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http://www2.surrey.ac.uk/undergraduate/dance-culture-and-choreography | 2013-12-13T04:40:43 | s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164858282/warc/CC-MAIN-20131204134738-00067-ip-10-33-133-15.ec2.internal.warc.gz | 0.924612 | 2,125 | CC-MAIN-2013-48 | webtext-fineweb__CC-MAIN-2013-48__0__126968831 | en | Dance at the University of Surrey has a great variety of modules compared to other dance degrees available. I was drawn to the mix of dance techniques and diverse theory modules, which allowed me to expand my knowledge and then tailor my studies to particular interests.
On our unique Dance, Culture and Choreography degree programme you experience and interrogate dance as an embodied practice that is embedded in our contemporary globalised culture. You encounter a broad range of contemporary dance practices, including somatic and body work, release-based techniques and fusion styles of South Asian and African dance. In a combination of practice and theory you study the histories, influences and contexts of dance in Western and non-Western cultures, past and present.
Our rich and varied programme gives you the vital knowledge and competence for a professional career as a dance teacher in education, a dance manager in the creative industries, a reflective dance artist or a dance researcher and scholar. The programme offers a broad range of contemporary dance practices and explicitly welcomes differently abled bodies.
Almost 30 years ago Surrey was the first university to set up an academic dance department. Since then we have continued to build on our reputation as an internationally leading centre for dance research. Our unique pedagogic approach rejects the artificial separation of ‘practice’ and ‘theory’, and instead develops your understanding of dance as a diverse, complex and dynamic cultural practice where moving and thinking simply cannot be separated.
You are taught by our team of world-leading international experts whose research includes contemporary European dance and dance theatre, African and South Asian dance, dance in popular culture, digital arts and film, movement analysis and choreography, dance dramaturgy, dance management and dance facilitation.
You study within the vibrant creative environment of the Surrey School of Arts, which, along with dance, includes theatre, film and music, as well as the Guildford School of Acting (GSA), the Digital World Research Centre and the Lewis Elton Gallery.
Our unique Dance, Culture and Choreography programme offers both three-year and four-year degree pathways, the latter including the highly regarded Professional Training placement year. As you progress through your studies you will encounter a range of perspectives and approaches to dance, from various dance practices to movement analysis and choreography, dance history and cultural studies, dance management and dance facilitation. This will provide you with a broad and deep knowledge of dance.
Students following the four-year degree participate in the Professional Training Year (PTY), during which you benefit from a unique mentoring scheme in an internationally or nationally renowned organisation, where work-specific techniques are enhanced by transferable skills in professional communication, organisational strategies and critical reflection.
With the opportunity to specialise in the final year of your studies, you will be perfectly prepared for your career in dance education, arts management, creative practice and further dance study and research.
Other than the PTY element, all modules are shared between both the three-year and four-year degree programmes.
Dance and context
Year 1 provides you with an introduction to key skills in dance studies. You develop new learning skills in academic study and you get started in creative research into contemporary dance practices. You explore your own body as a source for solo choreography and movement analysis, examine the role of dance in culture and society, and encounter the foundations of somatic body work and release-based techniques.
• Contemporary Dance Practices I
• Movement Analysis and Notation
• The Body in Dance: Theory and Aesthetics
• Dance Management and Facilitation
Dance and the creative industries
In Year 2, you begin to make and develop work, exploring dance and its relationship to the creative industries and arts sector. You engage with dance history, dance policy and politics, choreography and dramaturgy, movement analysis and devising performance, and you further develop your professional dance practice. We work closely with external partners, companies and organisations to offer you the opportunity to follow a performance project from inception to completion.
• Contemporary Dance Practices II
• Dance and Theatre in the 20th Century
• Dance and the Creative Arts Industries in Britain
• Professional Project
• Dance, Film and Digital Arts
If you choose to undertake a Professional Training Year placement, you will work with an established dance organisation, based within the United Kingdom or internationally. You may choose to specialise in a particular area of dance, for example within dance management, community dance or dance company education, but whatever your specialism you will find yourself involved in a wide variety of activities.
Dance and professional practice
Year 3 offers you further opportunities to specialise in your chosen career direction and to develop your professional profile. You concentrate, through independent research and a final dissertation project, on your expertise in choreography, dance education, arts management, movement analysis and somatic practice or other areas. In addition to a range of module options, the final year enhances your overall proficiency in independent creative research and critical reflection, and provides opportunities for collaboration with students across the School of Arts.
• Contemporary Dance Practices III
• Advanced Independent Project
• Researching Dance
• Dissertation Project
Optional modules include:
• Dance and Globalization
• Interdisciplinary Collaboration (Music, Theatre, Film)
• Professional Practices
• Choreographic Writing
Our unique and optional Professional Training Year gives you the chance to apply your knowledge and understanding in the context of a year-long placement, and thereby build your experience in a professional dance environment with high-quality mentoring and support from experienced placement hosts.
A pioneer in integrated professional training, the University has operated its placement scheme in partnership with industry and professional bodies for the last 40 years. Employers interviewing graduates have been impressed by the maturity and professionalism of those with placement experience. Although dance students do not usually receive a salary, they are normally paid a bursary by their employer.
Organisations and companies that have participated in the scheme include Northern Ballet Theatre, Rambert Dance Company, Sadler's Wells, South East Dance and Birmingham Royal Ballet.
You will have practical classes, lectures, seminars and tutorials. Performance and choreography modules have higher class-contact time, while classroom-based modules have fewer contact hours but require independent study where you read, research, write and prepare work in your own time. You have the opportunity to develop computing skills using our E-Learning facilities, in addition to word-processing, spreadsheet and database packages.
You are also able to participate in dance classes, events, performances, seminars and residencies on campus, including extracurricular classes in Guildford School of Acting’s evening programme. These are open not only to students studying Dance, Culture and Choreography, but also to the wider University and the general public. This provides you with a lively and challenging dance environment.
Modules are assessed in a format that is most suited to the content and structure of each. We therefore use a variety of assessment methods, such as essays, portfolios, seminar presentations, lecture demonstrations and performances.
Our Dance degree programmes are well resourced and include the PATS dance studio and the state-of-the-art Ivy Arts Centre. The campus is home to a unique archive, the National Resource Centre for Dance, and the School of Arts.
You have the opportunity to spend time abroad on a work placement in a foreign country or studying at one of our partner universities. These include the North Carolina State University and the universities of Florida and Cincinnati in North America. Additionally we operate exchanges with La Trobe University and Monash University in Melbourne, Australia.
The benefits of working or following courses abroad are numerous. You are exposed to a different culture with its language and its traditions which broaden your horizons in terms of knowledge but also in terms of employment opportunities.
Graduates of our Dance and Culture degree programme are currently employed in performance and choreography, education (including private, secondary, further and higher education), community dance settings including arts centres and arts and dance projects, theatre management, dance company education, public relations and marketing. Dance graduates have received employment in some of the foremost dance institutions in the UK, including Greenwich Dance Agency, Shobana Jeyasingh Dance Company, The Place Theatre and the English National Ballet.
Our graduates have an excellent track record in securing places on MA and PGCE courses in dance and related subjects. Over the last few years, Surrey Dance students have gone on to careers such as:
• West London Partnership/Surrey County Council – Graduate Dance Teacher
• Royal Opera House – Education Department
• Independent Dance – Administrator
• King Edward VI School – Dance Teacher
• East London Dance – Project Co-ordinator
• Ludus Dance Agency – Project Manager
• Self-employed – Ballet Teacher
• Dance School, Maya Sofou, Athens – Dance Teacher
• Rambert Dance Company – Development Officer
• Arts Strategy, Arts Council – Assistant Officer
• Greenwich Dance Agency – Programme Co-ordinator
• South East Dance – Programme Producer
• The Place – Education Officer
• Laban – Education Officer
We offer a range of bursaries, scholarships and other financial support.
There are no specific subject requirements. Dance at either A or AS-level (or equivalent) is preferable.
GCSE English Language and Mathematics at grade C or above (or equivalent).
Offers are normally made in terms of grades. Suitable candidates may be invited for an audition and interview. During the visit to the University the candidate can find out more about the programme and meet staff and students.
Non-native speakers of English will normally be required to have IELTS 6.5 or above, with a minimum of 6.0 in each sub-skill (or equivalent).
We offer intensive English language pre-sessional courses, designed to take you to the level of English ability and skill required for your studies here.
|Qualification||Course Length||Professional Training||UCAS code||KIS code|
|BA (Hons)||3 years||PPM3||View KIS data set|
|BA (Hons)||4 years||PPM4||View KIS data set|
Find out how and when to apply to study at Surrey.
Emily Labhart, BA Dance and Culture with Professional Training, talks about her Professional Training placement year at Sadler's Wells | music_and_dance |
https://925kissfm.iheart.com/calendar/content/2023-07-29-fall-out-boy-so-much-for-tour-dust-with-special-guests/ | 2023-05-29T19:09:57 | s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224644907.31/warc/CC-MAIN-20230529173312-20230529203312-00123.warc.gz | 0.940503 | 1,098 | CC-MAIN-2023-23 | webtext-fineweb__CC-MAIN-2023-23__0__246531937 | en | Show – Fall Out Boy – So Much For (Tour) Dust
Support- Bring Me The Horizon, Royal & the Serpent, and Games We Play
Date –July 29, 2023
Venue – Pine Knob Music Theatre
Ticket Link: https://www.ticketmaster.com/event/08005E3BD7406910
Grammy® Award-nominated and multi-platinum selling rock band Fall Out Boy is set to hit the road this summer with their 2023 headline tour So Much For (Tour) Dust. The 25+ date North American trek will visit Pine Knob Music Theatre on Saturday, July 29 at 6:30 p.m. Bring Me The Horizon, Royal & The Serpent and Games We Play will provide support. Pine Knob Music Theatre is presented by Proud Partners United Wholesale Mortgage, Trinity Health and Ally.
The tour will kick off with a show of epic proportions at Chicago’s famed Wrigley Field on June 21 before continuing through cities like St. Louis, Dallas, Phoenix, Atlanta, Toronto, and concluding in Camden, NJ on August 6.
In addition to Wrigley Field, So Much For (Tour) Dust includes three more stadium stops: BMO Stadium in Los Angeles, Forest Hills Stadium in New York and Fenway Park in Boston. Complete routing is available below.
So Much For (Tour) Dust, presented by Live Nation, is in support of Fall Out Boy’s forthcoming new album So Much (For) Stardust, which arrives March 24, 2023 on Fueled By Ramen/Elektra/DCD2 Records. The record was produced by Neal Avron. Pre-order So Much (For) Stardust here.
Last Wednesday, the band returned to their roots for a surprise homecoming show at Chicago’s legendary 1,000-capacity Metro – announced only two days prior, the show immediately sold out. Just down the street from Wrigley Field, the band first played the venue in September 2002, a pivotal gig that FOB’s Patrick Stump jokingly called back to for the packed crowd two decades later: “Twenty years ago, I told my mom I was going to take a semester off [college] because we were headlining Metro and I wanted to see how that would work out.” FOB’s Pete Wentz expressed the band’s enduring relationship with the venue: “Walking up those stairs is the closest thing this band will have to church.”
Variety hailed the night as a “triumphant hometown show,” noting that “there are concerts, and there are events, and a hometown show in Chicago from [Fall Out Boy] is definitely in the latter category.” Over the course of the night, the band ripped through a mix of their biggest hits and deepest cuts, with Illinois Entertainer praising the set as “taking full advantage of both the intimate venue and the loyal hometown crowd to deliver a once-in-a-decade event.”
The show also featured the live public debut of both “Love From The Other Side” (listen here) and “Heartbreak Feels So Good” (listen here), two tracks from the new album and the latter of which was released the morning of the show. The Chicago Sun-Times lauded the two tracks, noting the new material “takes all they’ve learned and accomplished the past 20 years and combines it with their unflinching roots for an ultimate glow-up.”
Prior to the show, the city was enveloped with teasing signage across city buildings and stations along the ‘L.” Foreshadowing the impending tour announcement, the marquees at Metro and Wrigley both featured curiously complimentary nods to the 1989 film Field of Dreams.
Fall Out Boy first hit the stage in 2023 with a dynamic set at iHeartRadio ALTer EGO in Los Angeles, CA on January 14, just days after officially revealing the release date for “Love From The Other Side.”
Fall Out Boy most recently co-headlined The Hella Mega Tour in July 2021 alongside Green Day & Weezer, playing live in front of over one million fans on a sold-out global stadium tour. The U.S. leg included numerous sold-out stadium gigs – including renowned venues like Wrigley Field, Boston’s Fenway Park and Los Angeles’ Dodger Stadium. Critical and fan acclaim poured in, with USA Today hailing it “the most stacked line-up of any rock tour in 2021,” Billboard noting that each night was “serving up a buffet of hits in front of one of the largest concert crowds,” and Rolling Stone calling it “wildly entertaining.” The tour was nominated for both Major Tour of the Year and Best Rock Tour at the Pollstar Awards in 2021. The international leg of the tour took place throughout the summer of 2022.
So Much (For) Stardust is Fall Out Boy’s eighth studio album and first since 2018’s M A N I A, which garnered a Grammy® nomination for Best Rock Album and marked their third consecutive and fourth overall #1 album. | music_and_dance |
http://www.thehandstand.org/archive/november2005/articles/asafsirkis.htm | 2018-12-13T03:49:28 | s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376824448.53/warc/CC-MAIN-20181213032335-20181213053835-00003.warc.gz | 0.963941 | 1,494 | CC-MAIN-2018-51 | webtext-fineweb__CC-MAIN-2018-51__0__196855235 | en | We are Falling
Jazz CD Review:
Asaf Sirkis & the Inner Noise
KCD 5150, 2005
by Rory Braddell©2005
The composer and drummer Asaf Sirkis was born in Israel in 1969. and it was there that he established his solo career. He recorded his first solo album "One Step Closer" in 1995, playing his own compositions with the "Asaf Sirkis Trio". He later developed his "Inner-Noise" project in Israel, 1997-98, but revived it after he had relocated to Britain in 1999.
The first "Inner Noise" album was recorded using a real church organ at St. Michael's church Highgate in March 2003 and was received as something fairly innovative and unusual. Sirkis, who cites Olivier Messiaen's organ music as a major influence, composed music that was not that easy to categorise into a general jazz context. His latest album "We are Falling" follows on and continues in a similar vein, also using the same line up of musicians: Asaf Sirkis on drums, Steve Lodder on keyboards and Mike Outram on guitar.
An important difference is that Lodder uses a special keyboard, fitted with base pedals similar to
those of a church organ, which makes it easier to tour and play as a group. The sustaining power of
the organ within the context of jazz, creates a sound that is very unique. The project distances itself from having a purely "jazz" identity and the classical music and rock influences are apparent.
Sirkis is quoted by Nick Lea of Jazzviews as saying: "the essence of music or non-identity in it is
most interesting for me. Not the language or the style.What I'd like to point out through music is utterly simple - I am a human being and it is only when identity stops can music begin (Jazzviews, July 2005).
When I picked up "We are Falling" for first time, I was taken with an image of asteroids printed on the front cover with an accompanying quote by Sun Ra: "This music is about another to-morrow, another kind of language .speaking things of blackness about the void, the endless void, the bottomless pit surrounding you." My first impression was reinforced by initial feelings about the music. The opening track "Another Being" reminded me of Bach's prelude in F minor, which is used at the beginning of the classic science film "Solaris". The film, created by a Russian film director Tarkovsky, is often compared to Stanley Kubrick's "2001 AD," but it is a more intense psychological journey, presenting an inward looking analysis of human nature.
The final track "Ida & Dactyl" reminded me of the end of the film, where we are presented with an image of an island in the ocean of Solaris, which seems like an endless void beyond worldly reality. Sirkis' compositions made me think of Tarkovsky's frequent references to moving water. The music, like moving water, embodies the principle of change, but also affirms the idea of a repeating cycle.
In "Another Being" there are recurring motifs, evocative of ostinato, which provide unifying
repetition. These are supported by the very low, harmonic, tones, supplied by the bass pedal, which project the music forward into space. This procedure is reminiscent of techniques used by minimalist composers like Terry Riley, Steve Reich, Philip Glass and John Adams, who experimented with tape loops and recurring fragments of melody. However, Sirkis' music is more rhythmically flexible, which gives a more open-ended impression of continuous motion. The influence of Messiaen's music is strong, and I noticed a parallel in Sirkis' music to "Quartet for the End of Time," which, coincidently, I was listening to at that time. Messiaen wrote the following forward to his work: "Modes, which produce a kind of tonal ubiquity in harmonic and melodic terms, bring the listener closer to eternity in space, to infinity. Special rhythms without any specific time signature play a powerful role in taking the listener away from the temporal sphere" This distance between the temporal and the spatial is apparent in "Galactic Citizen." The first of the two pieces combines repeating motives with melodically and rhythmically freer musical lines. This is like Messiaen's "Liturgy of Crystal, which is a combination of a harmonic modal procedure and flexible additive and non-retrogradable rhythms. I felt a similarity between the sustaining bass tones
of "Galactic Citizen" and Messiaen's harmonic chordal succession - a backdrop for a modal
melodic cycle that exists independently. These two elements have a point of reference at which they converge, but it is not musically punctuated in a traditional sense. It gives an effect of forever pulling the music into infinity, because once we have reached the end of a cycle we begin again on the same journey. At the end of "We are Falling," we have reached the end of a cycle with Ida & Dactyl. This piece reminds me of Messiaen's "In praise of the immortality of Jesus," which elaborates a lyrical violin line over a series of cyclic chords.
In Ida & Dactyl, Mike Outram's expressive guitar playing is accompanied by long, deep bass
tones. This is intensified in the second part of the track into some of the best jazz music on the album. Steve Lodder elaborates with an excellent piano solo, played in tandem with the drums, which builds up a fabulous climax. After a long silence, the music comes back with a meandering
melodic line that is briefly cut short on one final long tone that just hangs, indicating the end, but without the musical completion that we are normally used to.
The pace is stepped up on the faster tracks on the album, such as "Life Itself," which is a far more rock oriented sound. Similarly, "We are falling" also provides an opportunity for an even more intense relentless style of drumming and virtuoso solo guitar playing. This reminds me of the playing of Jimi Hendrix, Miles Davis, and more recently, the work of Nguyên Lê. These faster tracks provide opportunities for virtuosity of playing and jazz solos that intersperse the slower material giving a kinetic overall sense of musical form. They tend to draw the music on to a level that is much more formidable and energetic.
The level of musicianship on the album is very high as the group play in a very cohesive and
complimentary manner. Sirkis's drumming varies from an expressive subtlety on the slow tracks, which is maximised by timbral use of cymbals, to the tight relentless virtuosity of the faster pieces. I think that "We are Falling" is of real attraction to listeners who are interested in new sounds and the fusion of musical styles. It is a definite magnet for an audience wanting to expand their musical experience beyond the limitations of style, and it is an album that suits the individuality of modern musical taste.
Rory Braddell, October 2005 | music_and_dance |
https://english-kanazawa.com/flashcards-english/flashcards-noun/musical-instruments/ | 2023-01-30T13:38:05 | s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764499819.32/warc/CC-MAIN-20230130133622-20230130163622-00447.warc.gz | 0.680353 | 1,748 | CC-MAIN-2023-06 | webtext-fineweb__CC-MAIN-2023-06__0__297443402 | en | こちらは、「Musical Instruments」のAnswer Keyです。
- Answer Key
- musical instrument【ˌmjuːzɪkl ˈɪnstrəmənt】
- electric keyboard【ɪˌlektrɪk ˈkiːbɔːrd】
- electric guitar【ɪˌlektrɪk ɡɪˈtɑːr】
musical instrument【ˌmjuːzɪkl ˈɪnstrəmənt】
:an object used for producing musical sounds, for example a piano or a drum
:a large musical instrument played by pressing the black and white keys on the keyboard.
electric keyboard【ɪˌlektrɪk ˈkiːbɔːrd】
:a musical instrument that you hold in both hands to produce sounds.
:a musical instrument that usually has six strings and that you play with your fingers or with a plectrum
electric guitar【ɪˌlektrɪk ɡɪˈtɑːr】
:an electronically amplified guitar, used mainly in pop music
:a musical instrument with strings, which you hold under your chin and play with a bow
:a musical instrument with strings, like a large violin in shape. The player sits down and holds the cello between his or her knees.
:a musical instrument of the woodwind group, like a thin pipe in shape. The player holds it to the side of his or her face and blows across a hole at one end.
:a brass musical instrument made of a curved metal tube that you blow into, with three valves for changing the note
:a metal musical instrument that you blow into, used especially in jazz and dance music. A saxophone has a reed and belongs to the woodwind family.
:a large brass musical instrument like a tuba
:a musical instrument of the woodwind group. It is like a pipe in shape and has a double reed at the top that you blow into.
:a large brass musical instrument that you blow into, with a sliding tube used to change the note
:a large brass musical instrument that you play by blowing, and that produces low notes
:a small musical instrument that you hold against your lips and play by blowing or taking air in through it
:a musical instrument made of a hollow round frame with plastic or skin stretched tightly across one or both ends. You play it by hitting it with sticks or with your hands.
:a musical instrument made of two rows of wooden bars of different lengths that you hit with two small sticks
:a musical instrument made of a row of metal bars of different lengths, that you hit with two small hammers
:a musical instrument that has a round wooden frame, sometimes covered with plastic or skin, with metal discs around the edge. To play it you shake it or hit it with your hand.
:a musical instrument in the form of a round metal plate. It is hit with a stick, or two cymbals are hit against each other.
:musical instrument that consists of two small round pieces of wood that you hold in the hand and hit together with the fingers to make a noise. Castanets are used especially by Spanish dancers.
:a simple musical instrument that consists of a long piece of metal bent into the shape of a triangle, that you hit with another piece of metal | music_and_dance |
https://newsmint.in/art/the-nightingale-of-indian-cinema-lata-mangeshkar-turns-90-973.html | 2021-04-22T21:18:04 | s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00538.warc.gz | 0.982383 | 560 | CC-MAIN-2021-17 | webtext-fineweb__CC-MAIN-2021-17__0__19017094 | en | When the nation hears the word music, one name that appears in everyone’s minds is Lata Mangeshkar-Nightingale of Indian Cinema. Her voice is heavenly and her expressions up to the mark. When we talk about the Living legends in the Film Fraternity the first name that pops into everyone’s mind is Lata Mangeshkar.
“Naam goom Jayega, chehra yeah badal jayega,
Meri awaaz hi pehchaan hai,
Agar yaad rahe..”
These lines were penned by legendary writer Gulzar and sung by Lataji fit aptly for her. The faces might change but the voice behind those faces will never be forgotten. Her voice is her identity, the one that is going to inspire generations of musicians.
She was just 13 when she had recorded her first song. After that, there was no looking back, and now she completes 60 years in the Music industry with over 25,000 songs and 5000 albums. Her father Deenanath Mangeshkar was also a musician and so are her siblings- Asha Bhosle,Usha Mangeshkar, Hridayanath Mangeshkar and Meena Khadikar.
She had started singing in Hindi films in 1945, and by 1950 she had become a household name in music industry. In 1958, she won her first Filmfare Award.
In 1962, the legendary singer had a close encounter with death as she was poisoned by her cook. She was bedridden for couple of months. At that time, the famous composer Majrooh Sultanpuri use to visit her and taste her food before allowing her to eat.
In 1963, against the backdrop of Sino-India war, she sang “Ae mere Watan ke Logo” in the presence of JawaharLal Nehru. The song is said to have brought tears in Prime Minister’s eyes. In 1974, she became the first Indian to perform in an overseas concert that took place in Royal Albert Hall, London.
In 1999, she was nominated as the member of Rajya Sabha. In 2001, she was conferred with India’s highest civilian honor- Bharat Ratna. She had sung multiple songs in Yash Chopra’s films and used to have atleast one song in every film that was directed or produced by him.
She is still touted be one of the best singers in Indian film fraternity. She still rules the roost and we hope that she continues to do so for atleast another 100 years.
Lakhon musicians aye aur Gaye inke jaisa na koi tha aur na ho payega. | music_and_dance |
https://fitnessstips.com/j-a-g-ali/ | 2023-01-29T09:32:16 | s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764499710.49/warc/CC-MAIN-20230129080341-20230129110341-00287.warc.gz | 0.889959 | 592 | CC-MAIN-2023-06 | webtext-fineweb__CC-MAIN-2023-06__0__161360667 | en | NEW YORK, NY (December 15, 2022) – Kicking off another era in one of the most storied partnerships in rap, GRAMMY® Award-nominated hip-hop legend and Cash Money Records Co-Founder and Co-C.E.O. Birdman and multiplatinum rap icon Juvenile return as J.A.G. with a new single entitled “Ali” met with an accompanying cinematic music video today. Get it HERE via Cash Money Records. Watch the official music video HERE.
The production fuses cinematic piano to steady 808s. Right out of the gate, Juvenile delivers the chantable and quotable chorus with his signature swagger and soul, “My heart ain’t got no feelings, my career ain’t got no ceilings, I’m the greatest since Muhammad Ali.”Birdman stunts on a slick counter verse with the force of a knockout uppercut. Together, they lock into their classic chemistry, and it remains as powerful as ever.
Birdman & Juvenile last linked up on their 2019 collaborative album, J.A.G. The latter generated over 20 million total streams and views across platforms and incited unanimous critical applause. Pitchfork christened it “a shockingly strong late-career reunion record,” and Billboard summed it up best as “a beginning of a new chapter” and praised Juvenile, “He sounds revitalized.”
Meanwhile, Birdman made waves last year on From The Bayou with YoungBoy Never Broke Again, earning a platinum certification for “Black Ball” and gold for “Heart & Soul.”
Stay tuned for a whole lot more from JAG, Birdman, Juvenile, and Cash Money Records.
About Cash Money Records:
Since 1991, Brothers Bryan “Birdman” Williams aka “Baby” and Ronald “Slim” Williams have built Cash Money Records into a legendary force in the music industry. Through tireless devotion and an unparalleled work ethic, the duo founded the legendary label in the New Orleans housing projects and elevated it into a multi-million-dollar empire and cultural tastemaker. Not only is the company revered as an iconic and enduring global street brand, it’s become the most successful independent record label in America boasting a bevy of chart-dominating, multi-platinum artists and Grammy Award winners and cumulative sales over 100 million albums worldwide, the roster includes Jacquees, GSO Phat, Eighty8, Juvenile, Rublow and more. The label also houses Lil Wayne‘s imprint Young Money Entertainment (Drake and Nicki Minaj) as well as a publishing arm Cash Money Content. Cash Money Records is distributed by RepublicRecords, a division of Universal Music Group, the world’s largest music company. | music_and_dance |
https://elvisinfonet.com/ftd_review_forty_eight_hours_to_memphis.html | 2023-09-24T21:46:02 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506669.30/warc/CC-MAIN-20230924191454-20230924221454-00557.warc.gz | 0.969435 | 3,347 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__192700490 | en | 48 hours to Memphis
"What I remember about the opening isn't so much the song, but it was the lights being turned off on the stage. The drums were pounding and almost everyone in the entire Coliseum was shooting photos, so there were flashes going off all over the place and people were screaming. When the lights were turned on and he came on stage, it was awesome. It gave me goose bumps at the time, and I still remember this moment. It was quite the experience. -
Glenn Clark, son of Wallace Huey Clark (photographer) - from the FTD sleeve notes
The original "Elvis Live On Stage In Memphis" was the only single-CD performance released by FTD with the deluxe "Classic Album" 7" packaging. Now the Richmond March 18th concert recorded just 2 nights beforehand also gets the same high-quality packaging - and what a treat it is!
The fold-out cover features some good colour photos of Elvis in action while the 16-page booklet features some very informative liner notes plus another pile of photos, including some candids of Elvis heading off from Memphis Airport on the day of the concert.
This would be Elvis’ second concert in Richmond during this March 1974 tour due to the high-ticket demand.
While Elvis weight (and moods) fluctuated during 1974 he looks in fine form in his ‘Aqua Blue-Vine’ jumpsuit and possibly because he had spent the last few nights sleeping at Graceland, Elvis is full of energy from the very start.
This time the FTD has been compiled and researched by Robert Frieser who also provided FTD with the tape of the concert. In part of his extensive liner information he notes …
From the moment FTD and I decided to release this show, I started researching for information, photos and other materials.
Although there could be several explanations for this unofficial recording, it's possible that it served as a backup recording in case something went wrong recording the "real" live album in Memphis two days later. In addition, maybe they could always use a song from this show for the Memphis album if something didn't work out. My research led me to people who were present in Richmond, and saw Elvis perform. They all said that Elvis was extremely good looking and looked like he was from another planet. During the "Rock & Roll medley", total pandemonium broke out; leaving nobody in their seats, as the crowd rushed to the stage.
The sixty-strong police force had their hands full, as they tried to stop people from getting on the stage as well as helping people who fainted in the crowd. The reaction of the audience encouraged Elvis to show an even wilder side of his persona. During "Fever" it seemed as if something like a giant earthquake shook through tile Coliseum while the flashing lights from people's cameras filled the hall. The room was full of electricity. The fans that saw Elvis in Richmond and heard a part of this tape, say that the sound has the same atmosphere they remember from witnessing him live on stage.
- Robert Frieser, August 2011
The Music – 64 minutes
In the past this concert was released as the bootleg ‘Guaranteed To Blow Your Mind’ which was a sensational find for fans and was one of the best quality bootleg releases.
Despite the initial Disappointment when we all thought FTD had found a stereo master-tape, the real positive now is that the excellent audio engineer Vic Anesini (The Complete Elvis Masters, etc) has mastered this tape and the sound is even better now. While the tape is "mono" there is actually some slight stereo reverb across the two channels and it sounds very good indeed.
Elvis’ vocal is nice and high in the mix (far more that FTD’s “Memphis 74” release) as well as Glen D Hardin’s piano which was also fairly hidden in the live Memphis album. The very intimate ‘Help Me’ sounds extremely different to the “full-auditorium feel” given to the Memphis concert and is truly delightful.
While there is more-than usual added reverb especially on Elvis’ vocal track, this has never been an issue for me as it gives the feel of Elvis playing this big arena. Fans who have attended these concerts state that it really sounds as if you were there! The mix is the same as on the earlier bootleg but the audio quality much improved with a nice rich sound thanks to Vic Anesini.
The band is nice and clear with the orchestra section mixed as well as any professional release. The other oddity in the mix is the rather high tambourine level that ocaisionally drowns-out Ronnie Tutt’s percussion.
As soon as the concert starts it is noticeable how a professional audio mix really captures the excitement of the audience and being at an Elvis concert far better than a regular soundboard.
Elvis played Richmond over 15 times in his career – he was always popular in the early days - and he had a huge fan following in the area with the crowds always enthusiastic. It seems to me that Elvis and the band were not aware the RCA tapes were rolling as the bonus with this concert is that Elvis is more relaxed, having more fun and the band are rocking out with the excitement of it all. Of course Elvis’ would concentrate harder for the Memphis live recording as well as including a few rarer songs for the RCA album but this is still a cracker of a concert.
