Era Medieval Legends __HOT_

Imitation in Writingis a curriculum that teaches students to write by giving students simple stories to retell in their own words. Students are given step-by-step instructions on how to outline, retell, and edit their retellings of classic fables, myths, and legends.

This book features twenty-three Medieval Fables. Some of them you may know, such as the stories of Beowulf, Arthur, and St. George, and others will show you medieval myths and legends that you never heard of, such as the stories of Roland and Siegfried.

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"For past few years I've lived in the land of medieval sounds, instruments and scales and I must say ERA II was perfect addition to my folk arsenal in The Witcher 3: Wild Hunt. It's versatility, authenticity and great detail in sound still amazes me. It's enough to say The Witcher 3 soundtrack wouldn't be the same without ERA II. Thank you Eduardo!"

ERA II takes you on a distant journey into the medieval world, deeper than ever. Eduardo Tarilonte, creator of award-winning libraries such as Forest Kingdom, Desert Winds, Epic World and Shevannai, presents the considerably expanded version of the first edition of ERA Medieval Legends. ERA II offers an even more comprehensive selection of historic instruments. This library holds the perfect instruments for film- and television soundtracks with historical background, fantasy-games as well as folk-music, medieval-rock and related compositions.

ERA II pursues the goal of capturing the musical atmosphere and sound aesthetics of the medieval, porting these old times into the computer-based production environment. The carefully programmed user interface of the Engine-Player makes this library easy to use, allowing the sounds of ERA II to inspire and unfold the musician's full creativity. ERA II is just like an exciting fantasy-novel, taking musicians and composers on a journey into dark and long forgotten times.

ERA II is well suited for different styles and genres ranging from medieval scores with authentically sounding instruments to fantasy-music, soundtracks and new-age-spheres. The sounds of ERA II are absolutely unique and cannot be found in any other library. It holds an overwhelming selction of instruments, sounds and soundscapes that provide musicians with a complete sonic compendium, leaving no sound to be desired.

Keeping it real

While a collection of authentic medieval instruments won't be to everyones's tastes or requirements, there's little doubt that Era perfectly fills a gap in respect to sensitively sampled authetic music instruments. Those of a more creative persuasion will undoubtedly see the musical potential behind the sounds included especially given the detail and expression behind their sampling and mapping, and for instance inspiration, the Sound Design collection is a great additional resource to an otherwise pletiful collection of instruments. MTM

The medieval period lasted from the fifth to fifteenth centuries in the history of Europe. It began with the fall of the Western Roman Empire and culminated with the Renaissance and the age of discovery.

Robin Hood was a heroic outlaw depicted in English folklore. According to the legends, he was a swordsman and archer. There were various versions of Robin Hood, one legend depicted that he fought in the Crusades before returning to England.

The predecessor of the medieval bestiary, known as Physiologus, depicted a unicorn trapped by a maiden (Virgin Mary). The unicorn stood for incarnation and upon seeing her, laid its head on her lap and fell asleep.

I was thinking about this as I was reading through the Two Lives of Charlemagne, comparing the more realistic contemporary biography of someone who lived with Charlemagne, vs the more fantastical legends of someone who came 100 years after his death.

Home to the legendary Robin Hood and with a longstanding history of rebellion within Nottingham Castle, the three-day medieval weekend will showcase cave tours, a medieval encampment, have-a-go archery and a meet and greet by Robin Hood himself!

It will include the Lincolnshire medieval re-enactment society, Knights of Skirbeck, that provides a unique blend of living history and entertainment across Lincolnshire, Nottinghamshire, Norfolk and throughout the UK since 2008.

