
142_16	musical genre, from popular music and marching bands to jazz and contemporary music.
142_17	“His career is immense and he has come a long way” as Il Centro (Abruzzo's newspaper) wrote. He was
142_18	director of one of the first contemporary rhythmic music bands and professor at the conservatories
142_19	N.Piccinni in Bari, S.Pietro a Majella in Naples, Luisa D'Annunzio in Pescara and Santa Cecilia in
142_20	Rome. His didactic works were used as exams in national and international competitions and were
142_21	adopted by high musical culture institutions in Italy and abroad.
142_22	He has held seminars and specialization courses on an international level, training an entire
142_23	generation of musicians with his method that are now featured soloists in illustrious orchestras
142_24	and conservatory professors.
142_25	Antonio Buonomo has to be given the credit of being the first one in Italy ever to prove that
142_26	percussion instruments had a life of their own, since they include all parameters of the triple
142_27	music root: rhythm, melody and harmony. So, these instruments were not (as many people used to
142_28	think) a rhythm section to accompany other instruments or to simulate weather phenomena such as
142_29	thunders or storms.
142_30	He continued his cultural operation until percussion courses were established inside Italian
142_31	conservatories. He carried it out by writing ad hoc compositions and participating in radio and TV
142_32	programs, as well as by playing pieces for percussion, that had never been performed in Italy,
142_33	during the concerts he conducted.
142_34	Having achieved great success among young people through daily concerts that were even held in
142_35	schools (from middle schools to universities), in 1975 he recorded the first classical, pop and
142_36	contemporary all-percussion Italian music record in which he gathered the outcome of his studies
142_37	and ideas.
142_38	He became much more popular as his artistic commitment grew, of course. Italy's most influential
142_39	newspaper, the Corriere della Sera, printed the following in November 1987: “He is a real authority
142_40	on rhythm: as an internationally known percussionist and virtuoso, Antonio Buonomo is a versatile
142_41	and passionate teacher who has published many works on his favorite subject, from pure percussion
142_42	technique and rhythm perspectives.”
142_43	The most significant steps of his career, during which he has known and has collaborated with music
142_44	legends like Stravinsky, Hindemith and others, can be summarized as follows:
142_45	he has participated in major European festivals, like the International Contemporary Music
142_46	Festival at the Venice Biennial (1960/61) and the Edinburgh International Festival (1963);
142_47	he participated in the Italy on Stage in New York City with Irene Papas (1986);
142_48	solo performances of contemporary music premiered in Italy; tours outside of Europe.
142_49	In 1983, the Minister of Public Education invited him to be part of the commission that drafted the
142_50	program for percussion and solfège study for percussionists; he was called by the Opera Theatre in
142_51	Rome during the Jubilee year to act as assistant conductor and music consultant, contributing to
142_52	the creation of the Missa Solemnis pro Jubileo, by Franco Mannino, which had its world premiere at
142_53	the Colosseum.
142_54	His debut as author, together with his brother Aldo, dates back to 1965 with L’arte della
142_55	percussione (The art of the percussion): the first European treatise, in three volumes (with
142_56	guiding records) on classical, jazz and African-Latin-American percussion. It was a huge
142_57	international success and probably the first time that an American publisher (Leeds Music
142_58	Corporation in New York) showed an interest for Italian didactic books, requesting editor
142_59	Suvini-Zerboni they be translated into English.
142_60	Books
142_61	1965 - Aldo and Antonio Buonomo - L’Arte della percussione (The art of the percussion) - three
142_62	volumes Suvini-Zerboni editions SZ6361/a - 6361/b - 6361/c;
142_63	1967 - Aldo and Antonio Buonomo - 'Il batterista autodidatta (Self-taught drum playing) -
142_64	Suvini-Zerboni editions SZ 661;
142_65	1969 - Aldo and Antonio Buonomo - La tecnica del vibrafono (The technique of the vibraphone) -
142_66	Suvini-Zerboni editions SZ 6882;
142_67	1973 - Aldo and Antonio Buonomo - Studi d’orchestra from Beethoven to Stockhausen - Suvini-Zerboni
142_68	editions SZ698;
142_69	1979 - Antonio Buonomo - Musica d’insieme per strumenti a percussione (Collective music) - Curci
142_70	editions EC10314;
142_71	1982 - Antonio Buonomo - Il suono della percussione (The sound of percussion) - Curci editions EC
142_72	10503;
142_73	1989 - Antonio Buonomo Clara Perra - La musica tra ritmo e creatività (Music between rhythm and
142_74	creativity) - 2 volumes Curci editions EC 10644 EC 10645;
142_75	1991 - Antonio Buonomo - Timpani* (study and application of fundamental techniques) - Curci
142_76	editions EC 10894;
142_77	1996 - Antonio Buonomo - Sapere per suonare (Music theory) - Curci edition ;
142_78	1998 - Antonio Buonomo - The Marimba* (Grip, sound, technique) - Curci editions EC 11299;