Of course there are many similarities to the RCA ‘Memphis’ concert recorded just 2 days later but here the band is under less pressure and seem to be having fun and rocking out more at times.
The obvious difference can be heard with Elvis’ great adlibs during a fabulous ‘Steamroller Blues’ and the ‘Rock’n’Roll Medley’ is exceptional with Elvis really rocking out – not surprising that "total pandemonium broke out"! Both ‘Help Me’ and ‘Fever’ get very cute renditions.
The audience reaction is well-placed in the mix and with the exceptional audio quality you can feel the obvious excitement of the crowd as the rumble of ‘Also Sprach Zarathustra’ starts. This is going to be a ripper-show!
Flying in from Graceland means that Elvis was ready to rock from the start - and there is a noticeable happiness in his voice as he rocks into 'See See Rider' and checks out the appreciative crowd. Ronnie Tutt plays some blistering drums tonight as well.
A sincere ‘I've Got A Woman/ Amen’ follows with Elvis making JD Sumner repeat his deep-ending and like the Memphis version two days later it's short & sweet compared to the rambling versions of later years.
Elvis played Richmond a few days before and greets the audience jokingly saying, "It's a pleasure to be back here in Hampton Roads…. errr Richmond!" – "Just kidding, just kidding!"
‘Love Me’ is played pretty straight tonight without the usual playing with audience and has some great James Burton guitar work in it.
A cool treat added to his set-list in 1974 was 'Trying To Get To You' and this is another great version showing Elvis’ enjoyment of this Sun oldie. Tonight Elvis even puts some serious energy into the short but crowd-pleasing ‘All Shook Up’ laughing a few times as he plays along with the backing singers.
'Steamroller Blues' is one of the funkiest versions ever, with Elvis putting a really bite into the lyrics. "I’m a steamrolling snake" indeed! Elvis rocks out putting far more energy into it that the laid-back Aloha version over a year before. In this audio mix Elvis’ vocal is nice and prominent and there’s some great piano work for Glen D Hardin. Elvis pushes his voice even further in the final verse "I’m a napalm bomb" and the call-and-response from The Sweets is excellent. A real highlight.
More crowd-pleasing oldies follow ‘Teddy Bear/Don't Be Cruel’ and ‘Love Me Tender’ with Elvis again enjoying them more than he usually would.
The Rock’n’Roll Medley is another highlight with Elvis putting in more energy than usual obviously playing to the enthusiastic crowd. For some reason Elvis sounded a little out-of-breath on the famous ‘Live In Memphis’ version, but not here where the medley is also taken at a slightly faster tempo. Its great as you can hear the crowd getting louder and louder as he drives ‘Jailhouse Rock/Hound Dog’ along at the end.
At the start of ‘Fever’ Elvis acknowledges the loud shrieks from the crowd, "I haven’t done anything yet, wait a minute." Elvis has a real blast with this one teasing the crowd and swivelling his hips, getting the giggles along the way. It’s a real crowd pleaser, less messed around with than two nights later, and they go wild, "why you all laughing?" Very cool and great fun. At the ends he laughs, "Thank you very much. That's a fun song to do."
‘Polk Salad Annie’ follows and is another cracker, funky 1974 version with some great work backing-vocals from The Sweet Inspirations and more fine piano from Glen D Hardin along with James Burton’s guitar. "Play it James, sneak up on it Ronnie" Elvis tells the band during the instrumental. Great audio, great mix and Ronnie Tutt goes wild on the drums backing Elvis’ karate moves at the end. "Whoo!!" notes Elvis afterwards.
Elvis takes a breather while J D Sumner and the Stamps sing a powerful and sincere ‘Why Me Lord?’ Of course Elvis would sing the Grammy winning 'How Great Thou Art' in Memphis two nights later but sadly not tonight. In fact it is amazing to realise that the Memphis recording of 'How Great Thou Art' was only the second time Elvis had sung the song since 1973!
'Suspicious Minds' is similar to the ‘Live On Stage’ version not having the feel of the stunning earlier versions but still sung with great energy. Elvis still sings the "Oh let our love survive" break with great sincerity, but this all-time classic would soon be dropped as a regular on Elvis' set list after June 1974. I am sure on this Richmond night it still sounded as great as always to the adoring crowd.
In the Introductions Elvis thanks the regulars noting in particular that JD Sumner is sounding "pretty good despite having a bad cold". Elvis jokes to Duke Bardwell,, "Bardwell? What kind of name is that? It’s as bad as Elvis!" There’s a strange reaction from the band when Elvis thanks the John Marshall Hotel "where everybody’s staying".. I wonder why.
‘I Can't Stop Loving You' is a powerful version with Elvis singing his heart out tonight and shows off Elvis' rich 1974 voice adding his dramatic falsetto ending!
"This next song is a song we just recorded. I hope you like it" leads into a delightful 'Help Me' with a nice gospel feel to it - The mix truly shows off Elvis’ vocal .. "Lord Let me see" and the feeling is VERY intimate compared to the Memphis version. It truly sounds like Elvis standing alone on stage pleading to God in front of hia doring followers. Another highlight, the audience really applauds the performance and Elvis adds a sincere, "Thank you, I’m glad you liked it."
'American Trilogy' with the added reverb again has a powerful feel of being in this huge auditorium, similar to FTD’s ‘Live On Stage’ play it loud and feel the experience. Listen closely to the 'All My Trials' section – this is a beautiful recording, one of the very best.
'Let Me Be There' – a new song added back in January 1974, is another quality version of the Olivia Newton John standard and James Burton’s guitar picking adds a little extra to this country song this time round. Like the version two nights later, the songs gets a deserved reprise.
Elvis asks for the house lights to go up "let me take a look at you. Well, well, well"
‘Funny How Time Slips Away’ has a lovely relaxed feel with Elvis at one point laughing about "a big old ghost in the corner."
Elvis is still obviously enjoying the show but sadly the time has come and with 'Can't Help Falling In Love' Elvis bids then "an affectionate adios" and you can hear the crowd go wild.
The Bonus Songs
Sadly these are not multitrack recording but off regular soundboard.
‘Sweet Caroline’ – Elvis had dropped this song off his regular set-list after February 1974 and in fact would perform it a handful of times more in concert. While by no means a great performance this night, taken at a slower pace than earlier versions - and without the orchestra strings in the mix - this is an enjoyable version. It’s obvious that Elvis is enjoying it as well.
'Johnny B Goode' – a regular on this tour but for some reason dropped from the last three shows including the final Memphis concert. A pretty standard version, probably would sound great on multitrack, but nice to have the fact noted that Elvis sang it on this March tour.
‘That’s All Right’ – A real highlight, this makes up for the lack of ‘How Great Thou Art’. Elvis asks, "This is the first record I ever recorded, I just want to do it right now, ok?" Never performed in 1973 this is likely to be Elvis' second only version since June 1972!
With The Sweets call-and–response this has the feel of later versions but Elvis is obviously having ball singing along all the way with James Burton’s guitar solo. From the Memphis March 17th performance a one-off special for his hometown crowd.
Glenn Clark remembers: "My father printed a few pictures from the show on the 12th and took them to the show on the 18th where he gave them to Col. Parker, who took them to Elvis and Elvis signed one to my mother -"Dear Helen, Best wishes, Elvis Presley."
Elvis said that he really liked them, and was going to keep the one taken from above the stage where the girl has her arms on the stage and, it appears as if he had just bent down to touch her and was going back on stage.
(From the FTD booklet)
Finding new multi-track professional LIVE recordings is a real rarity and has to be appreciated by Elvis fans. While perhaps not quite up to the standard of the amazing Memphis concert two days later – what a shame Elvis didn’t try out ‘How Great Thou Art’ this night - this is a brilliant find and a great release for FTD. Elvis is having a little bit more fun than he did when he knew the tapes were rolling for the Memphis performance and the “Elvis up-front” audio mix is a treat especially on songs such as ‘Help Me’. A great sounding concert, rightly deserving the "Classic Album" packaging this is what FTD should be all about. The sleeve notes, photos and research make this a terrific presentation and also value-for-money.
Review by Piers Beagley.
-Copyright EIN November 2011
EIN Website content © Copyright the Elvis Information Network. | music_and_dance |
https://thinknydrinkny.com/TON/ | 2023-12-01T02:58:43 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100264.9/warc/CC-MAIN-20231201021234-20231201051234-00858.warc.gz | 0.94782 | 1,368 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__175128953 | en | Experience a “Taste of Nashville”: Songwriters behind Country Music Hits to Tour NYS Breweries
BMI (Broadcast Music, Inc.) is partnering with Gigmor and the New York State Brewers Association (NYSBA) to bring the “Taste of Nashville” Tour to breweries across upstate New York. Hitting cities from Clifton Park to Hamilton and everywhere in between, the tour kicks off on Tuesday, August 23rd and wraps up on Saturday, August 27th. Showcasing two of BMI’s top Nashville
songwriters, these concerts are free and open to the public.
Each night will feature performances from BMI songwriters Clint Daniels and Tim James who will bring a taste of Nashville’s Bluebird Café “songwriter in the round” tradition to the north. The songwriters, who have penned hits for Nashville heavyweights Trace Adkins, Eric Church, Toby Keith, and many more, will give concertgoers a unique opportunity to hear the stories behind some of country music’s biggest hits straight from the writers themselves.
“BMI is thrilled to partner with Gigmor and the NYSBA to bring some of our songwriters to breweries across upstate New York,” said Dan Spears, VP, Industry Relations, BMI. “This tour will highlight the value that music brings to establishments across the country, and in my eyes, it doesn’t get much better than listening to live music on a summer night with a cold brew in hand.”
“Both breweries and music are synonymous with bringing people together,” said Paul Leone, Executive Director, NYSBA. “By partnering with BMI, we’re showcasing two amazing songwriters at some of New York’s top breweries, and with Gigmor, we’re introducing an easy and cost-effective way to book musical performances. We’re looking forward to five nights of great music, cold beer and good times.”
See the full schedule below to find a brewery performance nearest you.
“Taste of Nashville” Tour Dates:
Tuesday, 8/23 at 6PM – Single Cut North Brewery Clifton Park, NY
Wednesday, 8/24 at 6PM – Prison City Brewing Auburn, NY
Thursday, 8/25 at 7PM – Common Roots Brewing South Glen Falls, NY
Friday, 8/26 at 7PM – Saranac Brewery Utica, NY
Saturday, 8/27 at 4PM – Good Nature Farm Brewery Hamilton, NY
ABOUT THE ARTISTS
Clint Daniels is an American country music singer and songwriter. He was signed as a solo artist with Arista Nashville in 1998. There, Daniels released four songs, two of which charted on Billboard’s Hot Country Songs. In 2003, Daniels signed with Epic Records but never released an album. Having already co-written his first Number One single for Joe Nichols (“Brokenheartsville”), he focused his career on songwriting and has been primarily known for his songwriting and performing at showcases across the country. As a BMI award-winning songwriter, Daniels has co-written Number One singles for Joe Nichols, Montgomery Gentry (“Roll With Me”) and most recently, Eric Church (“Some Of It”). His songs have helped shape country music for almost 20 years and have been recorded by George Strait, Alan Jackson, Brooks & Dunn, Clay Walker, Easton Corbin, Jon Pardi, Brandy Clark and other country acts. In 2019, Daniels signed a co-venture publishing deal with BMG and Porchlight Music. In 2020, he was both nominated for a GRAMMY (country song of the year) and an ACM for the song, “Some of It”.
A GRAMMY award-winning songwriter, Tim James is the co-writer of the 5 week #1 “My List” by Toby Keith, the Bucky Covington Top 10 “It’s Good To Be Us”, and the smash debut from the Lost Trailers “Holler Back”. James has had over 50 major label cuts by artists such as Alabama, Darius Rucker, Craig Morgan, Chris Young, Montgomery Gentry, LeeAnn Womack, Joe Nichols, Buddy Jewel, Josh Turner and contemporary Christian artist Point of Grace. James penned the Trace Adkins single “All I Ask For Anymore”, which was nominated for a Grammy Award for Best Country Song of 2009, and the 2010 Billboard song of the year and #1 “Love Like Crazy”, by Lee Brice. “Love Like Crazy” was nominated for ACM song of the year in 2010 and broke a record for consecutive weeks on the charts. James also wrote the Rodney Atkins single “He’s Mine”, the George Strait #1 single “Give It All We Got Tonight”, and the title track and single from the Darius Rucker album “Southern Style”. James also penned the single, “Either Way”, from the GRAMMY-winning Chris Stapleton album entitled “From A Room, Volume 1”.
For live music booking made easy, check out Gigmor, to learn more.
Celebrating over 80 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in over 18.7 million musical works created and owned by more than 1.2 million songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. Today, the musical compositions in BMI’s repertoire, from chart toppers to perennial favorites, span all genres of music and are consistently among the most-performed hits of the year. For additional information and the latest BMI news, visit bmi.com, follow us on Twitter and Instagram @BMI or stay connected through Broadcast Music, Inc.‘s Facebook page. Sign up for BMI’s The Weekly™ and receive our e-newsletter every week to stay up to date on all things music. | music_and_dance |
http://www.michaelmatsuno.com/sample-page/ | 2017-09-25T00:33:06 | s3://commoncrawl/crawl-data/CC-MAIN-2017-39/segments/1505818690268.19/warc/CC-MAIN-20170925002843-20170925022843-00645.warc.gz | 0.969503 | 254 | CC-MAIN-2017-39 | webtext-fineweb__CC-MAIN-2017-39__0__246705044 | en | Michael Matsuno is a San Diego based flutist dedicated to performing contemporary repertoire and the music of our time. As a member of the What’s Next? Ensemble, he has championed the voices of many talented West Coast composers alongside standard works of the 20th century. He has appeared as a soloist and chamber musician with UCSD Palimpsest Ensemble, Claire Chase and members of ICE, USC Contemporary Music Ensemble, WildUp, Monday Evening Concerts and Jacaranda New Music series. Michael was also a flute fellow with the Aspen Contemporary Ensemble.
An avid orchestra musician, Michael currently plays with La Jolla Symphony under Steven Schick. He has held the Principal Flute and Piccolo positions with the Young Musicians Foundation Debut Orchestra, and has attended the Round Top Festival Institute, and the Aspen Music Festival and School for orchestral studies.
Michael is a doctor of musical arts candidate at UCSD, where he received an MA in performance. He earned a BM from the USC Thornton School of Music. His primary teachers have been John Fonville (UCSD), James Walker (USC, former LA Phil), and Nadine Asin (Aspen, former Met Opera). | music_and_dance |
http://www.elizabethschoolofmusic.tk/drumlessonsinmiami.htm | 2021-11-29T09:39:20 | s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358702.43/warc/CC-MAIN-20211129074202-20211129104202-00038.warc.gz | 0.899434 | 180 | CC-MAIN-2021-49 | webtext-fineweb__CC-MAIN-2021-49__0__43839893 | en | All Classes for Drum Lessons in Cape Coral are $20.00 for a One Hour Lesson in our private home studio. The drum lesson will be taught by one of our professional instructors who has over 20 years of experience. This class is perfect for all levels (beginner to advanced) and is also good if you need to practice for an upcoming performance or recital. Group lessons are also available, please contact us for rates.
Feel Free to Contact Us at (239) 878-8579
We also offer Private Music Lessons in Cape Coral for Acoustic or Electric Guitar, Electric Bass Guitar, Voice-Singing, Piano-Keyboard, Drums-Drumset, Trumpet, Flute, Music Theory & Song Writing.
Affordable Private Music Lessons in Cape Coral, FL
We Welcome Adults, Teens, Kids 7 and up, and Seniors. | music_and_dance |
https://pinnacledancenorth.com/reviews/page/3/ | 2022-11-29T10:09:00 | s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710691.77/warc/CC-MAIN-20221129100233-20221129130233-00386.warc.gz | 0.971079 | 162 | CC-MAIN-2022-49 | webtext-fineweb__CC-MAIN-2022-49__0__71514372 | en | June 24, 2020 Carrie Evans
"I have been the studio photographer for the last two years, and I absolutely love working with owner/instructor Kim, all the dancers and instructors. The studio and everyone involved is very organized and professional. For many of these kids, dance is their life. They are happiest when they can show their confidence, learn and evolve as not only a dancer but an artist of expression. I love capturing their personalities in each different group and individual photos. We have a lot of fun, and it’s a great way to get everyone even more excited for their big recital of the year. I look forward to more photo shoots with this incredibly talented team. Thank you Pinnacle Dance North. Carrie Evans - Owner / Photographer, Carrie Evans Photography" | music_and_dance |
http://cuexpo2015.ca/program/open-to-community-reception/ | 2017-03-24T12:03:30 | s3://commoncrawl/crawl-data/CC-MAIN-2017-13/segments/1490218187945.85/warc/CC-MAIN-20170322212947-00102-ip-10-233-31-227.ec2.internal.warc.gz | 0.922929 | 115 | CC-MAIN-2017-13 | webtext-fineweb__CC-MAIN-2017-13__0__308570307 | en | Open-to-Community Evening Reception – FREE to Attend!
C2UExpo 2015 invites you to attend our open-to-community evening reception at Algonquin Commons Theatre on May 26, starting at 6:00pm EST. This reception will feature a performance by the Dandelion Dance Company, an Ottawa-based non-profit youth dance theatre company that explores social issues through movement.
While the reception is free for anyone to attend, we ask that you please RSVP by May 22nd, 2015. We look forward to seeing you there! | music_and_dance |
https://en.sgaf.ru/festival/13528 | 2023-12-07T03:07:33 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100632.0/warc/CC-MAIN-20231207022257-20231207052257-00558.warc.gz | 0.943772 | 2,925 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__87571162 | en | Eurasia International Music Festival
Dialogue of Civilizations
Ekaterinburg will play host to the Eurasia International Music Festival, which returns to the city for a fourth time and will run from October 6 through October 13, 2017. The initiator and organizer of the upcoming high-profile event is the Sverdlovsk Philharmonic. The Grand Hall of the Philharmonic and other concert venues of the city will welcome musicians from France, Germany, Italy, Poland, China, and Syria. The opening and closing ceremonies will be held with participation of the Ural Philharmonic Orchestra (UPO) under the baton of Chief Conductor and Eurasia’s Artistic Director Dmitry Liss. The festival is conceived as an intercontinental project built on the dialogue between Eastern and Western cultures and civilizations.
“The idea of the festival was inspired by our city’s unique location on the border between Europe and Asia,” Dmitry Liss says. “Here, in Russia we cannot escape the dialogue between two civilizations. The Tatar Yoke brought centuries-long cross-cultural influences and interactions between the two civilizations, two philosophies, two mentalities. How much does our mentality owe to the Western civilization and how big was the Eastern contribution? I strongly believe that Russia is a European country; however, centuries of the coexistence with eastern civilizations could not but leave their imprint on national archetypes. Even the stereotype-based saying “The Russians are slow starters but they drive fast” correlates with the Eastern meditative traditions. Besides, intonational contacts in music are obvious – Russia has always been participating in the dialogue between East and West: It was captured in compositions by Mikhail Glinka, Alexander Borodin, Mily Balakirev, Nikolai Rimsky-Korsakov and many other composers. The so-called Russian East is an essential part of our culture.
The way or the road is the word and the concept of crucial importance for both civilizations. The theme throughout the festival is that of way or journey. In the European culture, the way or journey is a metaphor of life: Schubert’s Winter Journey, Gustav Mahler’s Songs of a Wayfarer, Viktor Vasnetsov’s Knight at the Crossroads. In the eastern philosophy, the word “way” (dao, do) is not only polysemous, but also highly important: It is the basis of existence, a way of life, learning and mastering of arts (bushido, judo, karate-do). The guests of our festival are musicians who chose non-traditional ways: For example, Gabriel Prokofiev had been known as a DJ before he became a composer creating scores for a symphony orchestra; Gerhard Oppitz, a famous German pianist, moves along two roads, pursuing two career choices: a soloist and a pilot. I think it is great that all these ways and roads are going to meet at the festival in our city.”
The idea of cultural convergence the maestro is talking about was implemented during the first festival at several levels: selecting performers, preparing concert programs, launching festival projects with participation of musicians from countries of Asia and the Arab World, commissioning new compositions. The First Eurasia International Music Festival was held in 2011 and was dedicated to the 75th anniversary of the Sverdlovsk Philharmonic. The lineup of its participants looked quite impressive: orchestras from China and Germany, the Hortus Musicus Ensemble, violist Yuri Bashmet, pianists Vassily Lobanov and Freddy Kempf, violinists Sayaka Shoji and Alena Baeva. The China National Symphony Orchestra opened the festival; the conductor was Michel Plasson, the renowned French conductor. The orchestra played music of French, German, Russian, and Chinese composers.
The hero of the festival was the Ural Philharmonic Orchestra, which gave seven out of thirteen concerts; 1001 Nights in the Harem, the violin concerto of Turkish composer Fazıl Say, made its debut in Russia. The First Festival commissioned Alexander Tchaikovsky to write music, and he created Concerto for cello and orchestra – Night in the Harem – pure coincidence, though rather symbolic. Another world premiere – Chorale & Lamento, an orchestral piece by French composer Rene Koering, echoed the tragedy of the execution of the Russian royal family. Another highlight was Nikolai Rimsky-Korsakov’s Scheherazade – the composition of particular importance for Dmitry Liss, echoing with his thoughts about the dialogue between civilizations:
“Russia gave impetus to the French music, having influenced Claude Debussy, Maurice Ravel, composers of Les Six (The Six),” the maestro says. “It was Diaghilev’s Russian Seasons that sparked European musicians’ interest in orientalism, in Oriental culture. Rimsky-Korsakov’s Scheherazade was followed by Ravel’s Scheherazade; then Olivier Messiaen and, later on, minimalists made their contribution, trying to combine elements of Eastern cultures and European music. In the meantime, composers from Asian countries, among them Toru Takemitsu, Tan Dun and many others, started dressing their music in European clothes. The dialogue is full of an inexhaustible vigor. The festival justifies its name: It was born and takes place here, on the border between Europe and Asia.”
Toward Unknown Seas and Lands
Even today, the Ural Philharmonic Orchestra is the core orchestra of Eurasia, though the pool of participants and the genre palette of the forum have become a lot wider. Light from the East (Ex Oriente Lux) was the motto of the Second Festival (2013). New pieces of music were commissioned to three composers representing Western, Eastern and Russian musical cultures. The festival opened with three world premieres: Leonid Desyatnikov debuted with the Journey of the Fox to the North-West for soprano and orchestra; South-Korean composer Eun-Hwa Cho wrote the Concerto for janggu (the national drum) and orchestra; Ekaterinburg composer Olga Viktorova prepared a revised version of her orchestral piece Azure Dragon of the East.
The guests of the Second Festival were the Amsterdam Baroque Soloists, the Leipzig Radio Symphony Orchestra, the Mannheim Philharmonic Orchestra, conductors Ton Koopman, Kristjan Jarvi and Benjamin Ellin, pianist Fazıl Say and many others. The audience was captivated by the Hong Kong Orchestra using traditional national instruments to play old folk melodies; the Great Silk Road, a two-day event, introduced the audience to flamenco Cante Jondo (Spain), Azerbaijani mugham singers and musicians, Orthodox male Byzantion Choir (Romania) and the Indian Classical Music Ensemble. Two years later, the success of the second festival was nailed down by the third festival dedicated to the musical culture of Mediterranea. Its centerpiece was the ethnic project – From the Levant to the Maghrib – bringing together music from different coasts of the Mediterranean Sea: The Western world was represented by Christina Pluhar’s L’Arpeggiata ensemble playing folk songs of Spain, Portugal, Italy, and Greece; the Eastern World was represented by Sufi ensemble Al-Tariqa Al-Gazoulia (Egypt), directed by Sheikh Salem Al-Gazouly.
Among the participants of the third festival there were the RAI National Symphony Orchestra (Italy), pianists Anton Batagov and Lucas Debargue, violist Yuri Bashmet, violinist Josef Spacek and the legendary Arditti Quartet. The latter took part in the world premiere of Fluss (The River) for string quartet and orchestra (composer: Toshio Hosokawa, Japan). The audience was introduced to another two world premieres: I See Your Dream, You See My Dream for piano and orchestra (composer: Anton Batagov) and The River of David, mono-opera (composer: Olga Viktorova). The first festival immediately demonstrated the audience’s interest in meet-the-artist events and autograph signing sessions followed by the traditional Ekaterinburg treat – a bird-cherry pie. Guests of the fourth festival will not be disappointed: They will have it all; however, the main events will take place at the Grand Hall of the Philharmonic, at the club of the Press House and at the Yeltsin Center.
Asia and an Experiment; Europe and the Tradition
By tradition, the 4th Festival will open with a concert of the Ural Philharmonic Orchestra directed by Dmitry Liss. Two concerts of the orchestra, October 6 and October 13, overarch the festival program. The program is implicitly divided into two parts: The first part is represented by Asia and an experiment; the second part introduces Europe and the tradition. The Way, the theme of the 4th Festival, symbolizes the search and the movement. Sergei Prokofiev’s Scythian Suite (Ala and Lolly) will open the festival alongside his grandson’s Concerto for Turntables and Orchestra and Toru Takemitsu’s Quotations of Dream for two pianos and orchestra, an elegant impressionistic concerto. In his composition, Toru Takemitsu uses musical motifs from Claude Debussy’s symphonic poem La Mer (The Sea), which harmoniously complements the opening program.
One day later, Gabriel Prokofiev will introduce the audience to a special project of the festival – Nonclassical Night at the club of the Press House. The name has been used by Gabriel since 2004 for his concerts at clubs of London, Paris, Berlin, New York City and other cities and towns. Classical music of composers of the 20th century is interspersed with a mixture of modern composition and electronic dance music played by DJs. The unique concert will be given with participation of soloists of the Ural Philharmonic Orchestra and the most famous London DJ Switch – a three-time DMC World Champion: It turned out that not only accordionists, but also DJs have world championships instead of international competitions.
The next highlight of the program is The Dialogue, a Chinese and European musical project where Lingling Yu (pipa, China) will play together with performers from France, Poland and Russia. The pipa, guitar and orchestral strings will be used to play different music ranging from Chinese folk melodies to compositions of Tchaikovsky and Tan Dun, including a European, three Russian and three world premieres. The most exotic event of the festival will take place on October 8: The Sheikh Hamed Dawood Group from Syria will introduce the audience to the music and dances of the Sufis – the tradition of the Middle-Eastern culture going back into the 7th century AD.
The second part of the festival showcases the best achievements of European culture, primarily Austrian-German and Italian, though not neglecting Asia. The Munich Chamber Orchestra will play compositions of Mendelssohn and the Romanian Concerto of Gyorgy Ligeti, a representative of the European avant-garde, as well as Chamber Symphony of Isang Yun, a Korean-born German composer. Pianist Pierre-Laurent Aimard, who included compositions of Johann Sebastian Bach in his repertoire several years ago, will present his interpretation of Bach’s Goldberg Variations and 12 etudes of Claude Debussy. His colleague Gerhard Oppitz will play compositions of Schumann and Schubert as well as Sonata No.2 of Japanese composer Saburo Moroi; the composer did a lot in his attempt to merge two centuries-long traditions of Japan and Germany.
Music of Handel will be presented by conductor Fabio Ciofini, singer Roberta Invernizzi and ensemble Accademia Hermans. The level of these performers, still unknown to many music lovers in Russia, is well demonstrated by the fact that a week later they are going to repeat their performance at the Wigmore Hall (London), one of the world’s best chamber halls. On October 13, the festival will close with the world premiere UR of contemporary Italian composer Ivan Fedele; Gerhard Oppitz will play Brahms’ Piano Concerto No. 2. The final highlight of the program is Vaughan Williams’ Toward the Unknown Region for chorus and orchestra; the name of the composition not only resonates with the name of one of the movements of Fedele’s new composition – Toward Unknown Heights, but also can be associated with the motto of the festival.
As usual, Eurasia goes beyond the concert program and venues; the audience can meet many performers in an informal environment, ask question, get autographs, and get a close-up look at exotic instruments of the musicians of the Sheikh Hamed Dawood Group. Gabriel Prokofiev and Ivan Fedele will meet with young musicians and students of music schools of Ekaterinburg; the Yeltsin Center will host a movie night: The program includes the film about life and work of Gerhard Oppitz as well as recorded concerts of the previous Eurasia festivals (the recordings were prepared by the Virtual Concert Hall of the Sverdlovsk Philharmonic).
Over six years of its existence, the Eurasia International Music Festival has come a long way: a wide audience as well as a Russian and international community of professionals was introduced to the vibrant palette of the musical landscape of Europe and Asia. It was the way of discoveries: premieres of new compositions, performances of outstanding musicians, new names and unknown musical instruments, a journey into musical heritage of Europe, Asia, Middle and Far East. The journey goes on through time and space, and it is proved by the program of the 4th Festival, which remains true to itself, performers and audiences. | music_and_dance |
https://mediu.com/about/community-involvement/ | 2018-11-22T11:51:35 | s3://commoncrawl/crawl-data/CC-MAIN-2018-47/segments/1542039746205.96/warc/CC-MAIN-20181122101520-20181122123520-00446.warc.gz | 0.945897 | 232 | CC-MAIN-2018-47 | webtext-fineweb__CC-MAIN-2018-47__0__165651206 | en | Mediu Community Involvement
We take immense pride in giving back to our community and believe that service is central to who we are and how we do business. Our corporate charity of choice, Project Blues, is one that is truly close to our hearts.
Founded by Mediu CEO Mike Berichon in 2011, Project Blues brings together renowned musicians and music lovers from all over the country to make and enjoy blues music—all to raise funds for those individuals and families afflicted by cancer. The event combines a full-day event and concert, along with a private blues concert for cancer patients, to raise awareness of cancer’s impact and the spirits of those impacted by this horrific disease. Project Blues partners with LifeCare Alliance’s Columbus Cancer Clinic to fund mammograms and adopt families for those that need access to direct resources. The annual event raised $24,000 in 2015 and featured a well-known roster of artists headlined by Anson Funderburgh and the Rockets with the Texas Horns.
Learn more about this wonderful initiative and how it’s helping those touched by cancer in Central Ohio one concert at a time. | music_and_dance |
https://www.saxapahawnc.com/events/sugar-on-fire | 2021-10-24T13:28:10 | s3://commoncrawl/crawl-data/CC-MAIN-2021-43/segments/1634323585997.77/warc/CC-MAIN-20211024111905-20211024141905-00207.warc.gz | 0.953486 | 169 | CC-MAIN-2021-43 | webtext-fineweb__CC-MAIN-2021-43__0__129941342 | en | Sugar on Fire
Time & Location
About the Event
Sugar On Fire started in February 2018 on the campus of the University of North Carolina at Chapel Hill. The band members came together through their involvement in the Carolina Bluegrass Band, the ensemble under the university’s Bluegrass Initiative, and their love of acoustic music led them to form their own group. Drawing on their bluegrass and old-time influences, as well as their interests in other musical styles, the band has created their own unique sound, full of energy and passion.
