BEMFBoston Early Music Festival
BEMFBack Electromotive Force
BEMFBiological Electron Microscope Facility (Pacific Biosciences Research Center, University of Hawaii)
BEMFBoise Experimental Music Festival (Idaho)
BEMFBadan Eksekutif Mahasiswa Fakultas (Indonesian: Faculty Executive Board; various universities; Indonesia)
BEMFBirmingham Early Music Festival (Birmingham, UK)
BEMFBureau Export de la Musique Française (French: French Music Export Office)
References in periodicals archive ?
shows the equivalent circuit of the motor with coils B and C driven while coil A is undriven and available for BEMF measurement.
The BEMF eliminates the time wasted by fixed-delay systems, since it ensures that machine access is permitted as soon as the run-down is complete.
BEMF codirectors Stephen Stubbs and Paul O'Dette on lutes enrich the continuo of the small orchestra, making; it fuller and darker to express beautifully the tragedy and grief of Blow's descending lines.
This force is measured by sensors in the BEMF unit.
Forsythe has performed in numerous BEMF opera productions and is a rising international star.
Boston gave these roles their full measure by casting two reigning dive of the Baroque: England's Carolyn Sampson in the title role and Canada's Karina Gauvin--a BEMF favorite--as the jealous goddess whose miscalculated attempt to serve her rival for the world's admiration an Olympian come-uppance sets the plot in motion.
Dido and Aeneas will be led by three-time Grammy-nominated BEMF Artistic Co-Directors Paul O'Dette and Stephen Stubbs; along with Stage Director Gilbert Blin; Costume Designer Anna Watkins; and Choreographer Melinda Sullivan.
BEMF usually makes good use of Canadian singers, and Thesee is no exception.
BEMF Artistic Co-Directors Paul O'Dette and Stephen Stubbs are joined by Stage Director Gilbert Blin, Choreographer Lucy Graham, and Costume Designer Anna Watkins for this elegant double-bill featuring unforgettable singing, lush costumes, splendid dancing, and the romance of 17th-century story-telling.
Her first appearance with the BEMF in 2003 was in the title role of another neglected Baroque masterpiece, Johann Georg Conradi's Ariadne.
Nothing, however, could intrude on the celestial sound world magically evoked in the premiere of Nigel Osborne's BEMF commission, Angel-nebulae.
As the centerpiece of this week-long celebration of the Baroque, BEMF presented five fully-staged performances of Die schone und getreue Ariadne (The beautiful and faithful Ariadne), by the obscure German composer Johann Georg Conradi (d.