141_35

water for irrigation is reducing the level of the lake and is the subject of concern in Kenya.

141_36

Fishing in the lake is also another source of employment and income for the local population. The

141_37

lake varies in level greatly and almost dried up entirely in the 1890s. Lake levels in general

141_38

follow the rainfall pattern in the catchment area.

141_39

Lake Naivasha, once described as the Jewel in the Crown of all the East African lakes, has in

141_40

recent decades been subjected to a series of devastating human pressures, not least the

141_41

establishment of a vast horticulture and agriculture industry along its shorelines, but also the

141_42

ever-increasing inflows of nutrients from siltation, sewage and other effluents emanating from a

141_43

lakeside human population now approaching a million people.

141_44

In 1981, the first geothermal plant for Lake Naivasha was commissioned and by 1985, a total of 45

141_45

MW of electricity was being generated in the area.

141_46

The water level for Lake Naivasha reached a low of 0.6 m depth in 1945,

141_47

but the water level rose again, with minor drops, to reach a maximum depth of nearly 6 m in 1968.

141_48

There was another major decline of the water level in 1987, when the depth reached 2.25 m above the

141_49

lake bottom. The decline of the lake water level in 1987 increased concern in the future of

141_50

geothermal industry, and it was speculated that Lake Naivasha underground water might be feeding

141_51

the geothermal reservoir at Olkaria. Hence, the decline in the lake water would affect the future

141_52

of the geothermal industry.

141_53

References External links AFP-TV report about the lake drying up

141_54

Lakes of the Great Rift Valley Lakes of Kenya Endorheic lakes of Africa Lake Naivasha

141_55

Lake Naivasha Lake Naivasha

142_0

Antonio Buonomo (born in Naples in 1932) is an Italian composer, solo percussionist and music

142_1

educator. Professor of percussion at the conservatories of "S.Pietro a Majella in Naples" of

142_2

Naples and "S.Cecilia" of Rome, Antonio Buonomo's professional experience includes performing as

142_3

timpani soloist in various orchestras (such as the "San Carlo" of Naples and "La Fenice" of Venice)

142_4

and director of one of Europe's first all-percussion instrument groups. His many compositions and

142_5

transcriptions for percussion instruments have been published by the main houses of this sector and

142_6

include teaching materials as well as music for plays and television documentaries. They have been

142_7

performed for the occasion of prestigious avant-garde musical events, television and radio programs

142_8

as well as in public concerts.

142_9

Biography

142_10

In the preface to his biography Antonio Buonomo says that “Being born into a family of musicians

142_11

doesn't give you much choice”.

142_12

The fifth of ten children, he began studying music before he even knew how to read or write. He was

142_13

already performing at the age of 12 (as a conservatory student), playing the trumpet and drums with

142_14

his father in many nightclubs in Naples in front of an audience of American soldiers from the

142_15

Allied Forces. A career that was built on “coming up through the ranks” and playing just about any

142_16

musical genre, from popular music and marching bands to jazz and contemporary music.

142_17

“His career is immense and he has come a long way” as Il Centro (Abruzzo's newspaper) wrote. He was

142_18

director of one of the first contemporary rhythmic music bands and professor at the conservatories

142_19

N.Piccinni in Bari, S.Pietro a Majella in Naples, Luisa D'Annunzio in Pescara and Santa Cecilia in

142_20

Rome. His didactic works were used as exams in national and international competitions and were

142_21

adopted by high musical culture institutions in Italy and abroad.

142_22

He has held seminars and specialization courses on an international level, training an entire

142_23

generation of musicians with his method that are now featured soloists in illustrious orchestras

142_24

and conservatory professors.