All hailing from North Carolina, Sugar On Fire consists of Reese Krome (Winston-Salem), Jon Beyle (Chapel Hill), Lee Landess (Raleigh), Patrick Truesdell (Weaverville), and Jake Cochran (Greensboro) | music_and_dance |
https://travelingtikes.com/products/tiny-love-soothen-groove-mobile-meadow-days | 2022-01-26T21:34:35 | s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320304961.89/warc/CC-MAIN-20220126192506-20220126222506-00323.warc.gz | 0.899994 | 279 | CC-MAIN-2022-05 | webtext-fineweb__CC-MAIN-2022-05__0__187562381 | en | Tiny Love Soothe'n Groove Mobile - Meadow Days
Quick OverviewThe Soothe 'n Groove Mobile(TM) is an ingenious way to entertain your child from baby through to toddler both at home and on the go. This Mobile is two items...
The Soothe 'n Groove Mobile(TM) is an ingenious way to entertain your child from baby through to toddler both at home and on the go. This Mobile is two items in one. It grows with your baby from a crib mobile to a stand-alone music box that toddlers can carry on their own. With six different musical categories and 18 different tunes, there's up to 40 minutes of continuous and non-repeating music for your child to enjoy. The special soothing motion of the mobile captures baby's attention and keeps them engaged and colorful buttons allow your child to activate and change the music on their own. The unique design features two high quality speakers for great sound and easy to control volume.
- Features 6 different musical categories with 18 different tunes; Music shuffle button
- Special soothing motion engages baby; Up to 40 minutes of continuous non-repeating music; Nightlight
- 2 high quality speakers; Adjustable volume
- Colorful buttons allow baby to activate and change the music on their own
- Becomes a stand-alone portable music box for toddlers | music_and_dance |
http://m.nationals.mlb.com/news/article/3872064 | 2017-10-20T03:30:14 | s3://commoncrawl/crawl-data/CC-MAIN-2017-43/segments/1508187823630.63/warc/CC-MAIN-20171020025810-20171020045810-00245.warc.gz | 0.970199 | 499 | CC-MAIN-2017-43 | webtext-fineweb__CC-MAIN-2017-43__0__173443857 | en | VIERA, Fla. -- Elton John and Billy Joel, two of the most popular performers in pop history, are returning to Washington, D.C.
In what will be the first concert in Nationals Park history, the dynamic piano-playing duo will perform on July 11 at 7:30 p.m. ET.
Tickets will go on sale on Saturday at 10 a.m., exclusively through Tickets.com.
As the inaugural concert at Nationals Park, John and Joel will open the concert together with a series of duets, playing twin pianos and trading vocals. Each artist will then perform a set with his own band. The grand finale reunites the two at center stage with their supporting musicians for a closing encore.
The two superstars are excited about the joint performance.
"I love touring with Billy," John said. "I have the greatest respect for him, and we're such good friends."
Joel is looking forward to the competition.
"The great thing about performing with Elton is that he is such a good piano player and that makes me have to dig deep to keep up with him," Joel said. "Not to mention I've got the best seat in the house -- only one piano away from Elton John!"
John and Joel launched their first tour in Philadelphia at the former Veterans Stadium with three sold-out shows in July 1994. Their first venture to Washington came in 2002, when John and Joel performed during three sold-out engagements at the former MCI Center.
John and Joel returned to the District as a part of the 2004 Kennedy Center Honors ceremony. After John received an award for "exemplary lifetime achievements in the performing arts," Joel took to the stage to perform a rendition of John's classic "Benny and the Jets." The ceremony was filmed and broadcast to television audiences nationwide.
"The Nationals are thrilled to host the 'Face to Face' tour with Elton John and Billy Joel for the first-ever concert at Nationals Park," said Nationals president Stan Kasten. "Elton and Billy are beloved throughout Washington, D.C., and have a rich history performing in our city. Undoubtedly, this will be an remarkable inaugural evening of music out under the stars, showcasing the ballpark's capabilities as a premier summer concert venue."
Bill Ladson is a reporter for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs. | music_and_dance |
http://matebella.com/en/home/101/event_details?date=2022-4-1 | 2022-07-01T14:14:37 | s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103941562.52/warc/CC-MAIN-20220701125452-20220701155452-00475.warc.gz | 0.896609 | 457 | CC-MAIN-2022-27 | webtext-fineweb__CC-MAIN-2022-27__0__111880912 | en | Symphony Concert 15 - Orchestra of the LUCERNE FESTIVAL ACADEMY
|Date:||01 September 2018|
|Place:||KKL Luzern - Concert Hall - Europaplatz 1, 6005 Luzern, Svájc|
|Telephone:||+41 (0)41 226 44 00|
Lethe for string orchestra
Dialoge. Concerto for two pianos and orchestra
Reading Malevich for orchestra
world premiere | commissioned as part of the“Roche Commissions”
Stele for large orchestra
The LUCERNE FESTIVAL ACADEMY presents a “Hungarian connection” spanning three generations. The new work by Peter Eötvös concerns the Russian painter Kasimir Malevich. Eötvös’s compatriot Máté Bella, his junior by four decades, was inspired by Greek mythology to write his enormously sensual-sounding Lethe, about the “stream of forgetting,” for string orchestra. Stele, written in 1994, is the first orchestral work by György Kurtág, the great master of small forms, into which he channeled his grief over the loss of a friend, creating an expressive music of memory. And Dialoge by Bernd Alois Zimmermann, who would have celebrated his 100th birthday in 2018, is also an homage: to Claude Debussy, another composer whose anniversary is being marked this year. But along with Debussy, Mozart, jazz elements, and the ancient Pentecostal hymn Veni, creator spiritus appear in Zimmermann’s concerto for two pianos, which abounds in quotations and allusions.
Radio SRF2 Kultur will record this concert and broadcast it on 26 December 2018, starting at 21:00 (Lucerne time) as part of its “Neue Musik im Konzert” (“New Music in Concert”) program.
You can purchase the digital concert program here. | music_and_dance |
http://silver.afi.com/Browsing/Movies/Details/f-0100002331 | 2020-02-21T01:36:43 | s3://commoncrawl/crawl-data/CC-MAIN-2020-10/segments/1581875145316.8/warc/CC-MAIN-20200220224059-20200221014059-00368.warc.gz | 0.932718 | 191 | CC-MAIN-2020-10 | webtext-fineweb__CC-MAIN-2020-10__0__149922697 | en | LOMAX IN ÉIRINN
Irish composer Pól Brennan explores how American song collector Alan Lomax came to Ireland on the first stop of a mission to save the folk music of the world. That trip resulted in the first LP of Irish traditional music — an album that sowed the seeds of the Irish traditional music revival in the 1970s. Lomax realized the music of the most marginalized people was as powerful as the highest form of art, and, inspired by two new inventions of the 1940s, he devised a plan to save the music of the world. (Note adapted from Galway Film Fleadh.) DIR/PROD Declan McGrath; SCR Felim MacDermott. Ireland, 2018, color, 52 min. NOT RATED
No AFI Member passes accepted.
LOMAX IN ÉIRINN Showtimes
There are currently no sessions scheduled. Please check back again later. | music_and_dance |
https://twincities.citymomsblog.com/why-music-matters/ | 2018-02-19T13:35:20 | s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891812665.41/warc/CC-MAIN-20180219131951-20180219151951-00708.warc.gz | 0.955505 | 1,613 | CC-MAIN-2018-09 | webtext-fineweb__CC-MAIN-2018-09__0__170224438 | en | Raising a child sometimes feels like a Mount Everest of responsibility. Not only must your kid grow up to be a reasonably decent person, but he must also be a full-blown Renaissance man, accomplished in academics, sports and the arts — or so it seems. Life can quickly become cluttered with lessons, practices, games and rehearsals. How does one prioritize the countless extracurricular activities competing for our children’s attention?
For our family, music has always been a priority. Growing up, I distinctly remember the thrill of sitting at my parents’ baby grand piano and plunking out simple tunes by ear long before I could read notes. I developed an early appreciation for classical music in particular. During road trips, my dad would pop in a cassette of piano concertos. To this day, hearing Rachmaninoff’s “Rhapsody on a Theme by Paganini” or Beethoven’s “Emperor” concerto brings back a wave of nostalgia for those blissful childhood memories.
My siblings and I started piano lessons at a young age. Once a week, we would walk up the street to the house of a stern German lady with a thick accent. She had a reputation for being strict and an intimidating demeanor to match. Word had it, if you showed up for your lesson without having practiced, you’d sure get a talking to. Nonetheless, the many hours I spent in her basement studio laid the groundwork of discipline, dedication and passion that would shape my musical journey for a long time to come.
I’m not sure how exactly I ended up playing the viola. I remember being enthralled by seeing the older kids play in the school orchestra. The cello and bass seemed like too much of a hassle to lug around, and the violin was too popular, so I decided to go with the lesser-known alto voice of the orchestra. The first night after coming home with the rental viola from school, we were under strict instructions from the orchestra teacher not to touch anything (or even take the instrument out of its case). That warning had about as much effect as telling a starving child to keep his hands out of the cookie jar.
The first time I played with the middle school orchestra, it was magical. We’d all been practicing our individual parts for months. When it all finally came together for a holiday concert, I was awed. I’m sure we sounded more like a herd of yowling tomcats than an orchestra. Still, there’s nothing quite like contributing your individual voice to create a beautiful tapestry of sound.
Many years later, although I’m on hiatus from orchestra and rarely dust off my instrument, music continues to be a big part of my life. It’s taught me invaluable lessons and shaped who I am today.
My kids are too little to take up the violin or learn to read notes. But I still find ways to make music a valuable part of their lives too.
Because music matters.
Plenty of research shows that music has a profound impact on children’s brains. It boosts attention spans, improves math skills and enhances language development. Learning a complex rhythm or sight reading a difficult passage is a lot like solving a challenging math problem. (Don’t worry, though – you don’t have to be good at math to be good at music.) Put simply, making music forces your brain to work in a different way, forging millions of new neural pathways every second.
One study found that calming background music has a positive effect on kids’ moods and behavior. I can certainly attest to that. Brushing my toddler’s teeth used to be an epic struggle until I started singing “this is the way we brush our teeth,” which consistently elicits a big grin instead of wailing. Ditto for diaper changes. Since having kids, I’ve found myself coming up with songs to accompany the many mundane tasks of life (and absent-mindedly breaking into song in the grocery store aisle, much to my embarrassment).
The benefits of early music exposure will stay with your child long after their last trumpet lesson or jazz band concert. For example:
- Music teaches persistence. It takes years – even decades – of diligent effort to master an instrument. You have to stick with it even when the going gets tough. By the time I hit seventh grade, orchestra no longer seemed cool and I yearned to join the flute section in marching band. My parents wisely advised me to stay the course. Had I given up, I would have missed out on the countless memories and life lessons I picked up along the way. Every musician has to weather these storms – and, in the process, gain skills that apply to overcoming challenges in other areas of life.
- Music helps us pursue excellence. In music, as in life, there’s always room for growth. I was blessed with incredibly gifted orchestra teachers who knew how to push us to the next level without burning us out. They inspired me to continually strive for improvement. At the same time, they acknowledged slip-ups and shortcomings as an integral part of the learning process. Better to play boldly and with confidence than stay silent for fear of making a mistake.
- Music helps us relate to others. Teamwork is an essential part of participating in a choir, orchestra or other ensemble. You have to learn to listen to others around you – not just your section, but the group as a whole. You have to know when to play out and when to blend in. You have to work together to create something bigger than yourself. This shared experience helps build deep connections and lifelong friendships. My husband and I met in orchestra and, for a time, were even stand partners. Our passion for music – and how it brought us together – will forever be a part of our story.
- Music fosters artistic expression. It helps us process emotions in a way that words simply can’t. Music can be life-changing not only for those who make it, but for those who hear it, too. I can’t count the number of times an audience member has told me how touched they were by a performance. I’ve often seen them moved, literally, to tears.
- Music both affirms our humanity and transcends it. For me, certain passages of music — like the heavenly strains of John Tavener’s “Song of the Angel” or the heart-wrenching crescendos of Henryk Gorecki’s “Symphony of Sorrowful Songs” — have spiritual resonance. Whether you’re religious or not, music can lift you from your earthly struggles and transport you to a realm beyond the day-to-day drudgeries of life.
You don’t have to be a musician to instill a love of music in your children. Start them young – from birth, even – by making music a part of your day. Sing to your little ones (even if you don’t think you can carry a tune). Join a family music class. Go to children’s concerts and instrument demos.
Don’t limit yourself to one genre. Expose your kids to a wide range of music – pop, classical, jazz, reggae, rock. Show them there’s more to the musical world than the Moana soundtrack or those obnoxious VTech earworms.
And give them the freedom to follow their own passions. After all, the best footing for success has nothing to do with inborn talent. Rather, it’s the simple joy of sharing music – whether playing an instrument, lifting up your voice or just listening – that makes it all worthwhile. | music_and_dance |
http://www.novarexrocks.com/event/nova-rex-santas-rocking-christmas/ | 2023-09-24T16:52:08 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506658.2/warc/CC-MAIN-20230924155422-20230924185422-00483.warc.gz | 0.79233 | 196 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__185683493 | en | The Niagara Tap presents their Holiday concert, “Santa’s Rockin’ Christmas”.
At The Niagara Tap
11950 Seminole Blvd Largo, FL 33778
Santa’s Rocking Christmas
The Niagara Tap presents their Holiday concert, “Santa’s Rockin’ Christmas” Sat December 3rd 2022 (3pm-11pm)
A musical event for everyone which includes legendary local favorites: Comfort Zone, St.Pete Sons, Tommy Roxx band and 80’s Hair Metal Icons NOVA REX!
Benefiting Toys for Tots, bring your donation and place it under Mr.Sawbladehead’s LIFE TREE and don’t forget to Enter to WIN some amazing prizes!
Admission is FREE - VIP seating available. Contact The Niagara Tap for pricing & details
Come celebrate this holiday season with us ! | music_and_dance |
http://carmens.com/upcoming-shows/ | 2018-01-19T09:18:53 | s3://commoncrawl/crawl-data/CC-MAIN-2018-05/segments/1516084887849.3/warc/CC-MAIN-20180119085553-20180119105553-00558.warc.gz | 0.829433 | 944 | CC-MAIN-2018-05 | webtext-fineweb__CC-MAIN-2018-05__0__42154105 | en | Experience Ontario’s premier dinner theatre and live entertainment experience. Carmen’s Banquet Centre is Hamilton’s favourite venue for enjoying a special evening or to celebrate an occasion. Our world class dinner theatre has it all: incredible live entertainment, outstanding customer service and gourmet cuisine. Whether you’re looking to enjoy a night out with friends or family or you’re booking a fundraising event, birthday party, tour group or office parties – you’ll love our unique shows and delectable dinner theatre menus!
“We just saw your brilliant Elvis show complete with his very talented back up band. The highly entertaining show was perfectly complemented by a lovely meal, great service and a beautifully decorated venue. Talk about value for money! Thank you Carmen’s Dinner Theatre!”
– Mark & Jacqui
Box Office Information
Monday: 9:00 AM – 5:00 PM
Tuesday: 9:00 AM – 5:00 PM
Wednesday: 11:00 AM – 5:00 PM
Thursday: 9:00 AM – 5:00 PM
Friday: 9:00 AM – 5:00 PM
Phone Number: 905-387-0007
Manager: Tricia Silenzi
Doors Open – 11:00 PM
Lunch – 12:00 PM
Show Begins – 1:30 PM
Show Ends – 3:30 PM
Doors Open – 6:00 PM
Dinner – 7:00 PM
Show Begins – 8:30 PM
Show Ends – 10:30 PM
- Photography and recording devices are prohibited
- Please turn off all pagers and cell phones during the show
- Please advise us within 7 days of dietary restrictions
- Menu and entertainment are subject to change
Legends of Soul
Legends of Soul features the Greatest Soul and R&B Singers of All Time with look-a-like/sound-a-like tributes to: Aretha Franklin, Otis Redding, Al Green, James Brown, Ray Charles, Luther Vandross Prince Michael Jackson, Etta James, Gladys Knight, Jackie Wilson, Chaka Khan, Donna Summer, Whitney Houston.
Tuesday, October 24, 2017
Johnny Cash & The Queens of Country
This show pays homage to Johnny Cash and eight great Female Legends: Dolly Parton, Patsy Cline, Loretta Lynn, June Carter, Tammy Wynette, Minnie Pearl, Tanya Tucker and Reba McEntyre. This collection of stars will be performed by three individually talented Canadian entertainers Marie Bottrell, Pam Yorfido and Jackie Grainge.
Thursday, November 16, 2017
Wonderful World of Christmas
Celebrate the most wonderful time of the year! We invite you to over indulge in a holiday feast and spend the afternoon carolling to some of the classic Christmas sing-a-longs. This is one present too big to fit underneath the Christmas tree.
Tuesday, December 5, 2017
Elvis Rock ‘n’ Roll & Christmas Soul
An outstanding Elvis Tribute performed by Steve Michaels. Elvis’ classics mixed with his favourite Christmas songs. A Stephen Michael Kabakos Production.
Wednesday, December 6, 2017
Kenny & Dolly
A Little Touch of Christmas
A tribute to Kenny Rogers & Dolly Parton as they sing their favourites and Christmas.
Tuesday, December 12, 2017
Abbamania & Night Fever
Abbamania: a Canadian produced rock musical, which takes you back to the disco era of one of the best pop bands in history, features nine incredible musicians and singers. Night Fever: The close high harmonies of brothers Barry, Robin and Maurice Gibb have made The Bee Gees one of the most impossible attractions in music to launch a tribute to… until this show! The vocal match of this tribute band creates an eerie sense of seeing the Gibb brothers in concert.
Wednesday, December 13, 2017
3 Knights & A Lady
Britain’s favourite performers Sirs and Ladies of song. Tribute performances of Paul McCartney, Elton John, Rod Stewart & Adele all on one stage.
Thursday, December 14, 2017
George Rose Big Band Valentine’s
This highly charged swinging band is all about musical entertainment at its finest.
Wednesday, February 14, 2018
Kings of Classic Country
Celebrate the music of Buck Owens, George Jones, Merle Haggard, Marty Robbins, Roger Miller, Conway Twitty, Glen Campbell and of course, the legendary Hank Williams.
Tuesday, May 8, 2018 | music_and_dance |
https://cdmediaworld.com/hardware/cdrom/news/0104/free_virgin.shtml | 2023-06-02T05:56:49 | s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224648322.84/warc/CC-MAIN-20230602040003-20230602070003-00792.warc.gz | 0.898007 | 631 | CC-MAIN-2023-23 | webtext-fineweb__CC-MAIN-2023-23__0__5118068 | en | Radio Free Virgin Also Debuts Lite Player
LOS ANGELES, April 2 /PRNewswire/ -- Radio Free Virgin (www.radiofreevirgin.com), a leading digital radio broadcast company, announced today the launch of a new feature on its player which enables listeners to record their favorite songs or programming blocks from any Radio Free Virgin station. The Record feature allows listeners to playback songs whether they are online or off. Radio Free Virgin also launched Radio Free Virgin Lite, a pop-up window interface that allows listeners to sample twenty Radio Free Virgin stations before downloading the full player.
"Radio Free Virgin is aggressively building a premium digital radio network that offers deep, genre-rich programming that reaches way beyond the realm of terrestrial radio," stated Zack Zalon, General Manager of Radio Free Virgin. "In addition to offering great music, with the Record feature, we free our listeners from the confines of a web-based audio stream by enabling them to store their favorite programming and playback a single song or an entire programming block whenever they want."
The new feature on the Radio Free Virgin Player, a proprietary digital radio tuner, enables listeners to record any of Radio Free Virgin's forty streaming music stations with the click of a button. Users record Radio Free Virgin's streaming music directly to their hard drive. Each high-quality recording can be named and added to the individual user's channel guide for playback later, whether the user is on or offline at the time. The feature not only plays back music, but also integrates the original Radio Free Virgin online experience, displaying corresponding track information, cover art, and a buy button that links to that specific album at the Radio Free Virgin store. Saved audio files will only play back through a Radio Free Virgin player, preventing illegal file swapping and duplication.
Also launching today is Radio Free Virgin Lite, a pop-up window interface which allows users to sample twenty select channels from Radio Free Virgin, before downloading the player. Through Radio Free Virgin Lite, users get a similar experience to what Radio Free Virgin has to offer, from the eclectic array of musical stylings to the album art, song information and buy button -- favorite listener features on the downloadable player. Radio Free Virgin Lite does not give listeners access to all the added values on the downloadable player including the new Record feature and access to all forty channels.
About Radio Free Virgin
Part of the worldwide Virgin family, Radio Free Virgin is a leading digital radio broadcasting company that uniquely combines music and technology to bring consumers the highest quality music content available via digital distribution, both on and off the desktop. Radio Free Virgin's state-of-the- art, CD-quality streaming audio combines the company's proprietary software application (available by download free of charge at www.radiofreevirgin.com) and innovative, genre-rich, original music channels programmed by well-known artists, celebrities, musicologists and DJs from around the world. Based in Los Angeles, Radio Free Virgin is a privately held company funded by Richard Branson, and is a unit of Virgin Audio Holdings, LLC.
SOURCE: Radio Free Virgin | music_and_dance |
http://en.brinkwire.com/news/live-paul-kelly-performs-at-roundhead-studios/ | 2018-10-16T17:43:10 | s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583510853.25/warc/CC-MAIN-20181016155643-20181016181143-00025.warc.gz | 0.972816 | 993 | CC-MAIN-2018-43 | webtext-fineweb__CC-MAIN-2018-43__0__153907176 | en | INTRODUCING PAUL KELLY by Graham Reid
When invited to host a Q&A and live performance session with Paul Kelly, I accepted quickly. But with trepidation.
Kelly had a new album being released – Nature, the 24th under his own name – but few in the audience of critics, writers and competition winners would have heard anything of it other than two singles. And both, I felt, were unrepresentative of a collection of sensitive original songs and musical settings of poems by Dylan Thomas, Walt Whitman, Sylvia Plath, Gerard Manley Hopkins and Philip Larkin.
Explaining the creative process behind Nature, Kelly says, “I’ve been playing around with poems since 2012 and it’s now become another way for me to write songs. I think most writers get sick of themselves and their own habits so it’s a happy surprise, after 40 years of writing songs, to find a new way.
“What links them all is the natural world – trees, birds, animals, plants, dust, desert, water – and human nature’s small place in that world. Most of the pieces were written over the last four years in and around the recording sessions for ‘The Merri Soul Sessions’, ‘Seven Sonnets And A Song’ and ‘Life Is Fine’. I didn’t realise I had the makings of another album until I put the songs in a folder and saw the titles staring me in the face. Sometimes you don’t know what you’re doing until you look back.”
So, what could I concisely say about a man with a four-decade career, and whose songs have explored deep personal, political, social and cultural touchstones? And how could I invite comment on this unfamiliar new music exploring Nature, human nature and the nature of existence?
Before the session, Paul and I had a chat in a side room and loosely discussed what he might play.
He was relaxed, friendly and accommodating. He said sure, he’d play my favourite piece on the album, his gorgeous setting of Plath’s Mushrooms:
He talked about a new project of poems and songs about birds, was delighted when I mention RNZ National’s daily bird call and laughed approvingly about New Zealand’s Bird of the Year competition (which closes this Sunday*). He was considering a bird song by a New Zealand poet, he said, and sang me a few bars.
So I stepped up for the informal session, which you can see and hear below, and paid tribute to his status as a songwriter and his unique sensibilities. I also mentioned I’d been backstage with him and his band the Messengers in 1990 before they opened for Tracy Chapman and how I asked a dumb question.
You can hear that in what follows.
What I didn’t mention from that incident was also telling. Literally minutes before they were due on stage before a capacity crowd at the Sydney Entertainment Centre, Paul suggested to the band they get a set list together. They did, after some to-and-fro song suggestions, then headed towards the steps.
At the last minute, he turned and said, “I think I’ll do the first couple solo”.
And he did.
What struck me was how comfortable he was with performing, what a deep well of musical knowledge he could draw from, and how personable and engaging he was with me . . . and that huge audience.
He was just the same in this intimate Roundhead setting: One man and two guitars, songs of acute emotion delivered without artifice or showmanship, a quick and self-effacing humour in our conversation between songs and at ease when answering random questions from the gathering.
Half an hour later he was on a plane home to Melbourne.
He is a remarkable man, as singular as his songs . . . as you may hear.
Introductions, and a performance of the song With The One I Love
and ‘A Bastard Like Me’
Here, Graham and Paul have a chat, and Paul plays ‘And Death Shall Have No Dominion’
And Graham Reid’s special request: ‘Mushrooms’
The songs performed are from Paul Kelly’s new album Nature, which is available now.
RNZ Music is able to share this event thanks to Paul Kelly and his team. Video courtesy of Universal Music NZ, produced by Jordan Arts; Audio recording courtesy of Roundhead Studios.
The session was hosted by music writer Graham Reid.
*New Zealand’s Bird of the Year competition closes Sunday October 14, winner announced on Morning Report, 8.50am Monday 15 October. | music_and_dance |
https://www.boesendorfer.com/en/artists/oscar-peterson | 2023-09-29T23:47:59 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510529.8/warc/CC-MAIN-20230929222230-20230930012230-00259.warc.gz | 0.984744 | 858 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__193618489 | en | It is a fact that many great jazz pianists play on Bösendorfe grand pianos. The most significant is probably the Canadian jazz-virtuoso Oscar Peterson, born in 1925. When he talks about his encounter with the Imperial, it sounds like a love story:
I ran across a lot of European pianos in my JATP years. The two I remember best were a lovely instrument in Denmark made by Hornung and Mueller and the Viennese-made Bösendorfer. Sadly, the former piano did not prosper in the Canadian atmosphere, refusing to retain its tuning, and despite its lovely feel, I was forced to part with it. But the Bösendorfer was something else - especially the one I encountered in the late 1970s. This piano was called 'The Imperial'. At the end of the set I walked off during the applause and went straight over to Norman Granz (Oscar Peterson's manager and promoter of Jazz at the Philharmonic) frightening him out of his wits by screaming:
Oscar Peterson 1977 in Munich
"God-dammit, Norman, where did that box come from? I gotta have one of those!"
He looked at me with his normal calm and replied:
"If you like it so much, why don't you go back and play a couple of encores on it?"
I duly complied:
"In fact, we played at least four encores, for I couldn't get enough of that piano and, that night at least, could do no wrong on it."
My bassist Niels Pedersen's only remark was: "Damn! Why did they have to send you such a good piano? Now we're paying for it, because you're never going to leave!"
He was almost right. Normally, unless it's absolutely necessary - a sound-checks in a studio, for example - I seldom go out on stage before a concert. Checking out the piano might lead to preconditioned ideas, and they can in turn interfere with the creative process so essential to a successful jazz concert. By the same token, I would hardly return to play after a concert was over, feeling that I had said all I had to say during the concert. But that night in Vienna was different. I stalled around until the audience had gone, then virtually sprinted back to the piano to bask once more in its incredible tonal quality.
On my next visit to Vienna I was picked up at the hotel and driven to what had been an old monastery in the heart of the city. Our party was given a tour of the whole manufacturing process, from where the piano is born to where it comes to completition. Finally we were ushered into the piano salon. This was it! Before me stood an array of 15 to 20 grands - and I mean grands! They were akin to a herd of beautiful Arabian horses, waiting to be chosen for their unique individual qualities. I was told to start trying them, one after the other, in order to isolate my final preference. It was truly unbelievable: instrument after instrument offered itself to me in an unselfish, fulfilling way, each one speaking with its own special voice. I glanced at Norman with what must have been a look of bewilderment and awe, for he strolled over and said quitely:
" Take your time, OP, you don't even have to make your choice today. If you can't decide, you can easily come back after the tour and choose then."
Suddenly I touched this one instrument, and it spoke to me in a way I'd never heard before: the sound seemed to run through my fingers, straight up my arms and into my whole body: 'This is mine!' I shouted in excitement. 'This is the one!'
All I knew was that I had found the most beautiful instrument I had ever played and I wanted to make it mine. My heart pounded within me as they agreed on my choice and that, after final checks and tunings, they would ship it to me in Toronto.
*Source: Oscar Peterson, A Jazz Odyssey, Continuum, London/New York, 2002 | music_and_dance |
https://gameverse.com/2014/05/18/harmonix-to-bring-back-amplitude/ | 2024-04-20T14:03:08 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817650.14/warc/CC-MAIN-20240420122043-20240420152043-00609.warc.gz | 0.96202 | 170 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__64097093 | en | Harmonix Music Systems, best known in recent years for their work on the Rock Band and Dance Central franchises, has created a Kickstarter campaign to bring back cult classic rhythm game Amplitude. Released in 2003, Amplitude differs from modern music games by allowing one player complete control over several music tracks at once. The developer is seeking $775,000 to bring a downloadable reimagining of the game to the PS3/PS4 sometime in 2014. Standout backer rewards include a sick vinyl record filled with original music compositions, a trip to PAX to hang out with the team, and even a chance to get your own music put into the game. As of this writing, the campaign has 5 days to goal and has raised around $300,000 of its goal. Stay tuned to IGS for further coverage. | music_and_dance |
https://micheladarumble.com/phoenix/ | 2023-12-01T23:09:33 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100308.37/warc/CC-MAIN-20231201215122-20231202005122-00593.warc.gz | 0.972415 | 274 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__122521759 | en | One of the most revered figures in rap since his early-’90s debut, DJ Quik emerged as a formidable rapper/producer and extended his career working primarily as a funk-inspired beatmaker for stars and protégés alike.
Formed in 1990 by One Dope Mexican (Robert Gutierrez) and Don’t Try To Xerox (Bobby Ramirez). They recorded demos and landed a record deal soon after with a small independent label, Quality/Pump records. Their debut album, 1990’s “Brown and Proud,” brought the group Top 40 single in the U.S. with “On A Sunday Afternoon,” peaked at #39 on the Billboard Hot 100.
Trish Toledo is a singer-songwriter who’s style can be described as soul / 60s, early 70s era music. She has been likened to folks that listen to artists such as Aretha Franklin, Barbara Mason & Brenton Wood. Inspired by her idols & their success in music, Trish practiced and developed her musical skills through her childhood and got her first studio experience at the age of 18. She has continued to record and release material, currently working on her 4th release.
Fear Farm Sports & Entertainment Complex
2209 N 99th Ave,
Phoenix, AZ 85037 | music_and_dance |
https://lady.gagalasvegas.com/ | 2024-04-12T20:44:43 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816070.70/warc/CC-MAIN-20240412194614-20240412224614-00360.warc.gz | 0.94229 | 229 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__149546256 | en | Your independent guide to the best concerts in Las Vegas! This website is operated by a ticket broker.