Blood libel refers to the bizarre and false allegation that Jewish people kidnapped Christian children and used their blood in religious ceremonies. This was actually an extremely prevalent myth, and it lead to an unimaginable amount of prejudice and violence against Jewish communities in Europe throughout the medieval period. It also is the root of many anti-Semitic myths that exist today. Historians believe that the wave of accusations started in England in 1144 after a little boy in Norwich was found dead with visible stab wounds. Thomas of Monmouth, a Christian monk, claimed that every year Jewish leadership would meet up in a single location and sacrifice a Christian child to ensure their return to the Holy Land. Similar accusations occurred within the proceeding decade across England, and people began attacking Jewish people who dared to appear in public. The violent attacks became all-out massacres. Historians estimate that thousands of Jewish people were massacred due to baseless blood libel accusations. After decades of bloodshed, Edward I expelled all of the Jews from England. Unfortunately, similar accusations started occurring across the entire European continent. As a result, massacres and progroms against Jewish communities throughout Europe became normal for the subsequent centuries. Many anti-Semitic rumors and conspiracy theories have roots in this prevalent and very harmful medieval myth.

Medievalists have played a key role in this investigation by studying a major source of information for animal studies, the medieval bestiary. Medieval iconography used animals and mythical beasts in abundance. They are found in numerous media such as seals, coats of arms, sculptures, architectural elements, and illustrations. Beasts spread across church interior walls, stained-glass, and bas-reliefs served as a teaching device for the illiterates in medieval society. They were also used in medieval songs, proverbs, and even as swear words!

Beasts became prominent allegorical figures in the Middle Ages. Studying animals in medieval iconography allows us to understand the connections between the animal world, men, women, and society in general.

Bestiaries are written sources that help us to understand the popular animal stories that were spread throughout Europe during the Middle Ages. The medieval bestiary was a type of illuminated manuscript, composed of descriptions and illustrations showing real and imaginary beasts inspired by Christian morals and allegories.

The unicorn trapping scene was interpreted through the lens of the Christian faith; the Virgin, and Jesus Christ were embodied by the animal. Its flesh was sometimes pierced by a spear, recalling the Passion of Jesus. Unicorns were then portrayed as we picture them today: small white horses with a long single twisted horn on their forehead. They became a symbol of purity and were hunted for the supposedly healing and purifying powers of their horns. In reality, the booming medieval trade in narwhal horns sold as unicorn horns, strengthened the legend.

The bestiary should not be considered proof that the Middle Ages was a time of ignorance. Instead, it is a precious source of information regarding medieval beliefs. We should also bear in mind that the use of beasts as characters was an effective way to share ideas, values, and knowledge with a population that was mostly illiterate.

It is pointless to try to identify each of the strange beasts described in the bestiaries or to point out each truth or falsehood. Instead, bestiaries should represent remarkable tools to study the lives of medieval men and women, and how they comprehended their world.

Era: Medieval Legends goes further than ever before, with its 10GB collection of over 11,000 24-bit samples focusing on knights of old, fair princesses and dragons. Despite its many fantasy sound-design elements, including over a hundred atmospheric soundscapes, atmospheres and incidental effects (preset names such as Dead Village, Before The Battle and Evil Magic instantly set the scene), Era also has at its heart a wonderful and most realistic collection of 45 medieval wind, string and percussion instruments that simply ooze character, each featuring deep sampling, round-robin variations and real legato and portato (carried) phrasing.

The GUI, once again, looks gorgeous, this time based on a highly stylised medieval manuscript with extensive metal embellishments, although I do think the graphic designer has sacrificed some clarity in the process, as the cursive-script control labels are sometimes tricky to read. Fortunately, once you load in any of these instruments, they are so expressive and easy to play that any GUI niggles are forgotten.

The wind section starts with a quartet of renaissance recorders (soprano, alto, tenor and bass), supplemented by a traditional soprano recorder and wooden flute, and a gemshorn (similar to the ocarina in tone). The default legato mode incorporates both smooth portato phrasing and legato at higher MIDI velocities, while keyswitching lets you flip from these to staccato, mordent or trill modes. Since early wind instruments have a tendency to sound more strident in the upper registers, there's also a dynamic curve correction option that adds a little compression at the top end, and while vibrato isn't a feature of medieval playing, that's also available as an option. This wonderful level of detail sets the trend for the remainder of the wind section, switching to reeds and offering stirring bagpipes, a strident crumhorn consort, shawms and a selection of war horns, including chromatic notes and phrases. be457b7860