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The New Order (Indonesian: Orde Baru, abbreviated Orba) describes the regime of the second Indonesian President Suharto from his rise to power in 1966 until his resignation in 1998. Suharto coined the term upon his accession and used it to contrast his presidency with that of his predecessor Sukarno (retroactively dubbed the "Old Order" or Orde ...
Like the 1816 "Angels from the Realms of Glory", the lyrics of "Angels We Have Heard on High" are inspired by, but not an exact translation of, the traditional French carol known as "Les Anges dans nos campagnes" ("the angels in our countryside"), whose first known publication was in 1842. [3] The music was attributed to "W. M.".
The Liberal Democracy period in Indonesia (Indonesian: Demokrasi Liberal), also known as the Era of Parliamentary Democracy, was a period in Indonesian political history, when the country was under a liberal democratic system. During this period, Indonesia held its first and only free and fair legislative election until 1999, but also saw ...
In October 1965, students in Jakarta formed KAMI (Kesatuan Aksi Mahasiswa Indonesia, Indonesian Students Action Front), which called for the banning of the PKI. [27] It was soon joined by a host of similar organisations made up of high school students, workers, artists and labourers and the like.
Guided Democracy (Indonesian: Demokrasi Terpimpin), also called the Old Order (Indonesian: Orde Lama), was the political system in place in Indonesia from 1959 until the New Order began in 1966. This period followed the dissolution of the liberal democracy period in Indonesia by President Sukarno , who centralized control in the name of ...
A variation of this tune, "Gloria", is used for the American carol Angels We Have Heard on High. Sometimes the original "Gloria in excelsis Deo" refrain from the French carol is sung in place of Montgomery's lyric: "Come and worship Christ the new-born King". In the United States, "Regent Square" is the most common tune for this carol. [1]
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...