Ticket prices are set by third-party sellers and may be above or below face value.
We are not affiliated with nor endorsed by Lady Gaga.
Pop chameleon Lady Gaga is relaunching her Las Vegas residency this summer, and she has a handful of dates for her Jazz and Piano show this June and July. As the name suggests, it includes intimate performances of iconic hits as well as her favorite entries in the Great American Songbook. Whichever way you go, you're in for an unforgettable experience.
After all, amazing tickets for all dates are on sale now, and at incredible prices, too. But with all the little monsters out there, there's no telling how long the best sets will last!
So if you want to catch the lowkey charm of Jazz and Piano, you can't afford to wait. Check out the schedule below to learn more about available seating options at individual shows, and get your Lady Gaga Las Vegas Tickets right away!
See Lady Gaga live at Dolby Live! | music_and_dance |
https://beingwiki.com/unlocking-musical-potential-the-power-of-piano-learning-ebooks/ | 2024-02-20T23:12:30 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473347.0/warc/CC-MAIN-20240220211055-20240221001055-00553.warc.gz | 0.875416 | 649 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__97763199 | en | In the digital age, learning the piano has transcended traditional methods, with the advent of Piano Learning eBooks paving the way for a new era of musical education. These digital resources bring a wealth of knowledge and interactive features to learners of all levels, offering a convenient and effective way to embark on a musical journey.
The Convenience of Digital Learning
Piano Learning eBooks provide a convenient and accessible alternative to traditional piano lesson formats. With the rise of e-readers, tablets, and smartphones, aspiring pianists can carry an entire library of instructional materials in their pocket. This portability allows for learning at one’s own pace, anytime and anywhere, making it an ideal choice for individuals with busy schedules.
Comprehensive Curriculum at Your Fingertips
One of the key advantages of Piano Learning eBooks is the comprehensive curriculum they offer. These digital resources cover a wide range of topics, from basic music theory and note reading to advanced techniques and musical interpretation. Whether you’re a beginner or an experienced player looking to refine your skills, Piano Learning eBooks provide a structured and organized approach to mastering the piano.
Interactive Multimedia Features
Unlike traditional textbooks, Piano Learning eBooks often incorporate interactive multimedia features to enhance the learning experience. Interactive diagrams, audio examples, and video tutorials bring the lessons to life, providing a more immersive and engaging educational journey. This multimedia approach caters to different learning styles, making it easier for individuals to grasp complex concepts and techniques.
Tailored Learning Paths for Every Student
Piano Learning eBooks excel in providing tailored learning paths to suit individual needs and skill levels. Adaptive algorithms within these digital resources assess the learner’s progress and adjust the difficulty of exercises accordingly. Whether you’re a novice building a foundation or an intermediate player seeking to expand your repertoire, Piano Learning eBooks ensure a personalized and effective learning experience.
Cost-Effective Learning Solution
Traditional piano lessons can be costly, with expenses for instructors, travel, and materials adding up quickly. Piano Learning eBooks offer a cost-effective alternative, providing a vast amount of educational content at a fraction of the cost of traditional lessons. This affordability makes quality piano education accessible to a broader audience, breaking down financial barriers to musical learning.
Progress Tracking and Goal Setting
Another notable feature of Piano Learning eBooks is the ability to track progress and set personalized goals. Built-in tools allow learners to monitor their achievements, identify areas for improvement, and celebrate milestones along the way. This element of self-assessment encourages motivation and a sense of accomplishment, contributing to a positive and fulfilling learning experience.
Embracing the Future of Piano Education
In conclusion, Piano Learning eBooks represent a transformative force in the world of piano education. With their convenience, comprehensive content, interactive features, personalized learning paths, and cost-effectiveness, these digital resources empower individuals to embark on a musical journey with confidence. As we embrace the digital age, Piano Learning eBooks stand at the forefront, unlocking the musical potential within every aspiring pianist. Whether you’re a beginner or a seasoned player, the world of piano education is now at your fingertips. | music_and_dance |
https://altomusictherapy.ca/about/ | 2023-10-01T17:38:48 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510924.74/warc/CC-MAIN-20231001173415-20231001203415-00779.warc.gz | 0.971098 | 281 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__88891907 | en | Nicholas Smith is a Certified Music Therapist, having passed the Certification Board for Music Therapists board exam on June 2nd, 2022. Nicholas also holds a Graduate Diploma in Music therapy from Concordia Unviersity, and a Bachelor’s degree in classical guitar performance from the Université de Moncton.
Nick played the piano, trombone, and sang in the choir when he was growing up, but did not find his real musical identity until he received a guitar for his 13th birthday. Immediately, Nick found that playing music on the guitar had a positive effect in all domains of his life. Fast forward 25 years, and Nick brings this experience to Alto Music Therapy – to help others in academic, cognitive, communication, emotional, motor, musical, and social domains.
Nick’s specializations in music therapy are in Autism Spectrum Disorder (ASD) and geriatrics. Nick’s clinical music therapy internships was with Esther Thane and Emily Naccarato from ET Music Therapy in North Vancouver, B.C., as well as with Mary Cobham of Mary Music Therapy. Following his internship experience, Nick decided to relocate to his hometown of Moncton, New Brunswick, in order to begin practicing as Alto Music Therapy and to bring greater awareness of the power and potency of music therapy to the Atlantic provinces. | music_and_dance |
http://latinoartcommunity.org/community/OnlineCom/Transitions/Mendoza2008.html | 2018-12-14T10:21:38 | s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376825512.37/warc/CC-MAIN-20181214092734-20181214114234-00250.warc.gz | 0.982765 | 723 | CC-MAIN-2018-51 | webtext-fineweb__CC-MAIN-2018-51__0__120069781 | en | Lydia Mendoza, 1916-2007
Lydia Mendoza, an early star of Mexican American music whose passionate, despairing songs about working-class life on both sides of the border made her a trailblazer for the Tejano genre, has died. She was 91.
Mendoza, whose singing career spanned more than 60 years, died Dec. 20 of natural causes in San Antonio, Texas, according to media reports.
Texas Monthly magazine called her the "greatest Mexican American female performer ever to grace a stage" in a 1999 story that named her "the voice of the century" in Texas.
Lupe Saenz, president of the South Texas Conjunto Assn., told The Times that Mendoza was a "pioneer of our musical heritage."
"She was a rebel, in that she did what no other woman artist singer had done before her; that is, she sang about the 'machismo' culture in a way that set the course for many women today," Saenz said in an e-mail.
The words for her first, and most enduring, hit came from her girlhood collection of gum wrappers that contained song lyrics. She put the words from one wrapper to a tune she had heard in concert in Mexico and first performed "Mal Hombre" (Evil Man), a song about false-hearted lovers, when she was 10.
After Mendoza recorded the song -- a tango -- in 1934, it became a major hit throughout the Spanish-speaking community and launched her career.
Accompanied by her signature 12-string guitar, Mendoza often sang about hardship and rejection in a powerfully sincere style that reflected the music developing along the U.S.-Mexican border. Her trilling voice earned her the nickname "La Alondra de la Frontera," or Lark of the Border.
In 1935, she married shoemaker Juan Alvarado and continued to perform in an era when wives usually gave up their careers. By 1940, Mendoza had recorded more than 200 songs in a wide variety of musical styles that included boleros, rancheras and cumbias. She wrote many of them herself.
"People say I'm the mother of Tejano music," Mendoza told the Chicago Tribune in 1996, "but I don't think I even heard the word, knew what it was, until many years after I started. . . . People watched what I was doing -- singing and playing guitar -- and that inspired them."
She was born May 12, 1916, in Houston to Francisco and Leonor Mendoza. Her family came from northern Mexico, and she and several siblings grew up moving between Monterrey, Mexico, and south Texas.
Her mother played the guitar and sang Mexican songs, which made Mendoza wish for a guitar of her own. At 4, she made one out of a plank of wood, six nails and several rubber bands.
"The very sight of her was magical and could awaken a populist frenzy and collective pride in Mexicans," Yolanda Broyles-González wrote in her 2001 book, Lydia Mendoza's Life in Music.
Mendoza is survived by a daughter, Yolanda Hernández.
Excerpted from "Lydia Mendoza, 91; Singer was in the vanguard of Tejano music," by Valerie J. Nelson, Los Angeles Times online edition, December 30, 2007. | music_and_dance |
http://www.iranart.ir/Section-music-8/24298-shahram-shokouhi-slashes-ticket-prices | 2019-05-26T11:23:27 | s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232259126.83/warc/CC-MAIN-20190526105248-20190526131248-00417.warc.gz | 0.961032 | 581 | CC-MAIN-2019-22 | webtext-fineweb__CC-MAIN-2019-22__0__178689687 | en | TEHRAN.(Iranart) - C elebrated pop and flamenco singer, songwriter, composer and guitarist Shahram Shokouhi will hold a concert at the Ministry of Interior Auditorium in Tehran.
On August 16, Shokouhi will come on stage at the large hall to perform selected songs for his fans, Honaronline reported on its Persian website.
The concert is a postponed event after Shokouhi failed to appear in a concert planned on July 11 at Milad Hall of Tehran Expo Center. His absence from the scheduled event was due to a heart stroke while watching the Russia 2018 FIFA World Cup match between Iran and Portugal on June 25 which ended 1-1.
Iran lost a scoring chance in the last minute of the game that would let Iran advance to the Round of 16. However, the draw meant Team Melli wrapped up its fifth World Cup campaign again in the group stage, similar to the past four runs, but this time with four points, higher than the previous appearances.
Shokouhi, 43, is among the artists concerned about the worsening economic problems the people are facing, namely galloping inflation, steep decline in the value of national currency and shrinking purchasing power.
He has set a ceiling of 600,000 rials ($6) for the tickets to his concert. Many popular concerts have tickets up to 1.5 million rials ($15).
Part of the Solution
Referring to concerts cancelled recently by musicians due to the financial constraints, Shokouhi said, “As I said earlier, not holding concerts cannot solve economic problems. The concert will have no personal profit for me and the producer. Its returns will cover costs of the venue and wages.”
“Once, artists bragged about the steep ticket prices of their concerts. I prefer to be called the cheapest singer.” The singer said “It’s been a while the idea of street concerts is under discussion.” One of the musicians pretty serious about holding such gratis performances is the traditional vocalist and player of tonbak and kamancheh Homayoun Shajarian, son of the master vocalist of Persian music Mohammad Reza Shajarian. Homayoun whose intention is to help boost public morale, has held meetings with relevant officials to hold street concerts.
“If street concerts are authorized by the relevant bodies, I’ll be among those eager to hold such performances,” Shokouhi said.
At the August 16 concert, Shokouhi will be accompanied by an orchestra conducted by composer, music arranger and singer Adel Fallah.
Tickets to the event are available at Iranconcert.com. Ministry of Interior Auditorium is on Gomnam Street, north of Fatemi Square.
source: Financial Tribune | music_and_dance |
https://velvetmusic.nl/en/page/artiest-national | 2024-04-14T11:48:36 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816879.25/warc/CC-MAIN-20240414095752-20240414125752-00245.warc.gz | 0.985471 | 283 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__126899001 | en | The National is an American indie rock band that formed in Cincinnati, Ohio in 1999. The band consists of vocalist Matt Berninger, guitarists Aaron and Bryce Dessner, bassist Scott Devendorf, and drummer Bryan Devendorf. The band's music is known for its intricate instrumentation, layered vocals, and emotionally charged lyrics.
The National has released eight studio albums, including "Alligator," "Boxer," and "Trouble Will Find Me," which have all received critical acclaim. The band's music often deals with themes of love, loss, and identity, and their unique sound has drawn comparisons to bands like Joy Division and Leonard Cohen.
The band's most recent album, "I Am Easy to Find," was released in 2019 and features guest vocals from a number of female artists, including Sharon Van Etten and Lisa Hannigan. The album was also accompanied by a short film directed by Mike Mills.
The National has received numerous award nominations for their music, including multiple Grammy nominations. They are known for their dynamic live shows, which often feature guest appearances and collaborations with other artists.
Overall, The National is a critically acclaimed indie rock band known for their poignant lyrics, intricate instrumentation, and emotionally charged performances. They have carved out a unique space in the indie rock scene and continue to be celebrated by music fans and critics alike. | music_and_dance |
https://www.myipo.gov.my/en/music-rights-sarawak-berhad-authorized-as-copyright-licensing-body/ | 2022-05-18T00:34:50 | s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662520936.24/warc/CC-MAIN-20220517225809-20220518015809-00313.warc.gz | 0.936019 | 345 | CC-MAIN-2022-21 | webtext-fineweb__CC-MAIN-2022-21__0__126726291 | en | MUSIC RIGHTS (SARAWAK) BERHAD AUTHORIZED AS COPYRIGHT LICENSING BODY
26 February 2022 – Minister of Domestic Trade and Consumer Affairs (KPDNHEP), YB Dato Sri Alexander Nanta Linggi today handed over the certificate declaring Music Rights (Sarawak) Berhad (MRSB) as a licensing body recognized by the government to conduct royalty collection activities on behalf of singers, musicians in song recordings, music video makers and local recording companies involving local ethnicities in Sarawak.
MRSB is one of the latest licensing bodies declared by the Copyright Controller under the Intellectual Property Corporation of Malaysia (MyIPO) to collect music royalties and represent the exclusive members of the owners and creators of music works, sound recordings and performances by native artistes and musicians in Sarawak.
The establishment and recognition of MRSB as a regulatory body will, among others, benefit its members in managing their royalty rights as well as safeguarding their welfare in the music industry. Among the members under this body are songwriters, lyricists, singers, musicians in song recordings, music video makers and recording companies.
The declaration certificate was handed over by Dato Sri Alexander to the Chairman of MRSB, Mr. Gibson Rentap.
Also present were MyIPO Board Members, Dato ‘Chua Tee Yong, Datuk Kamarlin Ombi, Datu Dr. Rashidah Bolhassan and Siti Norazlina Seni. Also present were MyIPO Director General, Abdul Haris Lakar and MRSB Managing Director, Puan Juliet Tan. | music_and_dance |
https://blacklivesmatterpratt.com/sonic-explorations/ | 2022-12-09T06:25:57 | s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446711390.55/warc/CC-MAIN-20221209043931-20221209073931-00728.warc.gz | 0.937809 | 223 | CC-MAIN-2022-49 | webtext-fineweb__CC-MAIN-2022-49__0__222275535 | en | Friday April 8 2016
5:30-6:30 PM: Sonic Explorations
William Parker is a musician, improviser, and composer. He plays the bass, shakuhachi, double reeds, tuba, donso ngoni and gembri. He was born in 1952 in the Bronx, New York. He studied bass with Richard Davis, Art Davis, Milt Hinton, Wilber Ware, and Jimmy Garrison. He has taught at Bennington College, NYU, The New England Conservatory of Music, Cal Arts, New School University and Rotterdam Conservatory of Music.
Cooper-Moore is multi-instrumentalist, composer, storyteller, instrument-builder and educator living in East Harlem, New York City. Cooper-Moore’s approach to music goes beyond simple categorization. Though he is now informed by Creative Improvised Music and the jazz avant-garde, his ears are rooted in the Gospel, Blues and Bluegrass traditions from the place of his birth, rural segregated Virginia.
Location: Higgins Hall South 111 | music_and_dance |
https://www.africanexponent.com/bpost/4051-enter-afrobeat | 2021-01-19T01:23:16 | s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703517559.41/warc/CC-MAIN-20210119011203-20210119041203-00501.warc.gz | 0.936333 | 595 | CC-MAIN-2021-04 | webtext-fineweb__CC-MAIN-2021-04__0__102683241 | en | With album sales eclipsing one million in its first week alone, it goes without saying that the release of Drake’s Views certainly marks one of the most hyped recent drops on the mainstream music scene. Despite mixed reviews from listeners and critics, Views destroyed all types of records, boasting more than 500 million streams on popular platforms such as Spotify and Apple Music. Yet for all the Canadian mega-star’s success in cornering the American hip-hop charts, it’s neither Drake nor his fellow hip-hop artists who are poised to reap the most long-term benefit from Views’ success.
By far the biggest of single off of Views, "One Dance" is notable for its role in confirming the mainstream’s desire to co-opt into has become perhaps the defining club music trend of the past 18 months: Afrobeat. Putting a Western twist on the classic compositions of legendary African artists such as Fela Kuti and King Sunny Ade, Afrobeat artists now find themselves leading, if not shaping, the East Coast's newfound obsession with Africa's sounds and face-to-face dancing.
Currently atop both the U.S. & UK charts, “One Dance” marks the second collaboration between Drake and Nigerian mega-star Wizkid, the first being Drake’s 2015 feature remix of Afrobeat smash “Ojuelegba.” And with "One Dance"’s Afro-infused melodies having taken over the airwaves heading into the summer months, we’ll be sure to see other American pop icons following the trend.
Some, such as “Trap Queen” singer Fetty Wap already have, his “Your Number” collaboration with Yoruba artist Ayo Jay going viral as song of choice for Vine dance montages nationwide. This year alone has seen two other Afrobeat tracks make striking inroads into American DJ rotations with Davido’s “The Money” and Mr. Eazi’s “Skin Tight” both topping iTunes’ Most Downloaded list within the past six months.
DJ’s aren’t the only ones taking note. Last summer, Rolling Stone magazine published a startling feature on DJ Tunez, a Nigerian-American DJ who has risen to notoriety as the architect of Afrobeat's newfound dominance on the East Coast.
To cap it all off? This past January, Davido, arguably the biggest artist on African soil, signed a monster $1 million deal with Sony Entertainment, capping off years of growing interest in African artists as means of tapping the region's rapidly expanding entertainment industry, especially as more initiatives are launched to connect Africans to the internet in greater numbers. And if recent social media posts are to be believed, fellow Afrobeat stalwarts Wizkid and Tiwa Savage aren't far behind. | music_and_dance |
http://thenewyorkcitypost.com/tilak-bam-malla-the-most-demanding-nepalese-singer-in-the-usa/ | 2018-04-26T03:51:39 | s3://commoncrawl/crawl-data/CC-MAIN-2018-17/segments/1524125948064.80/warc/CC-MAIN-20180426031603-20180426051603-00034.warc.gz | 0.984983 | 970 | CC-MAIN-2018-17 | webtext-fineweb__CC-MAIN-2018-17__0__201045165 | en | – Rajan Thapaliya, New York
Many Nepalese adults are curious about a question, who is the most demanding Nepalese singer in the USA? His name is Tilak Bam Malla. People better know him by his stage Name Parivesh. His Mega hit legendary song “MUTU CHUNE LUMLE KO HAWA LE” is one of the most popular Nepali songs.
Tilak Bam Malla is very honest, loyal and knowledgeable singer of Nepal. He is a well known established singer of Nepal. His original singing skills caught the attention of various audiences. His deep interest and admiration for commentating on music have allowed him to obtain a remarkable voice to reach out to Nepalese musical audiences.
Wherever he goes: most folks request him to sing this song. Nepali community recognized him as a “Stage king”. Especially when he sang a song in the folk genera.
He proved that he is one of the most dynamic singers of Nepal. We all know action speaks louder than the word. Even in his personal life, he talks less, but his work shows he is the versatile singer. Recently he performed in Queens, Long Island, New York, and Connecticut during the Nepali New Year. Frequently he performs in different states. His schedule is almost full until next July.
As for his personality characteristics, Mr. Malla is considered to have a cheerful and humble personality, also known for his boldness and utmost charisma that he shows in his music. Furthermore, he is incredibly brilliant at dealing with people and networking and always impressing others with his exceptional Himalayan folk music with his signature dazzling smile.
He believes in the principle “Do whatever you like – but remember, anybody can do things for themselves, but to do something for others is a great thing.” This principle motivated him to do some beneficial things to the society. Tilak believes in hard work, dedication, and honesty as his main principles. He is proud to be a man of his word.
Tilak Bam Malla had interest in singing from his childhood and used to sing in school’s programs without telling his family. When he turned 18, he had been thinking to record an album. With this aim, he went to Radio Nepal for voice test and passed it. After passing voice test from Radio Nepal he started singing contemporary popular songs and folk and in 1996 he sang his first song Yo Baadal Yo Barsha.
He first gained popularity in the late 90s for his second Lok Pop album Parivesh Vol.2 with all-time hit songs like Mutu Chune, Bhote Talcha, Haat Ma Rumal and Chaite Dashain, and was dubbed as the pioneer of Lok Pop genre in Nepalese music industry.
Mr. Malla is an owner of music “Parivesh recording studio”. Remembering the problems he faced in past, today he opts to seek and support talented and passionate music lovers who want to revolutionize Nepali music industry.
This legendary singer is the musical heart of many Nepalese youths. Mr. Malla is a humanitarian and has participated and spoken out for various social causes, especially during devastating earthquake of Nepal in 2015 and aftermath. He was also awarded by various honors and awards for contributing in the field of social work and welfare acts. Tilak Bam Malla has been involved in many social works. Malla is the very responsible person with responsibilities toward his society and country along with his singing profession.
Pioneer of folk’s pop music in Nepal Tilak, from Pokhara, he is the family members of Martyr Thir Bam Malla, has sung dozens of hit Nepali pop songs and people songs are nevertheless playing in Nepali young people’s heart. As a member of martyr circle of relatives, nobody in his circle of relatives had interest in song, singing or dancing, but as a contrary to this environment, Tilak Bam Malla had an eager interest in music, which grew along with his age. though there has been no apparent career opportunity in the music industry, at some point of that point, he decided to step in and observed his ardor in music.
There is no doubt that Tilak Bam Malla has established himself as one of the most prolific singers of Nepal has known. He has achieved many accomplishments within a very short span of time and will only continue to impress his people in the future. When asked the reason behind his success, Mr. Tilak Bam Malla replied, ‘Strong interest, Knowledge, and honesty to work’. It is with these words that all should seek inspiration to excel in their individual endeavors. | music_and_dance |
https://oagirl.wordpress.com/2011/09/21/the-muscian/ | 2018-03-22T09:41:09 | s3://commoncrawl/crawl-data/CC-MAIN-2018-13/segments/1521257647838.64/warc/CC-MAIN-20180322092712-20180322112712-00597.warc.gz | 0.95263 | 300 | CC-MAIN-2018-13 | webtext-fineweb__CC-MAIN-2018-13__0__29600039 | en | I wish for one moment I could stop and hear the tune that You play in my heart.
Stop the busyness, stop the running, stop the plodding.
Softly, I hear…
I hear the dissonance of a piano as the keys are strikingly touched one by one,
echoing in my ears.
Your song, a tune I hear not often.
But, it is there all the time.
A funeral dirge is that what You are playing today, I ask?
I know why?
In my work, I face times of frustration and confusion, anger and resentment.
But, yet You still play your song in my soul.
It is in this pain and hollow that my ears are opening to Your music.
I hear Your song.
Even though I feel inadequate and unworthy.
I hear Your song, just for me.
I hear you say there is a lesson to be learned, and that this will not last forever.
The song plays.
Comments, suggestions, thanks…Your song plays and raises my spirit.
I always hated funeral dirges, but not now.
I know that this is Your song being played through me.
Your divine love.
Changing my life.
Old to new.
Death to birth.
A new being emerges.
I enjoy the music You play, knowing that you are near.
It never stops.
And, now I listen. | music_and_dance |
https://miamismoothjazzfest.org/news-updates/ | 2020-10-30T14:32:03 | s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107910815.89/warc/CC-MAIN-20201030122851-20201030152851-00060.warc.gz | 0.921912 | 578 | CC-MAIN-2020-45 | webtext-fineweb__CC-MAIN-2020-45__0__86309115 | en | Miami Smooth Jazz Festival 2019 Artist Performance Times_updated
MIAMI SMOOTH JAZZ FESTIVAL 2020 GOES VIRTUAL
FOR IMMEDIATE RELEASE
Interactive Professional Media Group
MIAMI, FL, October 25, 2020 – The Miami Smooth Jazz Festival is following the guidelines of health experts and Miami Dade County Officials by not holding a large gathering this fall. We will not take any risks that would endanger the health of music fans, artists, and our staff. We are grateful to the thousands of music fans who support our efforts and therefore we will keep the music playing this fall. We are looking forward to you joining us for the free Virtual Miami Smooth Jazz Festival 2020 on Saturday, November 7th at 7PM ET at www.MiamiSmoothJazzFest.org.
Organizer Cedric Allen says, “As we have seen so many other music festivals fall victim to the pandemic, we wanted to keep music fans safe but not allow the state of affairs to deny you the music you so richly deserve.” Allen added, “While it’s disheartening that we couldn’t be with you in person, we had to figure out a way to bring you the sound of music again this year, that’s why we decided to give you the Virtual Miami Smooth Jazz Festival.”
As with our first festival, this year the Virtual Miami Smooth Jazz festival 2020 will lead up to the Veterans Day holiday. We again will honor our nations’ veterans for their sacrifice to our nation. This year, we are also saluting first responders everywhere, as they are on the front lines fighting to keep others safe during the pandemic. We say thank you to our Heroic Veterans and our Front-line Heroes.
We are pleased to have as our host for the Virtual Miami Smooth Jazz Festival, the innovative and contemporary smooth jazz saxophonist, Marion Meadows. “The move to the virtual allows the Miami Smooth Jazz Festival to give you the music that binds us all so beautifully,” says Meadows. He adds, “I look forward to you joining us for an amazing evening of the healing sound of music, artist interviews, and our expressions of love for you during this pandemic.”
While Covid-19 has a changed a lot. It will not stop the Miami Smooth Jazz Festival from sharing the universal sound of music. We will keep the music playing.
About the Miami Smooth Jazz Festival
The Miami Smooth Jazz Festival launched in 2019 with an inaugural event that drew thousands. The top caliber talent that provided south Miami Dade County with the best musical performers in Jazz, Rhythm and Blues and Latin Jazz. The setting for the first festival was on the grounds of Zoo Miami. For more information visit www.MiamiSmoothJazzFest.org | music_and_dance |
http://wpnsyear5.blogspot.com/2014/06/music-workshop.html | 2019-07-17T10:28:51 | s3://commoncrawl/crawl-data/CC-MAIN-2019-30/segments/1563195525136.58/warc/CC-MAIN-20190717101524-20190717123524-00332.warc.gz | 0.983688 | 132 | CC-MAIN-2019-30 | webtext-fineweb__CC-MAIN-2019-30__0__159489698 | en | Today we had a fantastic day with Year 6 and Mr Clark. We decided that we wanted to write a new school song and spent the day working on this. First, we worked on learning about how musicians go about writing a song; we looked at different examples and then Mr Clark taught us about major and minor chords.
After playtime, we thought of lyrics to describe our school and looked at rhyming patterns.
Finally, Mr Clark worked over lunch time and composed the melody and we worked on verse 2 and the bridge. We are going to spend the next few weeks learning the song before we perform it for everyone at the end of the year! | music_and_dance |
https://newslj.com/gillette-residents-teach-and-learn-embody-square-dance-language | 2024-04-23T18:38:08 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818732.46/warc/CC-MAIN-20240423162023-20240423192023-00404.warc.gz | 0.961495 | 1,280 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__117035035 | en | Gillette residents teach and learn to embody the square dance language
Dandy Dan Hopper calls a square dance Tuesday, March 19, during a weekly lesson hosted by Levis and Lace Social Square Dance Club at the Rockpile Community Center in Gillette. Hopper’s been calling dances with the local club since the late 1980s.
GILLETTE — A complicated language greets anyone visiting a square dance class for the first time.
Slip the clutch. Spin the top. Do Paso. Allemande left.
The words ring out as music bops behind it, choreographing a pattern dancers seem to magically follow.
What do they mean?
Slip the clutch — someone having car trouble? Spin the top — play time with kids?
Dan Hopper’s role as a square dance caller explains the language and phrases to newcomers, opening the door of the square dance community to those taking lessons for the first time.
“I’ll teach them the calls and then I’ll throw music on and we’ll do what’s called a patter, music with just calls,” he said. “Then you move onto a singing call, which has lyrics and calls. You do two of them and that’s called a tip.”
Hopper began in his role with the Levis and Lace Social Square Dance Club in Gillette in the late 1980s, shortly after learning square dance itself in 1985. In the beginning, he said the club’s dances brought out about 50 couples. Those numbers dropped throughout the decades and especially during the beginning of the COVID-19 pandemic.
Social distancing separated dancers and many venues where clubs met also temporarily closed down.
Locally, the dance club still gives lessons to those who’d like to learn but the amount of interest has dipped. Shirley Study, a longtime club member, said this year was better, with about 10 signing up for lessons in November and 12 who recently joined lessons beginning in February.
Learning the lingo
On Tuesday evening, the new students came into the Rockpile Community Center with a better understanding of the square dance lingo.
Specific phrases or words inferred turns, a trade of partners or quick releases in the square made up of eight dancers. As Hopper made the calls, many followed quickly into formations, moving smoothly to end up where they needed to go.
If they missed a step, Hopper was quick to fix the issue, speaking lightly into the microphone while music continued.
Hopper said he’s stuck with calling for the last three decades because he enjoys it.
“I used to rodeo as a bull rider and this is what the old cowboys do when they quit rodeoing,” he said with a chuckle. “They become square dance callers.”
“Give him a mic and he’s dangerous,” Jeff Kuray quipped.
Hopper steers dancers through calls each week that represent different movements. All together, there’s 68 calls or movements he can use in mainstream square dancing that dancers should know how to follow.
The number drops to about 50 calls if students learn only the social square dance movements. Once they learn the language, dancers simply have to keep up.
Hopper’s task is more multifaceted.
“He hides his light under a bushel,” Kuray said. “Being a caller is a multi-tasking position. He has to watch the square, he has to sing a song and then he has to filter the calls in among the lyrics.”
Most dances begin with a patter, where a caller will speak or chant the words in a pitch to give dancers a taste of what to expect. After the patter, Hopper transitions into music with lyrics, chanting the calls into tunes like “Fisherman’s Luck.”
Study said that once dancers know the calls the feet follow.
“It’s really not too difficult,” she said. “You know where to go.”
Willus Elsasser said dancers always keep their ears out for the calls because callers can chant them in whatever order they’d like, always changing sequences and keeping dancers on their toes.
The 84-year-old said keeping everyone in tandem — the eight dancers needed to make a square — is one of the most difficult parts of the dance.
“You just kind of listen to him and then watch where to go with your arms,” he said. “It can just be so fun for this old man.”
He and Study said the square dance community remains one of the main factors that keeps them involved. Dancers will come to the center to watch the lessons and dance. They mingle with longtime friends. It’s a social time for younger dancers and seasoned vets.
Those in the audience are also ready to jump into action if a single dancer needs a partner, something Heidi DeStefano said she appreciated about the group. DeStefano said she and her husband would see the group’s A-frame signs around town advertising the club throughout the years but finally decided to act on taking lessons last year.