142_25

Antonio Buonomo has to be given the credit of being the first one in Italy ever to prove that

142_26

percussion instruments had a life of their own, since they include all parameters of the triple

142_27

music root: rhythm, melody and harmony. So, these instruments were not (as many people used to

142_28

think) a rhythm section to accompany other instruments or to simulate weather phenomena such as

142_29

thunders or storms.

142_30

He continued his cultural operation until percussion courses were established inside Italian

142_31

conservatories. He carried it out by writing ad hoc compositions and participating in radio and TV

142_32

programs, as well as by playing pieces for percussion, that had never been performed in Italy,

142_33

during the concerts he conducted.

142_34

Having achieved great success among young people through daily concerts that were even held in

142_35

schools (from middle schools to universities), in 1975 he recorded the first classical, pop and

142_36

contemporary all-percussion Italian music record in which he gathered the outcome of his studies

142_37

and ideas.

142_38

He became much more popular as his artistic commitment grew, of course. Italy's most influential

142_39

newspaper, the Corriere della Sera, printed the following in November 1987: “He is a real authority

142_40

on rhythm: as an internationally known percussionist and virtuoso, Antonio Buonomo is a versatile

142_41

and passionate teacher who has published many works on his favorite subject, from pure percussion

142_42

technique and rhythm perspectives.”

142_43

The most significant steps of his career, during which he has known and has collaborated with music

142_44

legends like Stravinsky, Hindemith and others, can be summarized as follows:

142_45

he has participated in major European festivals, like the International Contemporary Music

142_46

Festival at the Venice Biennial (1960/61) and the Edinburgh International Festival (1963);

142_47

he participated in the Italy on Stage in New York City with Irene Papas (1986);

142_48

solo performances of contemporary music premiered in Italy; tours outside of Europe.

142_49

In 1983, the Minister of Public Education invited him to be part of the commission that drafted the

142_50

program for percussion and solfège study for percussionists; he was called by the Opera Theatre in

142_51

Rome during the Jubilee year to act as assistant conductor and music consultant, contributing to

142_52

the creation of the Missa Solemnis pro Jubileo, by Franco Mannino, which had its world premiere at

142_53

the Colosseum.

142_54

His debut as author, together with his brother Aldo, dates back to 1965 with L’arte della

142_55

percussione (The art of the percussion): the first European treatise, in three volumes (with

142_56

guiding records) on classical, jazz and African-Latin-American percussion. It was a huge

142_57

international success and probably the first time that an American publisher (Leeds Music

142_58

Corporation in New York) showed an interest for Italian didactic books, requesting editor

142_59

Suvini-Zerboni they be translated into English.

142_60

Books

142_61

1965 - Aldo and Antonio Buonomo - L’Arte della percussione (The art of the percussion) - three

142_62

volumes Suvini-Zerboni editions SZ6361/a - 6361/b - 6361/c;

142_63

1967 - Aldo and Antonio Buonomo - 'Il batterista autodidatta (Self-taught drum playing) -

142_64

Suvini-Zerboni editions SZ 661;

142_65

1969 - Aldo and Antonio Buonomo - La tecnica del vibrafono (The technique of the vibraphone) -

142_66

Suvini-Zerboni editions SZ 6882;

142_67

1973 - Aldo and Antonio Buonomo - Studi d’orchestra from Beethoven to Stockhausen - Suvini-Zerboni

142_68

editions SZ698;

142_69

1979 - Antonio Buonomo - Musica d’insieme per strumenti a percussione (Collective music) - Curci

142_70

editions EC10314;

142_71

1982 - Antonio Buonomo - Il suono della percussione (The sound of percussion) - Curci editions EC

142_72

10503;

142_73

1989 - Antonio Buonomo Clara Perra - La musica tra ritmo e creatività (Music between rhythm and

142_74

creativity) - 2 volumes Curci editions EC 10644 EC 10645;

142_75

1991 - Antonio Buonomo - Timpani* (study and application of fundamental techniques) - Curci

142_76

editions EC 10894;

142_77

1996 - Antonio Buonomo - Sapere per suonare (Music theory) - Curci edition ;

142_78

1998 - Antonio Buonomo - The Marimba* (Grip, sound, technique) - Curci editions EC 11299;