She spoke to the mental effort it takes to follow a caller’s sequence.
“A lot of it’s muscle memory because the calls are the same,” she said. “But you do have to concentrate, it’s good for the brain by the time you’re done.
“It’s a workout for your brain for sure because you have to keep up with it and you can’t really talk because you just have to move.”
As DeStefano described the movement, dancers in two squares at the front of the room showcased the new skills they learned that evening. Feet moved swiftly and carefully around others, while arms led or followed the called out motions.
The once foreign language was becoming familiar.
This story was published on March 23, 2024. | music_and_dance |
http://karayorgis.com/Pages/temp_pages/BostonGlobemi3.html | 2018-10-17T19:15:36 | s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583511206.38/warc/CC-MAIN-20181017174543-20181017200043-00376.warc.gz | 0.953281 | 557 | CC-MAIN-2018-43 | webtext-fineweb__CC-MAIN-2018-43__0__208990763 | en | CAMBRIDGE -- The mi3 is a piano trio of a different color. Pandelis Karayorgis usually performs on acoustic piano, but in the mi3 he plays a Fender Rhodes electric keyboard using wah-wah and distortion pedals. The result by turn resembles organ, guitar, and science-fiction sound effects. Yet the mi3 is deeply rooted in the adventurous jazz piano tradition that is Karayorgis's metier.
Sunday night at the Zeitgeist Gallery, the trio featured not only Karayorgis's knotty compositions but also several lesser-known tunes by Thelonious Monk, as well as two by Hasaan Ibn Ali , a shadowy figure who recorded a single album in the mid-1960s under the auspices of drum legend Max Roach.
The loose-limbed and inventive drumming of Curt Newton and the agile, warm-toned acoustic bass playing of Nate McBride are essential to the mi3 sound. Colleagues for almost two decades, these three musicians are masters of give and take, with the ability to establish a deep swinging groove or float freely.
Karayorgis's loping "Betwixt" featured squelchy, distorted Rhodes and McBride's dancing bass. An as-yet-untitled Karayorgis number was both angular and blurry, underlined by Newton's lurching drums.
The trio played Monk's "Green Chimneys" with a meaty swing. McBride's bass statement built to a solo reprise of the theme, leading to a rolling Newton solo. Monk's music dominated the set, which included a brief, lush version of his ballad "Blue Light," a roller-coaster take on his early bebop number "Humph," and a strolling "Brake's Sake" as an encore.
With the addition of the evening's two Hasaan tunes, McBride observed, the mi3 now has all of his recorded compositions in its repertoire. "Pay Not, Play Not" alternates double-time and relaxed episodes, and the trio had a field day running its obstacle course. "Off My Back Jack" began with bowed bass and lush swaths of color from Karayorgis, whose bell-toned solo kept returning to the tune's haunting first phrase.
Opening and almost stealing the show was a set by the duo of saxophonist Charlie Kohlhase and virtuosic trombonist Jeff Galindo. Playing Kohlhase's compositions, the two ran the gamut of horn timbres and duo strategies in an exhilarating and witty game of musical cat-and-mouse.
© Copyright 2006 Globe Newspaper Company. | music_and_dance |
https://www.havenfellowship.org/events/christmas-musical/ | 2022-09-27T10:48:27 | s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030335004.95/warc/CC-MAIN-20220927100008-20220927130008-00713.warc.gz | 0.942217 | 166 | CC-MAIN-2022-40 | webtext-fineweb__CC-MAIN-2022-40__0__115087273 | en | Cookies & Carols 2021
Although COVID has kept us from being able to host our traditional Christmas choir concert, it hasn’t stopped us from celebrating Christmas music together. We invite you to join us for a celebration of Christmas carols on Sunday, December 5th at 6:00 PM. We’ll have some special music by soloists and small groups and of course the opportunity for you to join in singing some of your favorite Christmas songs..
Stick Around for our Cookie Fellowship
The Fellowship Team will be hosting a cookie fellowship following the concert. They are asking the congregation to provide cookie/candy trays.
Please plan to bring your goodies ready to serve on a plate or tray on Sunday morning, December 5. Please label all plates/trays and leave them in the kitchen. | music_and_dance |
https://entireleaf.com/music-pulse-board-exploring-the-magic-of-music/ | 2024-03-02T23:21:20 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476137.72/warc/CC-MAIN-20240302215752-20240303005752-00643.warc.gz | 0.893478 | 540 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__35898045 | en | In the vast and ever-evolving realm of music, innovation knows no bounds. One such innovation that has taken the music industry by storm is the Music Pulse Board. In this article, we will delve into the captivating world of Music Pulse Boards, understanding what they are, how they work, and their profound impact on music creation and performance.
What Is a Music Pulse Board?
Imagine a canvas that translates rhythm into art, where music takes shape visually. A Music Pulse Board is precisely that a unique platform where sound and visuals harmonize. These boards are revolutionizing the way musicians and artists perceive and interact with music.
The Anatomy of a Music Pulse Board
Let’s dissect the components of a Music Pulse Board:
At its core, a Music Pulse Board relies on sensory input. Microphones, sensors, and even MIDI controllers capture audio signals, ensuring a seamless connection with the music being played.
The captured audio is then translated into mesmerizing visuals, providing artists with real-time feedback. This visual representation adds a layer of creativity to the music-making process.
Users can customize the visual elements, including colors, patterns, and shapes, allowing for a personalized experience that mirrors their musical style.
The Evolution of Music Creation
With Music Pulse Boards, the process of creating music reaches new heights.
Artists can now compose music while simultaneously visualizing it. This unique approach encourages more expressive and innovative compositions.
In a live setting, Music Pulse Boards elevate the audience’s experience. As musicians play their instruments or sing, the visuals react dynamically, creating a multisensory spectacle.
The Impact on Music Production
The integration of Music Pulse Boards into the music production process has been game-changing.
Producers and musicians can collaborate more effectively by sharing their creative vision through the visual representations of their music.
Inspiration and Creativity
These boards often serve as a wellspring of inspiration, helping artists break creative barriers and explore new musical horizons.
Music Pulse Board Technology
To bring this innovation to life, cutting-edge technology plays a pivotal role.
Machine Learning Algorithms
Sophisticated machine learning algorithms analyze audio inputs and generate corresponding visual patterns, ensuring a seamless connection between sound and visuals.
Music Pulse Boards are designed to be compatible with various music production software, making them accessible to a wide range of musicians.
Music Pulse Boards represent a revolutionary shift in the world of music. They empower artists to transcend traditional boundaries and create music that engages not only the ears but also the eyes. As technology continues to advance, we can only anticipate even more exciting developments in this fascinating realm. | music_and_dance |
https://magazinepro.co/bruno-mars-biography/ | 2024-03-01T18:23:50 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475422.71/warc/CC-MAIN-20240301161412-20240301191412-00679.warc.gz | 0.962642 | 2,127 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__26194982 | en | Bruno Mars was born Peter Gene Hernandez on October 8, 1985 in Honolulu, Hawaii. His father, Peter Hernandez, was a Latin percussionist from Brooklyn, and his mother, Bernadette San Pedro Bayot, was a Filipina singer. As a young child, Bruno was surrounded by music and performance.
He got his stage name, Bruno Mars, from a young age. As a child, Bruno was small in stature but had big personality and talents. This led his father to nickname him “Bruno” after wrestler Bruno Sammartino, while his friends called him “Little Mars” due to his high energy. He eventually combined the two nicknames into Bruno Mars.
Bruno grew up in a very musical family. He was exposed to wide array of music including reggae, rock, hip hop, and R&B. His uncle was an Elvis impersonator, which also influenced Bruno’s eclectic tastes.
Early Musical Experiences
From a very young age, Mars showed great musical talent and versatility:
- At age 2, he was impersonating Elvis Presley
- At age 4, he was performing on stage with his family’s band
- He taught himself to play guitar and piano growing up
- He performed in Waikiki beach clubs as a child
Mars learned to play a range of musical instruments, dance, and perform impressions and comedy routines at a very early age. This early exposure to performing shaped his future career.
Musical Career Beginnings
After graduating high school, Mars moved to Los Angeles in 2003 to pursue a career in the music industry. He adopted the stage name Bruno Mars, after the nickname his father gave him as a child.
Initially, Mars struggled to get signed as a solo artist. So, he began producing songs and co-writing hit singles for other major artists including Flo Rida, Travie McCoy, Brandy, Sean Kingston, and Sugababes. His work writing catchy hooks and melodies soon made him a highly sought after songwriter and producer.
Major Songwriting & Production Hits
Some of Mars’ early major songwriting successes included:
- Flo Rida’s #1 hit “Right Round” in 2009
- Travie McCoy’s “Billionaire” in 2010
- Brandy’s “Long Distance”
- Sugababes’ tracks “Get Sexy” and “She’s a Mess”
Mars also produced singles for Sean Kingston and Alexandra Burke during this period. This behind-the-scenes success laid the foundations for Mars eventual emergence as a solo star.
Breakout Success with Doo-Woops and Hooligans
After years of producing and writing for other artists, Mars was ready to step out on his own. He released his debut solo EP titled It’s Better If You Don’t Understand in 2010. While the EP had limited commercial success, it set the stage for his first full album.
In October 2010, Mars released his hugely successful first studio album Doo-Wops and Hooligans. The album reached #3 on the Billboard 200 charts. It was an upbeat album that blended pop, R&B, reggae, and soul influences into catchy, dance-ready hits.
Major Hit Singles
Doo-Wops and Hooligans spawned several smash single hits including:
- “Just the Way You Are” – hit #1 on the Billboard Hot 100
- Grammy Award for Best Male Pop Vocal Performance
- “Grenade'” – received the Grammy for Best Pop Solo Performance
- “The Lazy Song'”
- “Marry Me'”
This breakout album announced Mars as a major solo pop artist on the music scene. The album was nominated for 7 Grammys, winning Best Male Pop Vocal Performance for “Just the Way You Are.”
Continued Success with “Unorthodox Jukebox”
Following up on his smash debut album, Mars released Unorthodox Jukebox in 2012. The album showcased Mars’ wide range of musical talents across different genres from reggae fusion to funk and soul influenced pop.
Unorthodox Jukebox shot to #2 on the Billboard 200 charts, kept from #1 only by Taylor Swift’s album Red. The versatile album solidified Mars as one of the biggest names in pop music worldwide.
Many singles from the album became international chart-topping smashes:
|“Locked Out of Heaven”
|#1 Billboard Hot 100 for 6 weeks
|“When I Was Your Man”
|#1 Billboard Hot 100
|#5 Billboard Hot 100
|#7 Billboard Hot 100
With its catchy songs showcasing Mars’ incredible vocals and musicality, Jukebox cemented him as one of the most talented contemporary pop stars on the planet. It won the Grammy for Best Pop Vocal Album in 2014.
Halftime Super Bowl Show & Subsequent Success
On the heels of two hugely successful albums, Mars was chosen alongside Beyonce and Coldplay to perform at the Super Bowl 50 Halftime Show in February 2016. His high energy performance of “Uptown Funk” was considered a major highlight of the show.
24K Magic Album
In November 2016, Mars released his third studio album called 24K Magic. It featured a fun, upbeat combination of R&B, funk and soul influences.
The album and its retro-flavored title track single “24K Magic” were both huge successes. The album reached #2 on the Billboard charts, while the single hit #4 and won Record of the Year Grammy. Other hit singles included “That’s What I Like” and “Finesse.”
Mars promoted the album with a 200-show world tour in 2017-2018 that grossed over $350 million total. It cemented his status as a premier live performer and 24K Magic also won the Grammy for Album of the Year in 2018.
Even outside of releasing his own albums and singles in the late 2010s, Mars collaborated with many top artists for hit songs. These collaborative smashes included:
- “Please Me” with Cardi B in 2019
- “Wake Up in the Sky” with Gucci Mane and Kodak Black in 2018
- Remix of “Finesse” with Cardi B added in 2018
He also was featured on hit singles by other artists like Lil Wayne, Major Lazer, Snoop Dogg and more over the last several years.
In 2021-2022, Mars has been busy in Las Vegas with his elaborate “Bruno Mars at Park MGM” residency concert series at Park MGM hotel. He is reportedly also working on a new fourth studio album expected to release at some point in late 2023 or 2024.
So at only 38 years old, Bruno Mars still has much more sensational music and live performances to deliver to his legions of fans in the coming decade.
In summary, over the span of just a decade plus several years, Bruno Mars has become one of the top musical entertainers in the world today. With his incredible singing voice and musical talents ranging from songwriting to playing instruments to dancing/performing, Mars delivers it all.
He has shown remarkable versatility across musical styles like pop, R&B, funk, soul, reggae, and more. Few artists can so masterfully blend together such an eclectic mix. Mars’ unique background – growing up in Hawaii immersed in all different genres – no doubt contributed to his ability to fuse styles into catchy pop hits.
Along with his prodigious natural talents, Mars also works extremely hard at his craft – tirelessly honing his voice, playing instruments, dance moves, songwriting, and live performances. His epic world tours featuring elaborate productions and seemingly endless energy have drawn rave reviews from critics and fans alike.
Bruno Mars has already packed an astounding amount of musical accomplishment into a short career so far. He has broken chart records, won major awards like 11 Grammys, delivered instantly iconic songs and live moments. And at only 38 years old, Mars clearly has many more years ahead to keep making magic happen through his music.
Frequently Asked Questions About Bruno Mars’ Biography
How did Bruno Mars get his stage name?
Bruno Mars got the two parts of his stage name from childhood nicknames – “Bruno” came from his dad’s nickname referencing wrestler Bruno Sammartino, while friends called him “Little Mars” for his energetic stage presence. He eventually combined them into his catchy adopted stage name.
What instruments does Bruno Mars play?
Thanks to a very musical upbringing, Bruno Mars plays multiple instruments adeptly including guitar, bass, piano, keyboard, drums and percussion. His musical talents help him write, produce and record much of his own solo music and songs for other artists.
What were some of Bruno Mars’ biggest early songwriting hits for other artists?
Some of Mars’ early successful songwriting cuts were Flo Rida’s #1 smash “Right Round”, Travie McCoy’s “Billionaire”, Brandy’s “Long Distance” and Sugababes tracks “Get Sexy” and “She’s a Mess.” These laid the groundwork for his own solo career.
What is Bruno Mars’ highest song on the Billboard Hot 100 charts?
Bruno Mars’ highest charting Billboard Hot 100 single so far is “Just the Way You Are” which hit #1 for four weeks in 2010-2011. It was from his breakout debut album Doo-Wops & Hooligans.
How much money did Bruno Mars’ 24K Magic World Tour gross?
Bruno Mars’ massive 200-show 24K Magic World Tour spanned 2017-2018. It grossed over $350 million in total across North America, South America, Europe, Australia and New Zealand. It cemented his status as an elite global live performer. | music_and_dance |
https://verynicequotes.com/international-dance-day-quotes-and-messages/ | 2024-03-04T11:53:53 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476442.30/warc/CC-MAIN-20240304101406-20240304131406-00599.warc.gz | 0.90898 | 833 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__126579155 | en | The Dance Committee of the International Theatre Institute (ITI) established April 29 as International Dance Day in 1982 to highlight the amazing diversity and talent of dancers all over the globe.
This date was chosen because it marks the birthday of Jean-Georges Noverre (1727-1810), the creator of modern ballet.
The main purpose to celebrate this day is to attract the attention of the wider public to the art form of dance. Moreover, the International Theatre Institute invites its members along with dancers, choreographers, dance students, and enthusiasts to join them in a grand Gala Celebration.
This event is held in the chosen host city decided on by the Executive Council of the International Theatre Institute.
To make this event more recognized and appreciated on a large scale each year the International Theatre Institute selects an outstanding personality from the world of dance to be the Message Author for the event. In the message, it is hoped that the author can underline the relevance and power of dance.
International Dance Day Quotes and Messages
Happy World Dance Day
Happy International Dance Day
“Dancing is poetry with arms and legs.” – Charles Baudelaire
“Dance is the hidden language of the soul” ( Martha Graham)
“Dance first. Think later. It’s the natural order.” (Samuel Beckett)
“Any kind of dancing is better than no dancing at all.” (Lynda Barr)
“Dance for yourself. If someone understands, good. If not, no matter.” – Louis Horst
“Dancing is a perpendicular expression of a horizontal desire.” (George Bernard Shaw)
“Those who can dance to any tune are the ones who love dancing beyond conditions.”
“When you dance, you can enjoy the luxury of being you.” (Paulo Coelho) Happy World Dance Day
“Great dancers are not great because of their technique, they are great because of their passion. ”( Martha Graham)
“Work like you don’t need the money. Dance like no one is watching. And love like you’ve never been hurt.” (Mark Twain)
“Life is short and there will always be dirty dishes, so let’s dance.” (James Howe) Happy International Dance Day
Dance is like breathing, it is like catharsis. Enjoy it to the fullest and let your feelings flow. Happy Dance Day!
“Let us dance in the sun, wearing wild flowers in our hair…”( Susan Polis Schutz) Happy World Dance Day
“And those who were seen dancing were thought to be insane by those who could not hear the music.” ( Friedrich Nietzsche)
Dance is the way to express your emotions and feelings and dance is also the way to enjoy your body…. Wishing a very Happy Dance Day.
“Life isn’t about waiting for the storm to pass…It’s about learning to dance in the rain.” (Vivian Greene) Happy International Dance Day
On the occasion of International Dance Day, I wish that you always dance to the tunes you love and live life at your own terms. Happy Dance Day!
While I dance I cannot judge, I cannot hate, I can not separate myself from life. I can only be joyful and whole. This is why I dance.” – Hans Bos) Happy International Dance Day
“To live is to be musical, starting with the blood dancing in your veins. Everything living has a rhythm. Do you feel your music?” (Michael Jackson) Happy World Dance Day
“If theater is ritual, then dance is too… It’s as if the threads connecting us to the rest of the world were washed clean of preconceptions and fears. When you dance, you can enjoy the luxury of being you.” (Paulo Coelho) | music_and_dance |
http://www.etextarea.com/826486.html | 2023-12-09T20:59:42 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100972.58/warc/CC-MAIN-20231209202131-20231209232131-00074.warc.gz | 0.939728 | 404 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__60331160 | en | SoundCloud, the online music streaming platform, has become a driving force in the music industry, revolutionizing the way musicians distribute and consume music. With its user-friendly interface and innovative features, SoundCloud has opened doors for independent artists to showcase their talent to a global audience. This digital platform encourages artists to share their tracks, connect with fellow musicians, and engage with fans, fostering a sense of community within the music industry.
Unlike traditional record labels, SoundCloud enables musicians to retain creative control and independence over their work. This unique advantage has attracted a vast number of musicians from various genres, making SoundCloud a melting pot of diverse music styles and sounds. Moreover, the platform’s algorithms and discovery features help artists gain exposure to new listeners by suggesting tracks based on their individual music preferences.
For listeners, SoundCloud offers an immersive experience by allowing them to explore an extensive library of songs from well-established artists as well as hidden gems yet to be discovered. Whether it’s finding the next big hit or enjoying niche genres, SoundCloud empowers music enthusiasts by giving them the autonomy to curate their personalized playlists.
SoundCloud’s influence on the music industry cannot be understated. It has provided a level playing field for up-and-coming artists to compete with established acts and gain recognition solely based on their musical talent. This democratization of the music industry has resulted in a surge of diverse and innovative sounds, challenging traditional notions of what defines popular music. SoundCloud has indeed become a breeding ground for creativity, fueling the emergence of new genres and diverse musical movements.
In conclusion, SoundCloud has become an essential platform for musicians and music lovers alike. Its user-friendly interface, creative freedom, and extensive music library have transformed the way artists connect with their audience. As the music industry continues to evolve in the digital era, SoundCloud remains at the forefront, enabling independent artists to shape the landscape of modern music and reach new heights in their careers.#22# | music_and_dance |
https://theworstofperth.com/2013/07/23/royal-baby-scoop/ | 2019-05-27T03:05:49 | s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232260658.98/warc/CC-MAIN-20190527025527-20190527051527-00519.warc.gz | 0.964125 | 396 | CC-MAIN-2019-22 | webtext-fineweb__CC-MAIN-2019-22__0__107052889 | en | “Her voice is gently complimented by a carefully considered orchestration, with acoustic guitar, piano, flute and warm strings, creating an atmosphere of peace and tranquility…”
Free and flattering tranquility is what we need after the epic news of the Royal birth. And what better news could we have than that of “Kiwi superstar” Hayley Westenra giving her latest CD gratis to every baby born on the same day as the Royal toddler?
My Woogling suggests that’s more than 800 CDs.
“Hayley – who has sold over four million albums in her career and holds the accolade of the fastest selling debut classical album of all time– is known for her passion for children, and was one of the youngest ever ambassadors for UNICEF,” the release press said.
And: “Embraced by Hayley’s beautiful tones, ‘Hushabye’ contains a special selection of songs, clinically proven to calm and soothe listeners of all ages.”
“I have a pure sounding voice, which has apparently helped a lot of parents get their children settled, so I had faith I was up to the challenge,” said Hayley.
Not forgetting: “Hayley has dedicated ‘Hushabye’ to all new parents and babies the world over, and it contains the new song, Sleep On, which has been specially written for the Royal Baby by the “UK’s favourite living composer” Paul Mealor, with the lyrics provided by world renowned composer Brendan Graham (lyricist for You Raise Me Up). Their Royal Highnesses The Duke & Duchess of Cambridge personally chose Mealor’s music for their wedding in 2011, so ‘Hushabye’ is the perfect accompanying gift to celebrate the Royal Couple’s new arrival.” | music_and_dance |
https://sportowefakty.net/from-novice-to-virtuoso-transform-with-music-lessons/ | 2023-11-29T16:19:49 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100112.41/warc/CC-MAIN-20231129141108-20231129171108-00770.warc.gz | 0.886328 | 819 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__42375541 | en | In a world filled with countless forms of self-expression, music stands as a universal language that transcends boundaries and connects people on a profound level. Music can remarkably transform lives whether you’re an aspiring virtuoso or a curious novice. The journey from novice to virtuoso is not only about mastering an instrument or honing vocal skills; it’s a path of personal growth, discipline, and self-discovery. You Find Music Lessons provide the roadmap for this transformative journey. This article will explore the incredible journey from novice to virtuoso through the lens of music education.
The Power of Music Lessons
Before diving into the transformative journey, here emphasize the crucial role of music lessons in this process. Music lessons are structured learning experiences that offer aspiring musicians valuable insights, techniques, and guidance. They provide a platform for individuals to explore their musical talents, regardless of age or previous experience.
Embarking on the Journey
- Choosing an Instrument: The first step is choosing an instrument that resonates with you. Whether it’s the majestic piano, the versatile guitar, or the soul-stirring violin, the choice should reflect your connection to the sound.
- Finding the Right Teacher: A skilled and patient teacher is essential to guide you through the initial stages of learning. They will provide structure, correct your mistakes, and offer invaluable insights.
- Setting Goals: Clearly define your musical goals. Do you want to play for personal enjoyment, join a band, or perform on stage? Setting achievable goals will keep you motivated and focused.
The Novice Phase
You enter the novice phase once you’ve embarked on your musical journey. Here, you are introduced to the fundamentals of music and your chosen instrument. It’s a period of exploration and discovery.
Key Milestones of the Novice Phase
- Basic Technique: You will learn the foundational techniques for your instrument, such as proper hand positioning, finger coordination, and breath control for singers.
- Music Theory: Understanding the basics of music theory is essential. You’ll grasp concepts like scales, chords, and rhythm, which form the building blocks of music.
- Repertoire Building: You’ll build your repertoire by learning simple songs and pieces. These help you apply your newfound skills and gain confidence.
The Journey Continues: Intermediate Stage
As you progress, you’ll enter the intermediate stage. This phase is marked by increased proficiency and a deeper understanding of music.
Intermediate Stage Highlights
- Skill Refinement: Your technique becomes more refined, allowing you to tackle more complex pieces of music.
- Music Exploration: You’ll explore various musical styles and genres, broadening your horizons as a musician.
- Collaboration: This is the stage where many musicians collaborate with others, whether in a band, orchestra, or ensemble.
The Virtuoso Within
Reaching the virtuoso level is a testament to your dedication and passion for music. Here’s what characterizes this final stage of transformation:
Characteristics of a Virtuoso
- Technical Mastery: Virtuosos are known for their impeccable technique and precision. They can effortlessly execute even the most challenging musical passages.
- Expressiveness: Beyond technical skill, virtuosos infuse their music with deep emotion and expression, captivating their audience.
- Innovation: Many virtuosos contribute to the evolution of their instrument or genre, pushing the boundaries of what is possible in music.
The transformative journey from novice to virtuoso through music education is a testament to the incredible power of music. You can Find Music Lessons to shape your musical abilities and nurture personal growth, discipline, and self-expression. So, if you’ve ever contemplated taking up an instrument or singing lessons, remember that you’re not just learning notes; you’re embarking on a journey of self-discovery and transformation that can enrich your life profoundly. | music_and_dance |
https://music.harveyeyeballs.com/album/whole-nuther-record | 2023-12-10T13:12:08 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679102469.83/warc/CC-MAIN-20231210123756-20231210153756-00353.warc.gz | 0.854192 | 264 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__239981463 | en | Streaming + Download
Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Purchasable with gift card
Whole 'Nuther Record by Harvey Eyeballs
released October 8, 2015
Fox Schwach - vocals
Katherine Perkins - vocals
Doug Bleek - guitar (tracks 1, 2, 3, 5 ,7), bass (tracks 4, 6)
Chris Doyle - bass (tracks 1, 2, 3, 5 ,7), guitar (tracks 4, 6)
Jacob Blumberg - keys
Dave Palazola - drums
Dylan Mandel - auxiliary percussion
Aaron Rourk - alto sax (tracks 1, 3, 5), flute (track 3), bass clarinet (tracks 4, 7)
Danny Fisher-Lochhead - alto sax (tracks 1, 3, 7)
Recorded at Mason Jar Studios by Dan Knobler and Jacob Blumberg
Mixed by Fox Schwach
Mastered at Bonati Mastering by Josh Bonati
Album photo by Jonno Rattman
Album cover design by Steve Baust
All songs written by Fox Schwach.
All songs arranged by the band.
all rights reserved | music_and_dance |
https://www.travelsignposts.com/Austria/sightseeing/mozarthaus-the-only-surviving-mozart-residence-in-vienna | 2023-11-28T22:39:00 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100016.39/warc/CC-MAIN-20231128214805-20231129004805-00578.warc.gz | 0.972037 | 584 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__36714811 | en | Mozarthaus at Domgasse 5 in Vienna’s Aldstadt is the only one of Mozart’s apartments in Vienna that still exists today. Mozarthaus was not the first of Mozart’s residences in Vienna. When he moved into this luxurious apartment on 29 September 1784, he had already been living in Vienna for three years, and had been married to his beloved Constanze for two.
A Prolific Time at Mozarthaus
When Mozart moved to Vienna, he had worked his way up from an unemployed artist to a respected and prosperous pianist, composer and music teacher. His time at Mozarthaus is thought to have been his happiest and most productive part of his Viennese period. He lived here in grand style to 1787 and Mozarthaus was certainly the longest place that he had ever lived at.
It was at Mozarthaus that Mozart composed eight important piano concerti, chamber music works, a horn concerto, the “Masonic Music”, the Goethe song “Das Veilchen”, the cantata “Davide penitente”, the comedy “The Impresario” and the famous opera “The Marriage of Figaro”. On top of this, Mozart also gave numerous concerts, threw wild parties and hosted illustrious colleagues.
Mozart’s Vistors at Mozarthaus
Some of the famous visitors and friends who visited Mozart at this building included:
- His friend and mentor Joseph Haydn
- Johann Nepomuk Hummel who lived in the apartment for several months, as Mozart’s pupil, an experience which was to have a lasting impact on his career as a musician and composer.
- The 17-year-old Ludwig van Beethoven travelled from Bonn to take lessons from his great role model. Unforutunately before this could happen Beethoven’s mother fell ill and he had to hurry back home.
Mozarthaus is not far from St. Stephen’s Cathedral in Vienna’s Aldstadt. Visitors to Mozarthaus can learn all about this much-loved composer during the time when he lived in this building, his most important works and get to know the family, friends and foes who surrounded him in late-Baroque Vienna. His life and works are presented on four levels of exhibition space and on the first floor you will be able to visit the actual apartment where he lived.
Mozarthaus is managed by Wien Museum and there is a range of special exhibitions, educational programmes and museum tours and events that visitors can enjoy here.
Opening Times: Daily 10 am – 7 pm
A-1010 Vienna, Domgasse 5, 1st district
Map of Vienna: | music_and_dance |
https://hagueschool1.wixsite.com/hagueschool/copy-of-art-and-design | 2022-09-28T10:40:43 | s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030335190.45/warc/CC-MAIN-20220928082743-20220928112743-00071.warc.gz | 0.948971 | 804 | CC-MAIN-2022-40 | webtext-fineweb__CC-MAIN-2022-40__0__259484803 | en | Music at Stewart Headlam and Hague Schools Federation
The National Curriculum for music aims to ensure that all pupils:
• Perform, listen to, review and evaluate music
• Be taught to sing, create and compose music
• Understand and explore how music is created, produced and communicated.
At Stewart Headlam and Hague Schools Federation, our music curriculum intends to inspire creativity, self-expression and encourages our children on their musical journeys as well as giving them opportunities to connect with others. We hope to foster a continuous love of music by exposing children to diverse musical experiences and igniting a passion for music. By listening and responding to different musical styles, finding their voices as singers and performers and as composers, all will enable them to become confident, reflective musicians.
‘Music is a universal language that embodies one of the highest forms of creativity’ (The National Curriculum)
The aims of our Music curriculum are to develop pupils who:
Can sing and use their voices individually and in a group
Create and compose music on their own and with others
Use technology appropriately when composing
Have opportunities to learn a musical instrument
Understand and explore how music is created, produced and communicated
Listen to, review and evaluate the work of great composers and musicians from a
range of historical periods, genres, styles and traditions
Enjoy and have an appreciation of a range of different musical styles e.g. Classical, Jazz, Hip Hop, Pop, Rock etc.
Use and understand musical language and include musical features in their own work
Make judgements about the quality of music
Have opportunities to play a wide variety of instruments
Have different opportunities to take part in performances
The music curriculum ensures students sing, listen, play, perform and evaluate. This is embedded in classroom activities as well as weekly singing assemblies and various concerts and performances including class assemblies, the nativity and year 6 end of year performances. During whole school or phase assemblies, music is carefully chosen to represent different styles and composers to ensure children are introduced to a variety of music genres and styles.
At SHH we use Music Express as our scheme of work for music. This allows us to teach musical elements in classroom lessons so that children are able to use the language of music to discuss it, and understand how it is made, played, appreciated and analysed.
As part of the scheme, children also learn how to compose focussing on different dimensions of music, which in turn feeds their understanding when listening, playing, or analysing music. Composing or performing using body percussion, vocal sounds and technology is also part of the curriculum, which develops the understanding of musical elements without the added complexity of an instrument.
Whilst in school, children have opportunities to forge their own musical journey, which allows them to discover areas of strength, as well as areas they might like to improve upon. The integral nature of music and the learner creates an enormously rich palette from which a child may access fundamental abilities such as: achievement, self-confidence, interaction with and awareness of others, and self-reflection. As Oracy is a key part of our curriculum, we believe that singing supports children in finding their voice, in projecting and building confidence and resilience.
Music will also develop an understanding of culture and history, both in relation to students individually, as well as ethnicities from across the world. Children are able to enjoy music, in as many ways as they choose - either as listener, creator or performer. They can discuss music and comprehend its parts. They can sing, feel a pulse, add rhythms and create melodies in a group and they can further develop these skills in the future and continue to enjoy and embrace music in their lives.
To find out more, please visit our progression of music document here. | music_and_dance |
https://www.thebeatsanctuary.co.uk | 2024-04-13T15:55:56 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816820.63/warc/CC-MAIN-20240413144933-20240413174933-00142.warc.gz | 0.956689 | 151 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__42270176 | en | About this site
This site is a small archive of house music – predominantly from the mid to late 1990’s. It was originally set up as an occasional ad-hoc internet house music radio station that enabled us to play some great music to some good friends.
We’re rarely live on air these days – Back then, it was just an opportunity for us to stream a few house music mixes here and there when the mood took us.
In the archive section, there are a few of our converted cassette tapes from London pirate radio stations such as Girls FM, Pleasure FM, Risk FM, Friction FM, Passion FM, Soundz FM etc. broadcasting on various frequencies throughout the mid to late 1990s and beyond. | music_and_dance |
http://www.tropicalsweets.com/the-first-ever-digital-debut | 2019-05-25T19:22:37 | s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232258439.57/warc/CC-MAIN-20190525184948-20190525210948-00050.warc.gz | 0.751231 | 221 | CC-MAIN-2019-22 | webtext-fineweb__CC-MAIN-2019-22__0__58223435 | en | Introducing the First Ever Digital Release...
The Tropical Sweets® Classical Music Video Adventure features award-winning Nature imagery, natural sounds, and painstakingly selected rare classical music recordings. The 25th Anniversary Digital Debut Collector's Edition is now available on DVD from Amazon.com, or as a digital download from iTunes, Google Play, or Amazon Video.
10% of all proceeds from your purchase will support scholarships for talented young artists!
Featured Music Menu Selections:
1. Delius: Daybreak from Florida Suite
2. Saint-Saens: The Swan from The Carnival of the Animals
3. Mendelssohn: Calm Sea from Calm Sea and Prosperous Voyage Overture
4. Rimsky-Korsakov: Flight of the Bumblebee from Tsar Sultan
5. Respighi: The Dove from The Birds
6. Saint-Saens: Aquarium from The Carnival of the Animals
7. Delius: Sunset from Florida Suite
8. Beethoven: Moonlight Sonata (Adagio sostenuto) | music_and_dance |
http://manufacturingcontent.com/songbird/ | 2021-11-29T09:36:55 | s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358702.43/warc/CC-MAIN-20211129074202-20211129104202-00529.warc.gz | 0.942553 | 106 | CC-MAIN-2021-49 | webtext-fineweb__CC-MAIN-2021-49__0__42061424 | en | Make lyric videos to your favorite songs and share them online!
Songbird is a new type of app designed just for making lyric videos. Make colorful, dynamic videos with animated text just by tapping along with the lyrics to your favorite songs. From there you can edit fonts, colors, effects, and timing. Add backgrounds that change along with the music using solid colors, beautiful presets, or your own photos. When you're done, export your videos to share them. Songbird works with the songs in your Apple Music library. | music_and_dance |
https://www.plushpartyband.com | 2024-04-19T21:01:50 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817455.17/warc/CC-MAIN-20240419203449-20240419233449-00895.warc.gz | 0.931617 | 223 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__119985081 | en | Plush Party Band is a high energy, dynamic, upscale band known for show-stopping performances and packed dance floors. Whether for weddings, galas, corporate events or private parties, we tailor our performances for each audience. All ages are entertained with everyone’s favorite songs, from boy bands to modern top 40, jazz classics to country, Motown, 80s rock ballads, 90s hip hop, and more.
Plush is a Certified Original Lineup band; we always perform with the same core band members, so you know exactly what to expect. The people you see in our videos and at live showcases are the ones who will perform for you! Our videos below were all recorded live at an event, guaranteeing an authentic sound/visual.
We have multiple band sizes, packages and configurations available, and we can handle all your music needs from start to finish. No matter which options you choose, we’ll make sure you and your guests never forget your celebration!
Do you have questions about booking Plush for your event? See our FAQ page or contact us. | music_and_dance |
https://www.gofortheglow.com/post/new-music-you-should-be-listening-to | 2023-09-23T10:20:20 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506480.7/warc/CC-MAIN-20230923094750-20230923124750-00603.warc.gz | 0.986449 | 450 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__285535709 | en | Less than two weeks ago Maren Morris dropped a new album and if you haven't listened to it yet, what are you even doing? You don't have to be a country music fan to love this woman. Her music sings so much louder than her genre with messages anyone can enjoy.
The album is called GIRL and includes a song of the same name that is my absolute favorite. It is perfect for any girl who feels like she's been in her own head and not feeling the best about herself. Though it is more about insecurities and comparing yourself to others, for me it came when I was going through a really bad experience in my love life and I felt like I wasn't acting like me and I was feeling sorry for myself. This song made me sing for the first time in weeks. It helped me feel my worth again. If you are down and need an anthem to get you back up, the title track "GIRL" is the song for you.
On top of that there are some really amazing love songs. Some heavier, about going through a rough patch, and some about more casual relationships. My other favorite song on the album is called "The Bones" and uses a house as a metaphor for a relationship. She emphasizes that "the house don't fall if the bones are good." I needed that these past few weeks. I felt like if I didn't have Maren Morris I wouldn't have felt ok at all. All of her music is really phenomenal so if you haven't heard of her you should check her out. You can start with her new album but don't ignore her older stuff because it BUMPS. If you are looking for a song to start with try "My Church." It is about the music on the radio being her church and I FELT THAT. It's one of those jams you just have to belt in the car with the windows down.
Did I mention GIRL had the most streams in a week by a female country artist ever?? The facts don't lie. This is a great album and you all need to listen to it now!
Have you guys heard it yet? Tell me what you thought in the comments! | music_and_dance |
http://jklm.studio/nomads.html | 2019-04-21T05:16:36 | s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578530176.6/warc/CC-MAIN-20190421040427-20190421062427-00535.warc.gz | 0.954532 | 843 | CC-MAIN-2019-18 | webtext-fineweb__CC-MAIN-2019-18__0__126886477 | en | Nomads is an evening-length dance performance that explores the human-made forces that shape our habits, interactions, and patterns of movement—and the new possibilities that emerge in their absence. How does the constructed environment impact our understanding of one another, and of ourselves? Who do we become outside of our cities and highways?
Imagining an alternate mode of being human, Nomads is inspired by the desire to engage the moment of composition as it unfolds. Ensemble members forge the raw materials of self, space, and imagination in real time, offering the audience a transparent view of the characters' essential humanity and elemental intelligence.
Accompanied by a soundscape from local musicians Serge Gubelman and Erin Jorgensen, as well as Virginia-based sound artists Stephen Vitiello and Molly Berg (courtesy of 12k), Nomads invites the audience on a journey to discover who we are on untamed ground.
Jonathan Lilly is a martial artist-turned-dancer based in Seattle. After training in aikido for more than twenty years, he was introduced to dance, and realized that the movement skills he had been developing in the martial arts could be applied instead for artistic creation. In the past four years he has trained with many different teachers of improvisational dance, with a particular focus on a physically-based dance form called contact improvisation. Jonathan sees the practice of improvisational dance as a way to hone one’s ability to respond physically and emotionally in any situation. In his day job, he is a researcher studying ocean physics, in which he holds an undergraduate degree from Yale University and a PhD from the University of Washington.
Kori Martodam was born in 1980 in Cincinnati, Ohio and grew up among a family of scientists. She began her studies of performance and dance at Denison University, and graduated in 2003 with a BFA in Theater and a minor in Contemporary Dance. Over the last 15 years Kori has studied theater, contemporary dance, architecture, yoga, anatomy, physiology, design, composition, and poetry. She enjoys skiing, backpacking, running, and other good reasons to get outdoors. She finds performance and improvisation particularly suitable media for the creative integration of inputs coming from these various sources. Working with Jonathan and the ensemble of Nomads marks the beginning of a creative practice Kori has long hoped to realize.
Spring Cheng is passionate about improvisation with elements such as movement, music, theatre, voice and the alchemy of those. For three decades, she has been cultivating her life force, called Qi in her native Chinese culture, through movement traditions such as Qi Gong and Tai Chi. Currently Spring is pursuing channeling this life energy into creative expression in a way that resonates with the field of the audience and the larger collective. She has been performing and producing shows at Velocity Dance Center and Taoist Studies Institute. More at springcheng.com.
Corina Iona Dalzell migrated to Seattle in the fall of 2013. Since then she has performed in the work of Shannon Stewart, Sarah Kathryn Olds, Kimberly Holloway, Hannah Simmons, Noelle Chun, and Pe|MO, Alyza Delpan Monley, and The Three Yells. Corina serves the Seattle inclusive arts community as a movement arts facilitator specializing in workshops for individuals with disabilities. Originally from the Appalachian foothills of southeastern Ohio, Corina holds a BA in dance and collaborative studies from Bennington College. More at www.corinadalzell.com.
Molly Levy grew up in Berkeley, California where she trained at Berkeley City Ballet and Ruth Asawa San Francisco School of the Arts. She continued her education in New York at Ailey/Fordham, pursuing dance and education and graduated summa cum laude with a BFA in Dance in May 2016. Molly has also trained at LINES Ballet, Robert Moses Kin, Bates Dance Festival, and Northwest Dance Project’s LAUNCH. She recently returned to the West Coast and lives between Boise and Seattle dancing, with LED, Verlaine and McCann, and others. More at mollylevy.com. | music_and_dance |
https://www.edwige.co.uk/ | 2021-09-20T13:15:19 | s3://commoncrawl/crawl-data/CC-MAIN-2021-39/segments/1631780057039.7/warc/CC-MAIN-20210920131052-20210920161052-00207.warc.gz | 0.95754 | 202 | CC-MAIN-2021-39 | webtext-fineweb__CC-MAIN-2021-39__0__44135955 | en | A Brief Introduction
Edwige, (pronounced as Edueezh) , one of the most original and inspired artists currently on the acoustic circuit has just released her fourth album “The Fourth Angel”.
A singer/songwriter, she is very highly spoken of not only for the quality of her songs but also for the uniqueness and beauty of her voice; whether soaring in the higher octaves, or gently flowing in the lower ranges , Edwige cannot fail to give goose bumps.
Inimitable, incomparable and exhilarating, she will lift your spirits.
The new album The Fourth Angel is out NOW
Find out more about this groundbreaking album in the discography section of this website, including audio samples and lyrics.
The latest album by the critically acclaimed artist, Edwige is available now.
This is the fourth album from the endless talents of Edwige. She will be performing various gigs to promote the release. Check the tour dates here. | music_and_dance |
https://mmsgstore.com/product/professor-peytons-miracle-elixir/ | 2023-10-05T01:36:45 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511717.69/warc/CC-MAIN-20231005012006-20231005042006-00366.warc.gz | 0.84623 | 216 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__250381141 | en | (Not currently available in the USA. Please contact us for more information.)
For Fine Cleaning of Musical Instruments
- Cleans, Polishes and Protects all wood, plastic and metal finishes
- Fingerboards and strings feel better
- Nourishes wood, rejuvenates strings, preserves brass, steel, aluminum, etc.
All in one cleaning and polishing
- Developed and tested over 10 years by a master luthier.
- Perfect for guitars, ukuleles, banjos, strings, brass, keyboards, woodwinds, guitar amps, speaker cabinets, instrument cases.
- Blends 5 nourishing, cold-pressed essential oils and gently effective cleaners.
- Fingerboards, keys, nylon and steel strings feel better than ever; no sticky, waxy or slick residues.
- Cleans, polishes and protects fine wood finishes, plastics from bakelite to ivoroid, plated and unplated metals.
- Contains no toxins, wax, silicone, paraffin or synthetics. | music_and_dance |
http://www.emmajayne.me/2016/07/billy-elliot-musical-review.html | 2017-05-24T06:12:45 | s3://commoncrawl/crawl-data/CC-MAIN-2017-22/segments/1495463607802.75/warc/CC-MAIN-20170524055048-20170524075048-00548.warc.gz | 0.972159 | 308 | CC-MAIN-2017-22 | webtext-fineweb__CC-MAIN-2017-22__0__125337841 | en | So on Wednesday July 27th, my mom and I went to see Billy Elliot The Musical, the hit musical from the West End, visiting Ireland for the first time. In short, it was incredible, and I would totally recommend you go to see it. Here's everything you need to know.
Where? The Bord Gáis Energy Theatre, Dublin.
When? 26th July 2016 - 3rd September 2016
How Much? €45 - €68.50
What's It About? The musical doesn't stray too far from the movie, with an amazing score by Elton John. It is essentially about a young boy, brought up during the mining strike in 1984/1985 in the north of England, who goes against the grain to achieve his dreams of becoming a ballet dancer.
My Favourite Scenes? Without a doubt, the scene mentioned above with Michael and Billy singing 'Expressing Yourself' which blew the whole audience away, and the scene where Billy, and his older self (portrayed by Luke Cinque-White) did a duet. This one in particular totally captivated me, with the technique and choreography being of such a high standard. All I wanted to do was get up and dance with them!
Would I Recommend It? 100%. Please go see it while it's here!
I hope you enjoyed this review, I'll be going to see Once The Musical on Monday, so if you'd like to see a review of that do let me know. | music_and_dance |
https://denverchambermusicfestival.org/john-stulz/ | 2019-01-22T13:37:30 | s3://commoncrawl/crawl-data/CC-MAIN-2019-04/segments/1547583850393.61/warc/CC-MAIN-20190122120040-20190122142040-00027.warc.gz | 0.863977 | 267 | CC-MAIN-2019-04 | webtext-fineweb__CC-MAIN-2019-04__0__196702402 | en | John Stulz plays viola with Ensemble Intercontemporain in Paris, France and is the founding co-artistic director of VIVO Music Festival in Columbus, Ohio. John has performed with such organizations as the Marlboro Music Festival, Klangforum Wien (Austria), Ensemble Modern (Germany), Omnibus Ensemble (Uzbekistan), Talea Ensemble and What’s Next? Ensemble in Los Angeles which he founded and ran for seven years with the conductor Vimbayi Kaziboni.
As a teacher, John works regularly with students at the Écoles d’Art Américaines de Fontainebleau, the Lucerne Festival Academy and Alumni, IRCAM's ManiFeste Academy, the Conservatoire Nationale Supérieur de Musique et de Danse de Paris, and the Decoda Skidmore Chamber Music Institute. Prior to joining Ensemble Intercontemporain in 2015, John was a fellow of Carnegie Hall’s Ensemble ACJW and holds degrees from the University of Southern California and the New England Conservatory.
John’s teachers include Donald McInnes, Kim Kashkashian, Roland and Almita Vamos, and Garth Knox. | music_and_dance |
https://blog.bobshop.co.za/10-most-popular-south-african-songs-of-2013/ | 2024-04-12T12:05:09 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296815919.75/warc/CC-MAIN-20240412101354-20240412131354-00450.warc.gz | 0.941557 | 544 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__111158197 | en | South Africa has richly diverse music genres, which range from rock to house, kwaito to mbaqanga, pop to hip hop and jazz to fusion. Our compilation of the 10 most popular South African songs in 2013 is a way of celebrating this diversity and of congratulating the local artists who shared their craft with us all year. The songs on this list became anthems at events and in clubs and were played on every local radio station.
Let’s have a look:
Jika by Mi Casa
This groovy and energetic track is from Micasa’s latest album, Su Casa, which launched in August. You were gauranteed to find this song on almost every local DJ’s playlist.
One Million Views by Goldfish featuring John Mani
This is from Goldfish’s latest album, Three Second Memory, which launched in October.
Ifunaya by Zakes Bantwini featuring J Martins
This song, Ifunaya, was made in collaboration with Nigerian singer-songwriter J Martins.
Die Volkslied by Die Heuwels Fantasties
Die Volkslied means ‘the national anthem’ and comes off their latest album, Alles Wat Mal Is meaning ‘everything that’s crazy’.
Milli by IFani
Milli is one of IFani’s latest releases and was another favourite on local radio stations and the local hip-hop scene.
Happiness by Mafikizolo featuring May D
Happiness is a track from Mafikizolo’s comeback album Reunited.
Spin My World Around by DJ Kent featuring The Arrows
Spin my world around took South Africa by storm and you could not go anywhere without hearing it.
P.A.R.T.Y by Jack Parrow featuring Margot Rothman
This energetic and fun mix of Afrikaans and English track is another banger from Jack Parrow.
Memoriam by Toya Delazy
A great song from the Pop superstar’s Due Drop album.
Desperado by Pascal & Pearce featuring Locnville
This great summer song had people on their feet the whole day.
Now, head over to the bidorbuy music section and order for some of – or all of the titles above. You won’t regret it, for the best sounds of 2013 are sure to entice you in 2014 and beyond.
What were your favourite home-grown tunes in 2013? Let us know on the bidorbuy Twitter page, with the hashtag #Top102013. | music_and_dance |
http://www.wagneropera.net/biographies/johan-botha.htm | 2022-11-27T16:20:18 | s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710409.16/warc/CC-MAIN-20221127141808-20221127171808-00181.warc.gz | 0.908526 | 106 | CC-MAIN-2022-49 | webtext-fineweb__CC-MAIN-2022-49__0__7453513 | en | Johan Botha (1965–2016)
Johan Botha as Siegmund at the Bayreuth Festival. Photo: Bayreuther Festspiele
Johan Botha (19 August 1965 – 8 September 2016) has performed at leading opera venues around the world, such as the Bayreuth Festival, Metropolitan Opera, Vienna State Opera, Royal Opera House (London), La Scala and the Salzburg Festival. He died of cancer on 8 September 2016 at the age of 51. | music_and_dance |
https://www.fbcmanassas.org/upcoming-events/2018/4/26/minister-of-music-arts | 2019-08-21T19:50:14 | s3://commoncrawl/crawl-data/CC-MAIN-2019-35/segments/1566027316194.18/warc/CC-MAIN-20190821194752-20190821220752-00161.warc.gz | 0.914332 | 155 | CC-MAIN-2019-35 | webtext-fineweb__CC-MAIN-2019-35__0__98879612 | en | First Baptist Church, Manassas, VA is seeking a Dynamic and Creative Minister of Music & Arts. Candidate must be a Christian and demonstrate a strong commitment to enhancing a music and arts ministry that brings glory to God. Willing to encourage diverse musical expressions to match the diversity of the congregation from traditional to contemporary. Responsible for the overall accountability for the ministry.
Must be musically trained with proven record of leadership experience working with choirs, ensembles, praise teams, directing people, and conducting musical productions. Degree in music and/or licensed minister preferred. Email all inquiries, resumes, and applications to [email protected] . For the detailed Minister of Music Job Description, click here. For a job application, click here. | music_and_dance |
http://fstmusic.com.au/index.php | 2020-05-26T16:55:11 | s3://commoncrawl/crawl-data/CC-MAIN-2020-24/segments/1590347391277.13/warc/CC-MAIN-20200526160400-20200526190400-00197.warc.gz | 0.796923 | 266 | CC-MAIN-2020-24 | webtext-fineweb__CC-MAIN-2020-24__0__56792092 | en | FST Music is a musical instrument distributor based in Melbourne, Australia. We have been in business for over 15 years and are committed to offering our customers great quality instruments at affordable prices.
Tribute Acoustic Electric Guitar
Great value acoustic with on board active pickup and tune
Model: TRI-1CEMore Info
Faith Naked Venus Lefthanded Acoustic Electric Guitar
Award winning construction and playability!
Model: FKVLMore Info
Tribute Soprano Ukulele
Beautiful Solid top with Zebrawood back and sides!
Model: TRI-UKSEQMore Info
Tribute Tenor Ukulele Gig Bag
Protect your Tenor Ukulele with this neat padded gig bag!
Model: TRI-UKB10-26More Info
Tribute Tenor Ukulele
Amazing sound and sustain from this value packed tenor ukulele!
Model: TRI-UK5EQMore Info
Tribute Slimline Acoustic Guitar
Slimline Acoustic Electric guitar with solid Englemann spruce top. Sapele back and sides make this guitar sound full without the bulk of a full size Acoustic. Inbuilt active pickup with on board chromatic tuner.
Model: TRI-7SCEMore Info | music_and_dance |
http://dancedynamicsmaryland.com/Home.aspx | 2019-09-20T03:39:09 | s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514573827.2/warc/CC-MAIN-20190920030357-20190920052357-00169.warc.gz | 0.886515 | 518 | CC-MAIN-2019-39 | webtext-fineweb__CC-MAIN-2019-39__0__39008823 | en | Classes focus on listening skills, balance, rhythm, coordination, and motor skills. Classes are designed to introduce basic steps, creative movement, and dance vocabulary. Ages 2-5.
Beginner Tap /Intermediate Tap/Advanced Tap
Classes focus on progressive and technical tap development. Emphasis is placed on proper body placement, positioning, and various rhythm and styles. Ages 5 and up.
Classes teach introductory tumbling skills while focusing on developing strength. Classes are an introduction to flexibility and basic gymnastics incorporating motor skill development. Ages 4-6.
Beginner Acro/Intermediate Acro/Advanced Acro
Classes will have an emphasis on increased flexibility, balance, strength, muscle control, and concentration. Classes will focus on fundamental acrobatics, concentrating on each student’s individual level of experience and ability. Ages 6 and up.
Classes include the basics of jazz movement. Coordination skills will improve with learning beginning turns, leaps, and jumps. Classes include stretch and strengthening exercises, floor work, and across the floor progressions. Ages 5-6.
Beginner Jazz/Intermediate Jazz/Advanced Jazz
Classes will enrich and extend students’ technical skills through center and progression work. Students will continue learning proper dance technique through isolations of the body, improving performance quality, and developing complex rhythm and patterns. Ages 6 and up.
Classes introduce a strong foundation in ballet as well as balance, coordination, dance vocabulary, and proper body placement. Ages 4-6.
Classes introduces the fundamental principles of ballet. Students learn age appropriate warm ups and stretches. Center work includes skipping, hopping, jumping, and leaping.
Intermediate Ballet/Advanced Ballet
Classes place emphasis on proper posture, placement and body alignment. Ballet fundamentals and terminology are expanded.
Classes combine basic techniques and skills from ballet, jazz, and modern. Students will explore how lyrical dance emphasizes interpretation of music lyrics to tell a story will fluid or abstract movement. Ages 9 and up.
Intermediate Lyrical/Advanced Lyrical
Classes will combine more advanced skills from ballet, jazz, and modern. Students will continue to build on music interpretation. Movement will become more complex and intricate.
Classes will combine street dance with funk and jazz, similar to what you would see on a televised dance performance. Students will learn the important of isolations and dynamics in movement. Students must also take a jazz class to be eligible for Hip Hop. Ages 9 and up. | music_and_dance |
https://fulltilt.productions/meet-at-sundown | 2023-12-06T18:06:45 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100602.36/warc/CC-MAIN-20231206162528-20231206192528-00783.warc.gz | 0.972877 | 156 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__146416299 | en | Meet At Sundown returns to release their heaviest and dirtiest album yet with their release of the “REBORN” EP!!!
The album is full of energy, passion and aggression. REBORN is the follow up to the 2011 self tilted EP and contains six songs that are brutally heavy yet incredibly southern.
REBORN has already garnered pre-release radio play. The upbeat track “Eternal” was featured on Harrisburg rock station 105.7 the X and “I Left My Heart In Dixie” was played on Dickinson College’s WDCV-FM 88.3. For more info on Meet At Sundown check out their website, and to buy or listen to their music go to their Bandcamp page. | music_and_dance |
http://orkestraprojekt.org/index.php/support-us | 2019-03-22T04:35:34 | s3://commoncrawl/crawl-data/CC-MAIN-2019-13/segments/1552912202628.42/warc/CC-MAIN-20190322034516-20190322060516-00085.warc.gz | 0.94437 | 283 | CC-MAIN-2019-13 | webtext-fineweb__CC-MAIN-2019-13__0__106364549 | en | Orkestra Projekt is dedicated to helping people discover the unexpected treasure inherent in classical and contemporary music combined with other artistic disciplines.
What We Do
Orkestra Projekt creates and presents innovative, eclectic musical events in an informal atmosphere to enhance the Indy music scene. We encourage the engagement of people who are currently interested in, but not experiencing, classical music and people who want more from their classical experiences.
We believe that music was meant to be heard and alive. Our events focus on the music of composers who are currently living, with other works included to create a diverse program. Each event is a unique experience that incorporate music with other artistic elements, such as dramatic lighting, projections, recorded elements, actors, and dancers.
Orkestra Projekt was founded in 2003 to bring diverse new music to the Indianapolis area. Our events have been recognized by both audiences and critics as being unique and ever changing. Artistic Director José Valencia has directed the artistic vision of Orkestra Projekt since its inception.
Events that go beyond the expected. Collaborating with other arts organizations to create unique experiences.
Environments that provide opportunities to be up close and personal with the music and for musicians and audiences to interact.
Dramatic lighting, projections, and unique musical selections combine to create an event sure to engage your senses. | music_and_dance |
https://thestroudcourier.com/2011/10/31/toby-keiths-red-solo-cup/ | 2022-11-26T11:55:10 | s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446706291.88/warc/CC-MAIN-20221126112341-20221126142341-00220.warc.gz | 0.980972 | 473 | CC-MAIN-2022-49 | webtext-fineweb__CC-MAIN-2022-49__0__131415812 | en | By Faith Parker
Recently, country music singer Toby Keith has cut a song that will soon become the anthem for college students worldwide. Keith has released the song “Red Solo Cup” as the second single off of his new album titled Clancy’s Tavern which was released on Tuesday, October 25th. His first single from this new album, “Made in America” has already become a No.1 hit.
As soon as the music video for “Red Solo Cup” was released on you tube it went viral. It was released on October 10th and within a week it had well over a half a million hits. People love how ridiculous this song is. On a radio interview with XM’s “The Highway,” Keith admitted that this song was stupid and not meant to be judged for its lyrical content. It is just meant to be a fun anthem for people that party with a red Solo cup in their hand (which is probably just about the entire college population). The song’s chorus states, “Red solo cup, I fill you up, let’s have a party!” Other lyrics are meant to be purely ridiculous and create the image of the crazy things that happen when people start drinking.
The music video itself depicts Keith walking through a college house party and viewers see all of the different uses that college students find for red Solo cups. The video is shot using no fancy editing; it is simply a guy with a video camera following Keith through a house party as he sings. In the first line of the song Keith sings, “Now red Solo cup is the best receptacle for BBQ’s, tailgates, fairs, and festivals.” You then see red cups everywhere, used for stacking, drinking games, and by famous celebrities like Carrot Top. The video is funny and easily relatable for college students.
The song was originally created as a challenge by a friend of the band that said they could write a number one hit about anything. Keith challenged them to prove it by writing a song about a red Solo cup. Within the next few weeks we will be able to see who the winner of this little bet is. If you haven’t heard this song yet, you need to check it out. | music_and_dance |
https://www.echolakestudios.com/ | 2022-12-03T11:21:47 | s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710931.81/warc/CC-MAIN-20221203111902-20221203141902-00282.warc.gz | 0.973294 | 381 | CC-MAIN-2022-49 | webtext-fineweb__CC-MAIN-2022-49__0__153783208 | en | Capture Create Collaborate
Your music matters
Why Echo Lake Studios?
Echo Lake Studio is a musician's oasis where ideas come to life. It's a place where we pay attention to detail, where we listen to you and where we help you create impressive sounding music that deserves to be heard!
We are a full service studio offering music production, mixing, engineering, live music and drum videos, voiceovers, classes and more. We like to work with artists and bands who are looking for some extra direction with their work (but if you're an artist or band who wants to come in fully ready to record, we can do that too).
Owner Matt Taylor can help you write or refine parts, arrange song structure or add instrumentation (including playing parts you may need) and he can help set you at ease by steering you vocally in terms of performance, lyrics, phrasing or enunciation.
Matt has 30+ years experience in recording and music production in Atlanta, NYC and Seattle and is a lifelong multi-instrumentalist and vocalist who thrives on transforming musical ideas into art. Got a question? Email us today and let's make some music!
Matt Taylor - Owner
A musician since he was a wee lad, Matt spent his time in studios and bands of every variety in FL, GA, NYC and now in Seattle where he's been since 2007. He also ran local businesses Band It and the Urban Music Farm where he brought together hundreds of local musicians to play in short term cover bands for many years. You can often find him singing or playing drums, guitar, and bass in bands or studios around town. His favorite thing though is drawing on his years as a songwriter, bandleader and arranger to help produce and mix some of the best bands in Seattle. Matt is in league with the muse and he likes it that way. | music_and_dance |
https://musicforproductions.wordpress.com/2013/08/ | 2020-03-28T08:41:28 | s3://commoncrawl/crawl-data/CC-MAIN-2020-16/segments/1585370490497.6/warc/CC-MAIN-20200328074047-20200328104047-00195.warc.gz | 0.947508 | 1,067 | CC-MAIN-2020-16 | webtext-fineweb__CC-MAIN-2020-16__0__204282665 | en | At Music For Productions we make it easy for our customers to find the perfect song to fit their production with our easy to use music library. There are a number of ways to search and find genres, artists and themes in our music library, that are right for any broadcast, film or television project:
The “Best of Library”
Music For Productions saves producers the time and hassle of searching for the perfect track with a list that contains only the “best of” a variety of categories including:
These “best of” lists are one of the fastest and easiest ways to find production quality tracks quickly and easily for your next project.
Clients can browse the song catalogue for high quality tracks from a variety of genres. This includes indie artists, newly released songs and a wide variety of labels and composers. There are thousands of songs to choose from that can fit any project from the background music in a suspense scene to pop music for a commercial.
If your production has something specific in mind and requires a completely unique score, Music For Productions has a team of experienced composers that create original scoring for broadcast and film. The composers are matched with the client based on the genre of music that is required, and composers work with customers until their tracks are perfect for their project’s requirements.
Music For Productions makes it easy for producers to find the perfect track for their project through our highly organized music library. Browse the collection of broadcast quality tracks today.
Toronto, Canada, August 21, 2013 — Music for Productions has just announced that they have added new production music for film and TV. The service offers tracks and original scores for broadcasting, film and television that maintain the quality and standards that are necessary for professional audio tracks. Music for Productions works with new and popular composers to bring the best stock music quality to their clients, and releases new production music for film and TV on a regular basis, to keep productions fresh and to offer the widest variety of production music on the market.
Some of Music for Production’s newest tracks includes “Take My Hand Again,” which is a charming song with a child-like sweetness. This track features a delicately rich female vocal and unobtrusive beats. Instrumentation includes body beats, upright piano, ukulele and a light string section. Another new track is, “Day Dreamer.” This is a steadily building track with delayed guitar and piano lines.
Music for Productions was founded in April 2005, and is Canada’s first on-line full-service supplier of music that delivers production quality tracks. The company offers four types of services: production music libraries, a song catalogue, custom scoring and music supervision services. The Music for Productions website is designed with usability and convenience in mind. Tracks are available 24/7 and producers, editors and music supervisors can source and license music from the comfort of their offices and studios.
Music for Productions encourages questions and comments about their production music for film and TV. The company can be contacted directly.
Music for Productions
12 Bonfield Avenue
Toronto, Ontario, Canada
Toll Free: 1-888-MFP-MUSIC
To find out more about Music for Productions and production music for film and TV visit, http://www.musicforproductions.com or http://www.2.musicforproductions.com
View Press Release Source here: http://www.pr.com/press-release/510832
MFP’s stock music has a number of advantages when it comes to music for film and TV productions. The music that is in a film or television project has to be clear, high quality and easy to work with. When our stock music is purchased for the purpose of TV and film projects, everyone from the editors that are working on the tracks, to the audience hearing the music, will benefit from our high quality stock music track.
Why Use MFP Stock Music for Film and TV?
- Our Stock tracks are written and recorded with broadcasting in mind. They are high quality and sound crisp and clear.
- Synchronization and dubbing is cost effective. Stock tracks are very easy to work with.
- Conveniently downloadable. There is no waiting for delivery and tracks can be found and heard instantaneously.
- Minimal work is required by the customer to obtain licensing. Stock tracks save time and hassle for producers and managers.
- Makes the production process more seamless overall.
Our online stock music libraries are ideal because the collection can be grown, changed and organized in exactly the right way for your production. These tracks can be shared with others on the project so that colleagues can offer their opinion or approve the tracks that have been selected. Our stock music has made it easier for film and TV productions to be produced and they are a more affordable option when compared to other high quality music alternatives out there.
More producers are using our stock tracks because they are so easy to obtain and work with. Anyone that hasn’t had the chance to hear a sample should consider trying our stock music to instantaneously hear the quality and to receive the benefits of this convenient and affordable way to production quality music. | music_and_dance |
https://www.siaron.co.uk/ | 2022-05-29T01:30:54 | s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00632.warc.gz | 0.952077 | 202 | CC-MAIN-2022-21 | webtext-fineweb__CC-MAIN-2022-21__0__322157274 | en | Dance and Fitness Instructor
My name is Siaron Moore and I am a dance teacher with over 25 years’ experience teaching children of all ages and adults. I started out with my own dancing school (The Sevenoaks School of Dance) teaching ballet, modern, tap and jazz. After the birth of my son Archie I sold the school to one of my teachers who continues to run the school today. I began teaching street dance classes in Primary Schools in 2010 and continue to do so to all ages at St John’s Primary School, Sevenoaks. I am also a Zumba and Fitsteps instructor, with classes in Sevenoaks and Brasted.
My greatest love is to teach and I have found my perfect occupation, teaching dance and fitness to both children and adults. In my spare time I like to spin (yes more exercise!), walk the dog, play the saxophone, learn Spanish, read and watch TV. | music_and_dance |
https://www.stgeorgesnashville.org/inexcelsis | 2023-09-21T15:59:23 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506028.36/warc/CC-MAIN-20230921141907-20230921171907-00602.warc.gz | 0.92535 | 1,047 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__98017294 | en | Dedicated to bringing high-caliber offerings to St. George’s, the In Excelsis Concert Series provides diverse, unique, and sacred musical listening opportunities to our community.
All concerts and worship services are offered free of charge, no tickets required. Questions about our concert series? Contact Woosug Kang, Director of Music Ministries I 615-385-2150 x 254 or [email protected].
Friday, September 8, 7:00pm
Dr. Damin Spritzer, Organ Concert
“Assured confidence and refined musicality.” —Classical Music Sentinel
We open our In Excelsis Series with the passionate and refined playing of renowned organist Dr. Damin Spritzer, performing on our new organ, Buzard Op. 48. Dr. Spritzer is Area Chair and Associate Professor of Organ at the University of Oklahoma, and she has performed with historic churches and instruments in Iceland, Germany, France, Brazil Italy, Israel, England, and Norway. She has been honored to contribute to regional and national convention performances and lectures for the American Guild of Organists in Austin, Kansas City, Denver, Dallas, Columbus, and Seattle. Dr. Spritzer will remain at St. George’s to accompany the St. George’s Choir and Choristers in Choral Evensong on Sunday, September 10.
Friday, October 6, 7:00pm
The Saint Thomas Choir of Men and Boys
“The nation’s premier Anglican choir of men and boys.” —The New Yorker
In Excelsis continues to bring the finest sacred choral music to Nashville, by welcoming one of the most prominent choirs in the nation, and their first visit under the direction of the Jeremy Filsell, Organist and Director of Music at Saint Thomas Church Fifth Avenue. Considered by many to be the leading American ensemble in the Anglican choral tradition, the Saint Thomas Choir of Men and Boys provides music for five choral services each week at Saint Thomas Church Fifth Avenue, New York City. The choir regularly appears in concert with period instrument ensembles in New York, and for the past three decades has also toured throughout the United States and Europe.
Sunday, November 5, 6:00pm
Requiem by Maurice Duruflé with St. George's Choir and Orchestra
Regarded as one of the most sublime settings of the requiem text, Duruflé’s Requiem will stir the souls of the listener with its powerful harmonic language rooted in ancient chant. St. George’s Choir and Orchestra will present this work with interwoven readings and prayers. We invite you to come and honor the saints who have gone before us through powerful music and text.
Sunday, December 3, 6:00pm
A Service of Nine Lessons & Carols
Prelude by Dr. Wilma Jensen at 5:30pm
A beloved annual tradition at St. George’s, the Service of Nine Lessons and Carols shares the joy and wonder of the promised Messiah through profound Scripture readings, Advent carols, and beautiful choral anthems. This festive service features all of our dedicated choirs: St. George’s Choir, the Choristers of St. George’s, and St. Dunstan’s Choir. Dr. Wilma Jensen, our Organist & Choirmaster Emerita, will offer a 30-minute prelude for this special occasion. This service is a well-attended favorite, so please arrive early.
Friday, January 26, 2024, 12:00pm
Mozart Birthday Concert with Roger Wiesmeyer and Friends
Celebrating one of the most remarkable composers in history, the Mozart Birthday Concert has become the annual delight here at St. George’s. Led and organized by Nashville-based musician Roger Wiesmeyer, we enjoy the delightful music of Mozart, celebrating his legacy as a composer. Each year, donations are collected for a deserving nonprofit organization.
Sunday, February 4, 2024, 6:00pm
Abraham Wallace, Organ Concert
Abraham Wallace is the recipient of the 2023-24 Gerre Hancock Internship through the Association of Anglican Musicians, a national organization that promotes the development and growth of high-quality Anglican music. Named after the acclaimed church musician Gerre Hancock from Saint Thomas Church Fifth Avenue, this internship is awarded annually to an extraordinary young musician who demonstrates skill and passion for the music and worship of the Episcopal Church.
Sunday, April 28, 2024, 6:00pm
Hymn Festival with the Choir & Choristers of St. George's
Last year, the In Excelsis series began with a triumphant Hymn Festival as the opening program for our organ dedication series. We continue the celebration of our beautiful and thrilling Episcopal hymns as St. George’s Choir and Choristers lead the congregation in joyful singing. | music_and_dance |
https://fylm.fr/ada-worldwide-announces-global-distribution-deal-with-south-coast-music-group/ | 2024-04-16T01:13:02 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817036.4/warc/CC-MAIN-20240416000407-20240416030407-00159.warc.gz | 0.949086 | 678 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__82911317 | en | ADA Worldwide, the independent label and artist services arm of WMG, has recently announced a new global distribution deal with South Coast Music Group (SCMG). This partnership marks an exciting collaboration between two powerhouses in the music industry.
Founded by music industry veteran Arnold Taylor, SCMG has quickly become a breeding ground for up-and-coming hip-hop acts from the Carolinas. The label is home to a roster of talented artists including Dustystaytrue, DeeYounginn, Luclover, and Big Mali. Taylor, who founded SCMG in 2014, has a proven track record of success with launching the careers of artists such as DaBaby and Toosii.
ADA Worldwide, headed by Cat Kreidlich, is thrilled to support and grow SCMG’s business. With a shared passion for music, ADA is eager to help these talented artists break through and connect with fans worldwide. The partnership with SCMG further expands ADA’s already impressive list of partners, which includes Sub-Pop, VP Records, Mute, and more.
This collaboration is a significant milestone for SCMG as it marks their first partnership with a globally renowned distribution company. The deal with ADA Worldwide opens up new opportunities for the label’s artists, providing them with enhanced visibility and promotion on a global scale.
In addition to this exciting news, ADA has recently secured global deals with other independent labels such as 10K Projects and Rostrum Records. The company has also played a key role in supporting major releases from rising stars worldwide, contributing to their success on the charts. Notable partnerships, such as Daft Punk’s catalog with TikTok and Peloton, have further solidified ADA’s position as a leader in the industry.
As the music industry continues to evolve, collaborations like the one between ADA Worldwide and SCMG demonstrate the importance of building strong partnerships to support emerging talent and drive innovation in the field. With this new distribution deal, SCMG artists are poised for even greater success, reaching new audiences around the world.
1. What is ADA Worldwide?
ADA Worldwide is the independent label and artist services arm of WMG (Warner Music Group).
2. Who is South Coast Music Group (SCMG)?
South Coast Music Group is a music label founded by Arnold Taylor in 2014. It is known for nurturing up-and-coming hip-hop artists from the Carolinas.
3. Which artists are signed with SCMG?
SCMG is home to talented artists such as Dustystaytrue, DeeYounginn, Luclover, and Big Mali.
4. What is the significance of the partnership between ADA Worldwide and SCMG?
This collaboration marks SCMG’s first partnership with a globally renowned distribution company, providing their artists with enhanced visibility and promotion on a global scale.
5. Who is the head of ADA Worldwide?
Cat Kreidlich is the head of ADA Worldwide.
– Label: A company or organization that produces and distributes music recordings.
– Artist Services: Support and services provided to artists by record labels or other music industry organizations to aid in the development and promotion of their careers.
– Roster: The list of artists signed to a music label or agency. | music_and_dance |
http://www.heychinaculture.com/list_1/1482.html | 2023-06-06T05:48:10 | s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224652235.2/warc/CC-MAIN-20230606045924-20230606075924-00366.warc.gz | 0.96981 | 657 | CC-MAIN-2023-23 | webtext-fineweb__CC-MAIN-2023-23__0__23952207 | en | Elephant-Foot Drum Dance of the Dai People
The elephant-foot drum dance is one of the most popular and representative traditional dances of the Dai people, one of China’s 56 ethnic groups. Performing the dance requires a high level of skills and can involve one or two individuals, or a group of people. This form of dance was originally intended to ward off evil spirits and usher in a good year. In addition to the Dai people, it is also popular among other ethnic groups in China such as Deang, Jingpo, Achang to name a few. It was listed as a national intangible cultural heritage item in 2008.
The elephant-foot drum is an iconic Dai percussion instrument named after its elephant-foot-shaped design, and has served an important role in the folk culture of the Dai people. Many legends have been passed down about the origin of the drum: one tale says that it was made by a couple attempting to imitate the sound of a mango falling into water, while another ancient tale tells how it was made by a group of people with a piece of dragon skin to celebrate their courageous killing of the evil creature that was responsible for a flood. Despite the folk stories, the earliest historical record of the drum dates back to the Ming Dynasty (1368-1644).
Elephant-foot drums are generally made of Chinese toon trees. The wood is first soaked in a pond for at least one year to make it crack-resistant and moth-proof and help it produce a mellower tone that will not easily fade. After that, the wood is drilled, polished, colored, and finally covered with a drum skin. The outside of the drum is usually carved with decorations of flowers, elephants and other motifs.
Traditionally the elephant-foot drum dance is a masculine dance performed by men, as its movements evolved from traditional Dai martial arts. For this reason, the requirement for anyone desiring to learn this art is to first learn martial arts, otherwise their physical ability and flexibility in the dance moves will not meet the standard. The dance is quite physically taxing for beginners as it requires them to be able to carry a drum, have good body coordination, and keep up with the rhythm.
During a performance, dancers carry a drum on their left shoulders with the drum head in the front and the drum tail in the back. Dancers’ right hands beat the drum with their fists, palms, and fingers, while the left hand complements the action, and sometimes elbows, knees, heels, and toes are also involved. Because the drum has a long structure, dance moves are mostly performed by the dancer’s legs, including such movements as squatting, lifting one leg, kicking, and sometimes a slightly lunging from side to side. According to the length of the drum, the dance has been categorized into three types: long, medium, and small elephant-foot drum dances.
The Dai elephant-foot drum dance is a means for the Dai people to express their joy as well as a vivid reflection of their village culture. Whether strictly following their traditions or creating new forms of cultural expression, generations of Dai elephant-foot drum dancers continue to pass on this traditional art in their own way. | music_and_dance |
https://www.kamarihelmi.fi/kamarihelmi-chamber-music-festival-2024/ | 2024-03-05T00:44:35 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476592.66/warc/CC-MAIN-20240304232829-20240305022829-00037.warc.gz | 0.871665 | 482 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__78204017 | en | The Kamarihelmi Festival is being held for the 14th time in 2024. Young students of Espoo Music Institute, Music Institute Juvenalia and Musikinstitutet Kungsvägen perform key chamber music works together with visiting masters.
Internationally performing master of classical saxophone from Vienna.
Professor of violin and chamber music at University of Arts, Zurich and Basel Music Academy.
Baritone, University of Music and Performing Arts, Vienna.
Monday 5.2.2024, 7pm
Masters of classical saxophone Marko Dzomba (Vienna), Olli-Pekka Tuomisalo and Hilla Ruotsala, with young musicians representing Espoo Music Institute and Music Institute Juvenalia / In partnership with the City of Espoo.
The programme includes works by Domenico Cimarosa and Heitor Villa-Lobos arranged for saxophone ensemble by Olli-Pekka Tuomisalo, as well as young pianists performing The Carnival of the Animals by Camille Saint-Saëns.
Monday 12.2.2024, 7pm
Anna Gebert, (Basel), violin
Benno Schollum (Vienna), baritone
Antti Vahtola, piano
and several young chamber musicians and singers from Espoo.
Programme includes works by composers such as Mozart, Schubert and Heinz Holliger.
In partnership with the City of Espoo, Espoo Music Institute, Music Institute Juvenalia, Musikinstitutet Kungsvägen, Sibelius Academy, University of the Arts and the Austrian and Swiss embassies in Finland.
As always, the 14th Kamarihelmi Festival will be hosted in co-operation with the City of Espoo, Espoo Music Institute, Music Institute Juvenalia, Musikinstitutet Kungsvägen, the Austrian Embassy in Helsinki and in february 2024 also the Swiss embassy in Helsinki.
Kamarihelmi has previously also been hosted as a joint project with the Sibelius Academy, University of the Arts and the University of Music and Performing Arts Vienna’s Erasmus exchange programme; Espoon Musiikkifestivaalit Yhdistys ry has also contributed.
Welcome to our 2024 concerts! | music_and_dance |
https://www.usradiolive.com/wamu-hd2-bluegrass-country/ | 2024-04-12T18:25:07 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816045.47/warc/CC-MAIN-20240412163227-20240412193227-00862.warc.gz | 0.912389 | 298 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__100549798 | en | WAMU HD2 Bluegrass Country, 88.5 FM
WAMU HD2 Bluegrass Country, 88.5 FM Radio is a sub-station built by listeners for listeners. It started more than 50 years ago at WAMU 88.5 FM in Washington, DC. The nonprofit Bluegrass Country Foundation is operating and funding this station. The station can be heard 24/7 on HD radio at 88.5FM (call sign: WAMU) Channel 2 in the Washington area, streaming worldwide at BluegrassCountry.org and via a free smartphone app (Apple iOS and Android devices). Its slogan is – Washington’s NPR Station (National Public Radio). It is usually hosted by a real live person, selecting the music from our incomparable song library, or a personal record collection that probably includes songs you’ll never hear anywhere else.
This Radio plays the whole range of bluegrass, old-time, classic country, folk, rare blues and jazz, zydeco, roots and modern Americana, and even a taste of Grateful Dead. Shows originate in Washington studio, as well as radio in stations and studios around the US and the world, and include live performances as well as records.
- WAMU HD2 Bluegrass Country
Recommended US Country Radio
SUBMIT YOUR REVIEW BELOW
All Reviews For This Radio Station | music_and_dance |
http://www.informatik.uni-hamburg.de/TGI/pnbib/h/haus_g2.html | 2017-11-22T01:47:56 | s3://commoncrawl/crawl-data/CC-MAIN-2017-47/segments/1510934806447.28/warc/CC-MAIN-20171122012409-20171122032409-00175.warc.gz | 0.840839 | 174 | CC-MAIN-2017-47 | webtext-fineweb__CC-MAIN-2017-47__0__193183563 | en | In: IEEE Computer, Vol. 24, No. 7, pages 56-60. July 1991.
Abstract: Scoresynth is a flexible program that uses Petri nets (PNs) and algorithms for describing, processing and synthesizing music scores in a manner closer to `music thinking and perception' than can be achieved with conventional music notation. The system employs music objects, which are any simple, complex or abstract musical entity, at PN nodes to describe information, with transformation rules and causal relationships between entities assigned to PN parameters and structures. Scoresynth algorithms enable the transformation of various parameters of sound and firing of notes during transitions of the PN.
Keywords: Scoresynth; synthesis (of) music score (based on) petri net (and) music algebra; music composition.
Back to the Petri Nets Bibliography | music_and_dance |
http://hseed.info/music-downloads-knowledge-directly-from-the-experts/ | 2021-01-22T18:33:36 | s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703531335.42/warc/CC-MAIN-20210122175527-20210122205527-00290.warc.gz | 0.951778 | 605 | CC-MAIN-2021-04 | webtext-fineweb__CC-MAIN-2021-04__0__271238847 | en | Have you ever wanted to listen to a song, but been unable to find a copy? Is there a song whose name you can’t remember? The Internet has made tracking down such information a snap. By using the various music downloading services, you can get your hands on almost any song ever recorded.
If you are looking for a cheap way to download music, try using a free service instead of downloading. Service such as Pandora or Slacker will let you listen to music from any device. You do not have to store the files on your phone or tablet; just listen to them streaming online.
It is a good idea to check iTunes if you are considering downloading music. There are lots of popular offerings there, and it is simple to download songs to iPhones and iPods. You can also find great deals and sales on iTunes.
Consider joining an online forum of music enthusiasts. Many will share their downloads for free. This allows you to explore different genres of music or the latest cd from a known artist without committing a lot of time or money to the task, making it easier to build your library with an eclectic blend of tunes.
If you use iTunes, make sure to sign up for their email alerts. They often send out specials and discounted albums that are available at a lower price for a very limited period of time. If you do not sign up for the email alerts, you might miss out on these savings.
Check out the legal free music from established music download sites. Many big online music retailers like iTunes, MP3.com, Amazon,com, and more have free music sections. You can legally download these free tracks from some artists that you like or some new ones that you would like to listen to for the first time.
When you are looking for websites for music downloads, be sure that you are downloading from a reputable distributor. There have been instances when users have downloaded malware along with the song tracks. This will not happen at established digital music distributors with a good reputation. Keep this mind before you click on the download button.
When downloading music online, make sure that you only download files with the correct extension. Never download files with .exe file extensions. This extension can harm your computer. It can hijack your computer system and completely destroy it. Even worse, you could open yourself up to identity theft or other security issues.
Watch the file sizes of your music downloads carefully. A normal music download will be somewhere between 2 megabytes and 5 megabytes. If you see something much less or much more, there could be something fishy about the file. It may be spyware and not the song you were hoping it was.
Millions of songs are available online, and you can download most of them for less than a dollar. Many songs can be downloaded for free. However, finding the songs you want can be tricky if you do not know what you are doing. Use the tips you have just read to find the songs you want. | music_and_dance |
https://www.tarantoswingfestival.com/team-member/cosimohotcoals/ | 2024-03-05T09:33:53 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707948234904.99/warc/CC-MAIN-20240305092259-20240305122259-00435.warc.gz | 0.93955 | 283 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__32075482 | en | COSIMO AND THE HOT COALS
Considered among the new Italian swing and jazz stars and worldwide recognized on TikTok and Instagram, with more than 20 milioni views and appreciations from world-renowned artists like Michael Bublè, Cosimo and the Hot Coals are captivating the international audience with their unique style, able to combine their passion for ‘10s and ‘20s Hot Jazz and New Orleans Jazz with the charm and elegance of the italian songwriting.
The fascinating stage presence combined with the strong emotional drive and the band’s great compositional ability helped the guys gaining praises in all their Italian and international tours, that led them tread clubs and festivals stages in UK, Germany, France, Austria, Switzerland and Bahrein. The band has also a long list of collaboration with world famous brands like Coca Cola, Barilla, Gucci, Montblanc and Fendi and more.
In 2022 the band released its third album, “Mississippi Journal”, establishing a new partnership with Milan based music label Overdrive Records. The album, driven by the lovely single “Elena”, gained numerous praises all around the world, especially in Central and North America.
“I think you guys are wonderful. Keep making great music! You make me a proud Italian” – Michael Bublè | music_and_dance |
https://lossugarkings.com/bio | 2024-02-25T22:39:50 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474643.29/warc/CC-MAIN-20240225203035-20240225233035-00106.warc.gz | 0.948417 | 307 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__174721535 | en | Who Are Los Sugar Kings?
Sugar Kings is a Boston-based quartet known for their dynamic live performances, rich harmonies, intense musicianship and ability to transcend genres with an authenticity rarely heard. In their world, respect is paid to the forefathers and traditions of Afro-Cuban Son, Salsa and Rumba-Flamenca but Sugar Kings (named after a Cuban baseball team) also actively draw on influences from nearly every continent in their unique roots-rock-reggae repertoire. All are highly accomplished on their instruments, however the true magic of Sugar Kings is how these four individuals come together to put on a performance worthy of any festival, party, club or concert hall. Every show is an intimate dialogue between the band and their audience, with both sides communicating in a manner that is spontaneous, passionate, thoughtful and joyous.
"Patino Vazquez (vocals, guitar, tres), is a dynamic performer and singer who is at once approachable, intimate and completely mesmerizing. Add in the African-influenced undulations of Mikael Mersha (vocals, bass/contrabass), the soaring, take-you-for-a-ride solos and harmonic accompaniment by Daniel Abreu (saxophone, piano, vocals) and the soulful voice and talents of Tony Curtis Hall (drums, percussion, vocals) and it's impossible for a party to stop from breaking out, wherever Sugar Kings perform." | music_and_dance |
http://alex-in-wonderland.com/MovieReviews/Domestic-B/BeniseNightsOfFire.html | 2021-05-12T12:25:46 | s3://commoncrawl/crawl-data/CC-MAIN-2021-21/segments/1620243989693.19/warc/CC-MAIN-20210512100748-20210512130748-00445.warc.gz | 0.976235 | 220 | CC-MAIN-2021-21 | webtext-fineweb__CC-MAIN-2021-21__0__139075102 | en | Review Date: 5/18/06
Astounding! The first time I saw Roni Benise, he was playing on the street in Downtown Disney. I was so impressed by his music ("Shakara" in particular) that I immediately purchased his "Spanish Nights" CD. Now, three years later, he and his band have graduated to a massive stage show, complete with dancers, strings, horns, percussionists, and a wide variety of musical guests. The production is top notch and all of the players are superb. The fusion of flamenco and rock is perfectly complemented by a dazzling light show, a huge video screen, and a beautiful stage. Quite possibly the finest concert videos I've even seen. Most notably, I never once saw a cameraman or a boom shadow in a shot, so it must have been filmed over several nights and meticulously edited. The video quality is also quite high, and the colors are sharp, bright, and vibrant. A truly amazing and emotionally charged performance matched by a flawless production. Definitely check it out if you get the chance. | music_and_dance |
https://tuntreet.org/forsiden/2018/10/4/from-frikar-to-folknbspa-night-of-norwegiannbspdancenbsp | 2019-09-17T17:15:51 | s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514573098.0/warc/CC-MAIN-20190917161045-20190917183045-00108.warc.gz | 0.968288 | 986 | CC-MAIN-2019-39 | webtext-fineweb__CC-MAIN-2019-39__0__192176080 | en | On a rainy Friday in mid-September, students and spectators gathered at Samfunnet i Ås to participate in an experience unlike any other: the Låvedans or “Hoedown”, the main event of the Åsbobla or “Ås Bubble” theme week. The evening was a celebration of Norwegian culture – specifically, the art of dance – and though the weather outside may have been stormy, the atmosphere inside was full of merriment.
It started with a violin.
Beneath the dim lights of Aud. Max, the whispering crowd suddenly fell silent as the high-pitched strains of the lone instrument drifted from center stage and echoed across the darkened room.
Next, the beatboxer appeared; and following him, the rap artist Per Skranglebein, known to many in the audience as a former contestant on the Norwegian talent show, Norske Talenter. Watching, those present waited with a sense of collective anticipation. As Skranglebein lifted the microphone to speak his first words, the beatboxer launched into a fast and furious rhythm, accompanied by the solo violinist. Moments later, three young men in traditional Norwegian outfits stepped onto the dance floor and began moving to the music.
The crowd roared excitedly; this is what they had been waiting for.
The FRIKAR show had begun.
For those who may be new to the Norwegian cultural dance scene, the FRIKAR Dance Company specializes in performing contemporary and traditional dance in Norway. The company has toured around the world and was featured in the 2009 Euro Vision Song Contest alongside the winning act. FRIKAR is known for incorporating various styles of dance and even acrobatics into its live performances, as demonstrated on this particular evening.
A portion of the show was dedicated to contemporary dance, where a performer used silk ropes to climb and suspend himself several meters from the floor. Spinning and twisting high above the rapt audience, the artist performed a vertical dance that fully captured one’s attention. With its serene acrobatics, this aerial demonstration was a strong contrast to the energetic tone of the rest of the night.
Indeed, for the most part, tonight’s show was all about the hallingdansen – a traditional Norwegian folk dance named for the valley of Hallingdal in eastern Norway. The dance typically consists of two or three young men performing, according to the Encyclopedia Britannica, “difficult leaps, kicks, and other acrobatic stunts to demonstrate vigor and virility.” This was done with the symbolic intention of outperforming one another in order to catch a woman’s eye.
One can say that these halling-dancers lived up to the hype, if the crowd’s applause was any indication. The spectators were treated to a show featuring many of the moves associated with the traditional dance. Among them was the hallingkast, where a hat is hung at the end of a long stick raised 2-3m above the ground, with the dancer supposed to leap into the air and kick the hat away. This stunt was done several times throughout the show, met with loud cheering each time.
The FRIKAR performance was only the first part of the evening. It was followed by a lively few hours of dancing in Festsalen, where students paired up and tried their hand at Norwegian traditional dances. Some had taken part in the folk dance lessons offered the week before, while others had simply shown up this evening ready to jump in and have a good time. Grooving along to the upbeat songs played live by the band Myllargutens Gammaldansorkester, the crowd was full of smiling faces as everyone practiced their best folk dancing moves.
It was a fitting second half for this event. Sponsored by Landkreditt Bank and the Stiftinga for Folkemusikk og Folkedans (Council of Folk Music and Folk Dance), the evening had showcased a wide spectrum of Norwegian dance styles ranging from modern fusion to traditional folk.
For this journalist, who happens to be an international student, the night was also another example of the strong sense of Norwegian cultural pride that seems to exist here at NMBU. From the various regional-based foreninger (groups or associations) to the national costumes worn by students during last month’s matriculation ceremony, many interesting things can be said about the traditions that have taken root and blossomed here in our so-called tiny “Ås bubble”.
But that is perhaps a discussion for another time.
For now, let us simply add dancing to the list. The style is up to you.
Journalist og Fotograf: Chiara Magboo | music_and_dance |
http://lso.is/tonl_e.htm | 2022-05-17T14:32:52 | s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00576.warc.gz | 0.809846 | 1,400 | CC-MAIN-2022-21 | webtext-fineweb__CC-MAIN-2022-21__0__162265888 | en | Tuesday July 5th at 8:30 pm
Þóra, Jóna, Kristín and Eggert
Was it a Dream?
Jóna G. Kolbrúnardóttir soprano,
Kristín Sveinsdóttir mezzo-soprano,
Eggert Reginn Kjartansson tenor and
Þóra Kristín Gunnarsdóttir piano.
With song cycles by Dvořák, Sibelius and Beethoven, the audience
is invited to immerse themselves in the multifaceted complexity of
love as envisioned by three master composers from different
Písně Milostné (Love Songs) op. 83 by Antonín
Dvořák, Five Songs, op. 37 by Jean Sibelius and
To the distant Beloved, op. 98 by Ludwig van Beethoven.
Tuesday July 12th at 8:30 pm
Kristina and Ásta
Ásta Soffía Þorgeirsdóttir and
Kristina Farstad Bjørdal akkordeon duo.
Program with Norwegian and Icelandic dance and folk tunes
leading to Baroque works such as movements from the Goldberg
Variations by J.S. Bach. Also works from 20th century when the
accordian was at its peak of its popularity. The final piece
of the concert will be a beautiful Icelandic tango, which
performers consider to be an uniquely precious
example of 20th century Icelandic music heritage.
Tuesday July 19th at 8:30 pm
Steiney and Vera
Summer Music with Duo Edda
Vera Panitch violin and Steiney Sigurðardóttir cello.
Eight Duets for Violin and Cello op. 39 by Reinhold Glière,
Sonata for Violin and Cello by Maurice Ravel and Johan
Halvorsen's Passacaglia in G minor on a Theme by Georg Friederich
Saturday July 23rd and Sunday 24th!-- at -->
Two concerts with works by the late, and much forgotten, Czech composer Erwin
Schulhoff with introduction by Dr. Alexander Liebermann. Performers:
Hlíf Sigurjónsdóttir violin, Slava Poprugin piano,
Adrien Liebermann saxophone, Martin Frewer viola and
Þórdís Gerður Jónsdóttir cello.
By Schulhoff: Sonata for Violin and Piano op. 7 (WV 24),
Sonata for Violin and Piano (WV 91), Hot Sonata (WV 95) for
saxophone and piano and Fünf Pittoresken für Klavier (WV 51).
By Alexander Liebermann: Coming to Light (Snót) for solo violin,
Saxophone Sonata and string trio Seen from the Sky.
Tuesday July 26th at 8:30 pm
Bryndís, Pamela and Guðríður
Bryndís Guðjónsdóttir soprano,
Pamela De Sensi flute and
Guðríður St. Sigurðardóttir piano.
Passionate Italian and Spanish songs performed
against delicate romantic French music.
Compositions from the late 19th and early 20th century.
Tuesday August 2nd at 8:30 pm
Kristín, Hekla, Anna og Hjörtur
Journey through the Wonders of the Flute
Kristín Ýr Jónsdóttir flute,
Hekla Finnsdóttir violin,
Anna Elísabet Sigurðardóttir viola and
Hjörtur Páll Eggertsson cello.
Flute Quartett no. 1 in D major K. 285 by W.A. Mozart,
Threnody I and II (In memoriam of Igor Stravinsky and
Beatrice Cunningham) by Aaron Copland, Assobio
a Játo (The Jet Whistle) by Heitor Villa-Lobos and String Quartet
no. 12 in F major American by Antonín
Dvořák, arranged for string quartet.
Tuesday August 9th at 8:30 pm
Diddú and the Boys
Diddú and the Boys
Sigrún Hjálmtýsdóttir soprano,
Sigurður Snorrason and Kjartan Óskarsson clarinets,
Emil Friðfinnsson and Þorkell Jóelsson horn,
Brjánn Ingason and Snorri Heimisson bassoon.
Wind Sextetts by Wolfgang Amadeus Mozart and Antonio Salieri and arias
soprano and winds. Also Icelandic solo pieces, by e.g.
Atli Heimir Sveinsson.
Sunday August 14th at 8:30 pm
Gréta, Diljá, Sigríður and Vigdís
Spúttnik String Quartet
Sigríður Bjarney Baldvinsdóttir and
Diljá Sigursveinsdóttir violins,
Vigdís Másdóttir viola and
Gréta Rún Snorradóttir cello.
String Quartet no. 2 in D major by Alexander Borodin,
Intermezzo for String Trio by Zoltán Kódaly and
Nearer, My God, to Thee by Sarah Fuller Flower Adams.
Performed on instruments by violin maker Jón Marinó Jónsson,
who will give an introduction to his work. The wood he used came from the wreck of the
Jamestown, which stranded at Reykjanes peninsula in 1881. | music_and_dance |
https://www.lupefuentes.com/about-1 | 2020-03-31T22:52:23 | s3://commoncrawl/crawl-data/CC-MAIN-2020-16/segments/1585370504930.16/warc/CC-MAIN-20200331212647-20200401002647-00442.warc.gz | 0.956398 | 694 | CC-MAIN-2020-16 | webtext-fineweb__CC-MAIN-2020-16__0__181508336 | en | AN UNDERDOG HAS A LOT TO PROVE, MUCH TO DELIVER,AND ALL THE HYPE IN THE WORLD WON’T CHANGE THAT
Talent without commitment means nothing and Lupe set her sights on a life that would transcend the confines of race, geography and economics. Only one thing in the world can instantly equalize and unite us all and that amazing gift is of course, music.
Lupe Fuentes has secured her shining star on the electronic music landscape by earning her right to be there. Talent and passion for house music is paramount to her success, she lives by the beat and is always challenging her own ability to do better than she did yesterday. House music icons champion her as being the real deal with the gifted ear of a DJs DJ.
“Lupe was born to make music and be a DJ. Stay tuned… she’s fire!” (Junior Sanchez)
“Lupe is very talented and has exacting musical taste. She is one of the new breed of underground DJs that live and breathe house music. I see she is totally committed and can’t wait to hear what beats she has in store!” (Roger Sanchez)
Lupe busted through the boys club by doing things her way. As a producer, she’s one of the most prolific and respected ones working today. Upfront labels clamor for her releases with imprints like; InHouse Records (Todd Terry), Brobot Records (Junior Sanchez), Undercool Productions (Spain), Nervous (NY) Positive Music (Spain), WIN Music, SAFE Music (Spain) Guesthouse Records and Defined all releasing Lupe Fuentes original music. Her own imprint, ‘In The Loop,’ is her go to brand for most of her own music, but Lupe also champions new talent as a way to keep herself inspired and pay it forward.
It’s all about the vibe and what music can do for people that makes house music (in particular), so special. Lupe channels house music and all you need is to experience one of her sets to know she’s something very special. You can’t fake it as a house DJ, and she owns the place when she plays. Dancefloors don’t lie.
“Female DJ really if you only knew. Lupe rocks out like a dude. She gets it -she is there to make you dance. Not just another pretty face …. Welcome to Miss Fuentes, House Music Baby.” (Todd Terry)
Lupe Fuentes now makes her home in LA where she’s a fixture on the US club circuit. Exchange, Pacha and all clubs in between are showcasing Lupe as the next level of house music superstar, but for Lupe, she is humbled by her success.
“I don’t do this for any other reason than I love house music, I love to DJ and I’m compelled daily to produce. Everything else become like white noise. My joy is being able to DJ and to expose the music I love to people who want to dance. Be it one person or 50,000 on the dancefloor, I’ll make sure they feel like I’m playing just for them! “ - Lupe Fuentes | music_and_dance |
https://southafricanthings.co.za/unveiling-the-top-djs-in-south-africa-the-masters-of-music/ | 2024-02-27T10:39:17 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474674.35/warc/CC-MAIN-20240227085429-20240227115429-00083.warc.gz | 0.957845 | 3,406 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__148451479 | en | Are you ready to delve into the world of mesmerizing beats and infectious rhythm? South Africa, known for its pulsating music scene, is home to some of the most talented DJs in the world. These individuals have not only captured the hearts of the nation but have also made a significant impact globally. In this article, we will uncover the top 10 best DJs in South Africa, highlighting their exceptional skills, achievements, and contributions to the music industry. So, let’s tune in and explore the masters of music in South Africa!
Table of Contents
South Africa’s music scene is a kaleidoscope of diverse genres, constantly evolving, and reaching new heights. One vital element that has played a pivotal role in shaping the industry is the presence of extraordinary DJs. These musical geniuses have not only mesmerized audiences with their creative mixes and technical prowess but have also broken barriers and gained international recognition.
DJ Black Coffee: Reigning Supreme
Enter DJ Black Coffee, whose name resonates with excellence and innovation in the world of music. Born Nkosinathi Maphumulo, DJ Black Coffee effortlessly blends various genres, including house, soul, and jazz. His infectious beats and soulful melodies have captivated audiences worldwide, paving the way for his global success.
With a career spanning over two decades, DJ Black Coffee has released several chart-topping albums and collaborated with renowned artists like Alicia Keys and Drake. His deep understanding of music and ability to connect with his audience on an emotional level sets him apart as a true musical maestro.
DJ Fresh: The Radio Icon
If there’s one DJ whose voice has become synonymous with South African airwaves, it’s DJ Fresh. Born Thato Sikwane, DJ Fresh has taken the radio industry by storm with his infectious charm and magnetic personality. His morning show, “Fresh Breakfast,” has become a staple for music lovers, showcasing the best local and international hits.
Aside from his radio prowess, DJ Fresh is also a skilled DJ and producer, known for his incredible live performances. With a passion for various music genres and an ability to read the crowd, DJ Fresh has undoubtedly etched his name in South Africa’s music history.
DJ Zinhle: Queen of Afro-House
Enter the dynamic and talented DJ Zinhle, a true force to be reckoned with in the Afro-house music scene. With her infectious energy and uplifting beats, DJ Zinhle has become the reigning queen of the genre. She has captivated audiences with her unique style, blending traditional African rhythms with contemporary electronic music.
Her dedication to her craft and resilience in a male-dominated industry has not only made her an inspiration to aspiring DJs but also solidified her position as one of South Africa’s finest musical talents. DJ Zinhle’s contribution to the music industry is immeasurable, making her a true icon in the world of Afro-house music.
DJ Shimza: The Multi-Talented Maestro
Versatility is DJ Shimza’s middle name. Born Ashley Kholofelo Raphala, DJ Shimza has earned a reputation as a multi-talented DJ, producer, and entrepreneur. Known for his energetic stage presence and ability to seamlessly blend various music genres, DJ Shimza has become a household name in South Africa.
From hosting his annual “One Man Show” event to spreading the joy of music through his foundation, DJ Shimza has touched the lives of many. His commitment to using music as a tool for unity and empowerment has solidified his position as one of South Africa’s best DJs.
DJ Kent: Setting the Dancefloors Ablaze
When it comes to igniting dancefloors and creating an electrifying atmosphere, DJ Kent is unmatched. With his unique ability to read the crowd and curate seamless mixes, DJ Kent has become a true sensation in the South African music scene.
His passion for house and dance music, combined with his exceptional technical skills, has earned him a vast fan base and numerous accolades. DJ Kent’s distinct style and ability to transport his audience into a transcendent musical experience make him one of the top DJs in South Africa.
DJ Tira: Bridging Cultures Through Music
Bridging cultures and uniting people through music is DJ Tira’s ultimate goal. Born Mthokozisi Khathi, DJ Tira is a legendary figure in the South African music industry, known for his infectious beats and vibrant personality. As the founder of the record label Afrotainment, DJ Tira has provided a platform for many emerging artists, helping to shape the music industry.
His fusion of various music genres, including kwaito and gqom, has struck a chord with audiences across the nation. DJ Tira’s commitment to nurturing talent and promoting South African music on a global scale makes him a true icon in the industry.
DJ Euphonik: Master of the Turntables
When it comes to technical expertise and innovation, DJ Euphonik stands in a league of his own. Born Themba Mbongeni Nkosi, DJ Euphonik has continually pushed boundaries and explored new sonic territories. His ability to seamlessly mix tracks and create unique sounds has garnered him international recognition.
DJ Euphonik’s passion for music goes beyond the DJ booth, as he is also a talented producer and radio host. Whether performing on stage or producing hit tracks, DJ Euphonik’s commitment to delivering exceptional music sets him apart as one of South Africa’s best.
DJ Oskido: Pioneer of Kwaito Music
Enter the godfather of kwaito music, DJ Oskido. Born Oscar Bonginkosi Mdlongwa, DJ Oskido has played a pivotal role in shaping the kwaito genre since its inception. With his infectious beats and unique style, he has captivated audiences across South Africa and beyond.
DJ Oskido’s keen ear for talent has led to the discovery of several prominent artists in the music industry. His dedication to promoting South African music and showcasing it on a global scale has made him an influential figure in the industry.
DJ Tbo Touch: A Force to Be Reckoned With
When discussing influential figures in the South African music industry, one cannot overlook the impact of DJ Tbo Touch. Born Thabo Molefe, DJ Tbo Touch is not only a renowned DJ but also a media personality and entrepreneur. His ability to adapt and innovate within the music industry has earned him widespread recognition.
From hosting his popular radio show to founding his record label, DJ Tbo Touch’s contribution to the music scene is commendable. He continues to inspire aspiring DJs and entrepreneurs, showcasing the limitless possibilities within the industry.
DJ Maphorisa: The Hitmaker
Known for his distinct style and ability to produce chart-topping hits, DJ Maphorisa has taken the South African music industry by storm. Born Themba Sekowe, DJ Maphorisa has collaborated with international artists such as Drake and Wizkid, propelling him to global acclaim.
His production skills and knack for creating infectious beats have transformed the South African music landscape. DJ Maphorisa’s dedication to his craft and unwavering passion for music make him one of the leading DJs in the country.
DJ Sbu: A Boundless Entrepreneur
DJ Sbu, born Sibusiso Leope, is a visionary DJ, entrepreneur, and philanthropist. With a career spanning over two decades, DJ Sbu has achieved remarkable success in both the music and business realms.
Besides his skill behind the turntables, DJ Sbu has founded multiple successful ventures and mentored aspiring entrepreneurs through his inspirational talks. His tenacity and determination have pushed boundaries and inspired many, making him a true icon in the South African music industry.
DJ Black Motion: Blending Sounds with Soul
Enter the duo that has mastered the art of blending sounds with soul, DJ Black Motion. Composed of Thabo “Smol” Mabogwane and Bongani “Murdah” Mohosana, DJ Black Motion has taken the house music scene by storm. Their infectious beats and undeniable talent have captivated audiences across the globe.
DJ Black Motion’s distinctive style and ability to evoke emotions through their music have earned them critical acclaim and numerous awards. Their dedication to their craft and continuous exploration of sonic landscapes have solidified their position as masters of music.
DJ Dimplez: Impacting the Urban Music Scene
When it comes to impacting the urban music scene, DJ Dimplez is at the forefront. Born Tumi Molekane, DJ Dimplez has become a household name, known for his mixtape series and collaborations with notable artists.
His ability to curate seamless mixes and introduce emerging talent to the industry has garnered him a loyal fan base. DJ Dimplez’s influence and contribution to the urban music scene in South Africa make him a prominent figure in the industry.
DJ Spartacus: Defying the Norms
With a passion for music and an unwavering desire to challenge norms, DJ Spartacus has carved a niche for himself in the South African music scene. Known for his diverse mixes and eclectic selection of tracks, DJ Spartacus takes listeners on a musical journey like no other.
His ability to seamlessly blend genres and incorporate distinctive elements into his sets has earned him recognition among music enthusiasts. DJ Spartacus’s determination to push boundaries and defy the norms makes him a standout DJ in South Africa.
DJ Ganyani: A Legend in the Making
Known as a pioneer in the house music scene, DJ Ganyani has made a significant impact on South Africa’s music landscape. With a career spanning decades, DJ Ganyani has consistently delivered hits that have stood the test of time.
His signature sound and ability to create infectious beats have earned him a special place in the hearts of music lovers. DJ Ganyani’s commitment to his craft and his influence in shaping the house music genre make him a true legend in the making.
DJ Mujava: Innovating the Dance Music Genre
Enter DJ Mujava, an innovative maestro who has revolutionized the dance music genre in South Africa. Born Tshepo Molefe, DJ Mujava is best known for his track “Township Funk,” which became an international sensation.
His unique fusion of kwaito and electronic dance music has earned him praise from both local and international audiences. DJ Mujava’s creativity and ability to push the boundaries of music have solidified his place as an influential figure in the industry.
DJ Sumbody: The Vibrant Groove Aficionado
On the quest for vibrant and infectious grooves, one cannot miss DJ Sumbody. Born Oupa John Sefoka, DJ Sumbody has taken the South African music scene by storm with his vibrant personality and exceptional musical skills.
From his electrifying performances to his chart-topping hits, DJ Sumbody continues to captivate audiences with his unique blend of house and amapiano music. His ability to connect with his audience and create a joyous atmosphere is what sets him apart from the rest.
DJ Cleo: Merging Tradition with Modernity
Merging tradition with modernity, DJ Cleo has become a trailblazer in the South African music industry. Born Cleopas Monyepao, DJ Cleo has perfected the art of fusing traditional African sounds with contemporary beats, creating a completely unique and captivating experience.
His commitment to showcasing African music on a global scale has earned him recognition and respect from both his peers and fans. DJ Cleo’s ability to bridge the gap between tradition and modernity through his music makes him a standout DJ in South Africa.
DJ Clock: The Timeless Beatmaker
When it comes to timeless beats and infectious rhythms, DJ Clock knows how to create magic. Born Kholile Elvin Gumede, DJ Clock has consistently delivered hits that have stood the test of time, earning him a dedicated fan base.
His ability to produce captivating tracks across various genres has garnered him critical acclaim and industry recognition. DJ Clock’s music has become the soundtrack to many memorable moments, making him an indispensable figure in South Africa’s music scene.
DJ Bongz: Champion of Durban Beats
Enter the champion of Durban beats, DJ Bongz. Known for his infectious energy and signature dance moves, DJ Bongz has become an iconic figure in the South African music industry.
His unique blend of Afro-house and gqom music has made him a household name, both in South Africa and beyond. DJ Bongz’s ability to create music that brings people together and gets them moving has solidified his status as one of the best DJs in the country.
DJ Speedsta: Shaping the Future of Music
When it comes to shaping the future of music, DJ Speedsta is a driving force to be reckoned with. Born Lesego Nkaiseng, DJ Speedsta has made significant strides in the music industry, renowned for his ability to discover and nurture emerging talent.
His keen ear for new sounds and innovative approach to music have garnered him a loyal fan base. DJ Speedsta’s determination to push boundaries and support up-and-coming artists has solidified his position as a tastemaker and trendsetter.
DJ Zan D: Elevating the Hip Hop Culture
Elevating the hip hop culture in South Africa is DJ Zan D, a true ambassador for the genre. Known for his explosive performances and impeccable selection of tracks, DJ Zan D has become a prominent figure in the local hip hop scene.
His dedication to showcasing local hip hop talent and providing a platform for emerging artists has earned him respect within the industry. DJ Zan D’s commitment to elevating the hip hop culture and promoting local talent makes him a standout DJ in South Africa.
DJ Sox: Spinning the Story of House Music
Enter the maestro who spins the story of house music, DJ Sox. Known for his exceptional technical skills and ability to curate memorable sets, DJ Sox has become a household name in the South African music scene.
His passion for house music and ability to transport his audience into a euphoric state on the dancefloor have solidified his place as a top DJ. DJ Sox’s dedication to his craft and his ability to create unforgettable moments through his music make him a true icon in the industry.
DJ T-Man: The Rising Star
Rising through the ranks, DJ T-Man has made a remarkable impact on the South African music industry. Known for his energetic stage presence and infectious beats, DJ T-Man has quickly gained recognition for his unique blend of amapiano and house music.
His dedication to perfecting his craft and consistently delivering exceptional performances has earned him a devoted fan base. DJ T-Man’s relentless pursuit of excellence and his undeniable talent make him a rising star to watch.
FAQs About the Best DJs in South Africa
Q: Who is considered the best DJ in South Africa?
A: While opinions may vary, DJ Black Coffee is widely regarded as one of the best DJs in South Africa, with his exceptional talent and global success.
Q: Which DJs are known for their innovative styles?
A: DJ Mujava and DJ Cleo are known for their unique and innovative styles, challenging traditional norms in the South African music scene.
Q: Who has made a significant impact on the kwaito music genre?
A: DJ Oskido is often credited as a pioneer who has made a significant impact on the kwaito music genre in South Africa.
Q: Which DJ has mastered the art of blending traditional African sounds with contemporary beats?
A: DJ Cleo has perfected the art of merging traditional African sounds with modern beats, creating a distinct and captivating musical experience.
Q: Who is known for their contribution to the Afro-house genre?
A: DJ Zinhle has become the queen of Afro-house, known for her vibrant energy and uplifting beats in the genre.
Q: Which DJ has had international collaborations?
A: DJ Maphorisa has collaborated with international artists such as Drake and Wizkid, gaining recognition on a global scale. | music_and_dance |
http://www.moritasschoolofdance.net/Moritas_School_Of_Dance/Home.html | 2014-07-28T12:19:19 | s3://commoncrawl/crawl-data/CC-MAIN-2014-23/segments/1406510259834.25/warc/CC-MAIN-20140728011739-00287-ip-10-146-231-18.ec2.internal.warc.gz | 0.908168 | 290 | CC-MAIN-2014-23 | webtext-fineweb__CC-MAIN-2014-23__0__113236324 | en | Celebrating our 46th Anniversary!
Morita's School of Dance offers professional dance instruction to students ages 3 through adult in Central Maine. Tap, Ballet, Jazz, Contemporary, Hip Hop, Ballroom & Fitness classes are offered throughout the year. Private lessons and custom wedding reception dance choreography sessions are scheduled as needed.
Established in 1968, we have shared our love of dance with hundreds of children and adults. We take this responsibility very seriously. Our mission is to provide dancers of all ages a program of progressive training in all forms of dance. Through our outstanding dance program, we teach discipline, hard work and responsibility in developing dance proficiency and skills which last a lifetime. Offering a positive, non-competitive atmosphere ensures our students gain confidence both on and off the stage. All students are valued for their own abilities and uniqueness as we strive to share the joy of dancing through the mental, physical and spiritual sides of the body.
Festival of Lights Parade
December 7, 2013
Holiday Performance (Old Town)
December 14, 2013 @ The Old Town Recreation Department
Holiday Performance (Hermon & Bucksport)
December 15, 2013 @ Hermon High School
Holiday Performance (Milo)
December 21, 2013 @ the Milo Town Hall
New Years Eve Gala - Sr. Dance Team
December 31, 2013 @ Morgan Hill Event Center for Hermon's Bicentennial Kick Off | music_and_dance |
http://support.acadsoc.com/guide-to-learning-to-play-guitar-online-6-238-834.html | 2017-12-12T08:37:50 | s3://commoncrawl/crawl-data/CC-MAIN-2017-51/segments/1512948515311.25/warc/CC-MAIN-20171212075935-20171212095935-00131.warc.gz | 0.967845 | 1,265 | CC-MAIN-2017-51 | webtext-fineweb__CC-MAIN-2017-51__0__45337429 | en | A Newbies Guide to Learning to Play Guitar Online
You've been saying it for a while, but now you've just about decided that you want to learn to play the guitar. Whether your dream is to enter Julliard or simply to entertain friends around a bonfire, it’s never too late or too early to learn guitar. But how to learn to play the guitar? Here are a few tips and methods that beginning guitarists should know.
Picking the Right Guitar
When it comes to picking the right guitar, price is not always the best guide. With many things, such as TVs and cellphones, you often get what you pay for. But with guitars, choosing should be more about the feel and tone than the price tag. Sometimes, a guitar that costs between $150 and $250 will actually be better than a guitar that is $800-$1000. As a beginner, you might not know what the right guitar would feel like, but here are a few basics that anyone can do:
• Test multiple guitars
• Strum the open strings and find the tone you like
• Make sure the strings are not too high off of the fret board
• Turn the tuners to make sure that they all work
The very first thing you must decide is what type of guitar you want to play. There are three choices which all have their own set of advantages and disadvantages. They are acoustic, electric and classical.
Acoustic guitars are most popular for beginners for a few reasons. First, they have natural amplification and do not need an electric amplifier. This means that acoustic guitars are easily transported and can be played anywhere. However, acoustic guitars use thick, steel strings which are quite painful to play until callouses are formed.
Electric guitars, on the other hand, use steel strings that are thinner than acoustic guitars, which makes them much easier to play. Since electric guitars are not hollow like acoustic guitars, striking the strings will produce a very quiet sound. Thus, a guitar amplifier is needed. While this adds an extra expense and can limit immovability, guitar amplifiers can be adjusted to make a variety of different sounds.
Finally, classical guitars differ from both acoustic and electric guitars in that three of the strings are made of nylon with the other three being nylon wound in steel. As far as play ability, classical guitars find themselves squarely between acoustic and electric. However, classical guitars are rather specific for playing classical music only. If you are learning to play the guitar for the long haul, the techniques learned from a year or two of classical training will definitely translate to acoustic or electric styles.
Now that you have the guitar of your choice, you want to spend some time getting familiar with the instrument. Guitars are basically divided into three parts: the head, the neck, and the body. In addition to these three, the strings are anchored to the bridge on the body, run across the frets on the neck, and are then tied to the tuners on the head.
Because acoustic and classical guitars are hollow, they have a sound hole cut into the body of the guitar, which is used to amplify the sound. In contrast, electric guitars have pickups under the strings on the body that transfer the sound to the amplifier.
Once you actually pick up the guitar, practice using each of your fingers on the neck. The goal is to find a comfortable hand position. Just be careful not to wrap your hand around the neck too much to where your thumb comes over the top. The thumb should be used to pinch the strings to the fret, even though using your palm might feel more natural at first.
Learning the Guitar Through YouTube
You, like countless other people, are now asking the Internet how to learn to play the guitar. Whether you are looking for how to play a certain song, you want to learn scales, or just basic beginner instruction, there are more videos on YouTube than you could watch in a lifetime.
Since learning to play the guitar takes patience and practice, YouTube is an invaluable tool. Find the video you want and re-watch it as many times as you need to in order to match it perfectly. Pause and rewind it at the difficult points and be sure to focus on both the left and right hands. The best types of videos to use are ones that have a split screen that focus on each of the hands at the same time.
YouTube is also great for online guitar tutorials. Many up-loaders will have playlists that cover all the basics and move toward more advanced lessons. While YouTube cannot offer the personal instruction that one-on-one guitar tutoring does, it’s a real help to find a channel that can teach beginning techniques, such as scales, chords, and strumming.
One-On-One Guitar Tutoring
If you cannot find what you are looking for on YouTube, there are other ways to find guitar tutors online. Finding a specific website that hosts guitar lessons can also offer other resources. However, if you want one-on-one instruction, there are guitar teachers everywhere. Again, the Internet becomes a great tool for finding and contacting guitar tutors in your area.
In-person guitar tutoring will build a newbie’s ability in a short time, but at a cost. For basic beginning instruction, you should plan on spending about $20-$30 for a half-hour with a private guitar tutor. This may sound like a lot, but the feedback of a trained guitarist is worth it. That said, you cannot rely simply on the tutor’s skill. You must be willing to put in the practice needed outside of the time with the tutor. If you feel like you aren't having the success you hoped for after a few months of private tutoring, consider finding another instructor that takes a different approach.
There are many ways to learn to play the guitar. Some people with natural musical ability might be fine using only YouTube to learn while others might need one-on-one instruction. Learning to play the guitar is a commitment and won’t be picked up overnight. Any way you learn to play guitar will involve three things: practice, practice and practice. | music_and_dance |
https://www.stepdupage.org/ | 2024-04-21T20:28:03 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817819.93/warc/CC-MAIN-20240421194551-20240421224551-00674.warc.gz | 0.937311 | 179 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__28524078 | en | Growing in Skill, Growing in Character
Who We Are
The Suzuki Talent Education Program of DuPage serves DuPage County with high quality violin education in the Suzuki method. Trained, dedicated teachers provide a nurturing environment for your child to thrive in music. Private lessons, combined with group class, offers students the opportunity to develop skills through Suzuki's "mother toungue" method. This method fosters a high level of music ability, good relationships, self-confidence, dedication and determination, and at its core fosters a beautiful heart.
The STEP program has two locations:
Immanuel Lutheran Church
2317 S. Wolf Rd., Hillside IL 60162
21w075 Monticello Rd., Lombard IL
Private lessons are held at both locations. Groups and orchestra are held in Hillside. String Serenade is held in Lombard. | music_and_dance |
http://www.dlsph.utoronto.ca/event/u-of-t-chinese-magazines-new-year-concert/ | 2019-02-23T06:37:31 | s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550249490870.89/warc/CC-MAIN-20190223061816-20190223083816-00398.warc.gz | 0.944118 | 189 | CC-MAIN-2019-09 | webtext-fineweb__CC-MAIN-2019-09__0__65816517 | en | - Isabel Bader Theatre
- External Events
- January 30, 2016 from 7:00pm to 10:00pm
Chinese Magazine, a not-for-profit student organization at the University of Toronto, is holding their 10th annual charity concert.
The concert series have spread charms of classical music to more than four thousand students, professors and young professionals in Toronto and all the net proceeds were donated to charitable organization like UNICEF Canada (over $20,000 combined).
This year’s notable performers, include: Ricker Choi, Toronto Chinese Orchestra and SPIRE with their performances that blend eastern and western instruments and music, and Samantha Chang (Executive Director of the Canadian Flute Association) with her elegant flute performance.
The net proceeds of the concert will be donated to Watsi to help fund essential healthcare treatments for patients around the globe.
Tickets available at UTChinese Magazine Booth in Sydney Smith. | music_and_dance |
https://2021.poesiefestival.org/en/artists/rosaceae/ | 2023-03-26T09:07:08 | s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945440.67/warc/CC-MAIN-20230326075911-20230326105911-00492.warc.gz | 0.898672 | 279 | CC-MAIN-2023-14 | webtext-fineweb__CC-MAIN-2023-14__0__204105029 | en | Rosaceae is a music project by Leyla Yenirce. It works with elements of noise and ambient music and uses speech samples and self-written texts that are installed in multilayered and dramaturgically-arranged soundscapes. Rosaceae’s debut album “Nadia’s Escape” was released on the Hamburg label Neoprimitive in 2019, followed by “Efia” from Pudel Produkte and “Ava” on the London label xquisite in 2020, and in Winter 2020 by a collaborative album with Ladonna, also on Neoprimitive. Another album on Pudel Produkte, “DNA”, is coming out soon. Thematically, Rosaceae concentrates among other things on figurations of resistance and confrontation with sound aspects of military, media and cultural dominance structures. Rosaceae’s works have been performed at such festivals as Noisexistance in the Hamburg Kampnagel and Pop-Kultur in Berlin and include audio-visual as well as performance elements.
Efia. Album. Pudel Produkte, 2020.
Ava. Album. Imprint xquisite, 2020.
Nadia’s Escape. Album. Neoprimitive, 2019. | music_and_dance |
https://events.nova.wine/event/live-music-with-first-class-big-band | 2023-12-04T19:12:23 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100534.18/warc/CC-MAIN-20231204182901-20231204212901-00632.warc.gz | 0.919448 | 188 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__224595652 | en | The BLOCK by Nova Destinations is proud to present Live Music with First Class Big Band!
Come out Friday, December 15th for a night of fun! First Class Big Band is a 15 piece Brass Band that plays classics from the Prohibition Era.
First Class Big Band will be bringing the entertainment and we will take care of the food & drinks!
The show will be from 7:30-9:30 and doors will open at 6 pm.
Whether you just want to sit back and hear some GREAT music or dance the night away, this event is perfect for you!
Tickets will be $10/person and will take place in our event space on the 2nd floor of the BLOCK in Sharon, PA.
We will be providing food and drink service at your table for the evening, so all you have to do is get your tickets and enjoy a night at the BLOCK by Nova Destinations! | music_and_dance |
http://infocenter.nlb.by/eng/kultura-i-iskusstvo/muzykalnoe-iskusstvo/ | 2023-09-25T16:45:25 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233509023.57/warc/CC-MAIN-20230925151539-20230925181539-00512.warc.gz | 0.714785 | 1,219 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__5079878 | en | На Міжнародным фестывалі Юрыя Башмета ў Мінску. Фота А. Манчук. БЕЛТА
At the Yury Bashmet International Festival in Minsk. Photo by Oksana Manchuk. BELTA
Канцэрт хору ім. Г.І. Цітовіча ў Гомелі. Фота С. Халадзіліна. БЕЛТА
Concert choir them. G.I. Tsitovich in Gomel. Photo by S. Kholodilin. BELTA
Свята музыкі ў Заслаўі. Фота А. Манчук. БЕЛТА
Holiday music in Zaslavl. Photo by O. Manchuk. BELTA
Музычны форум "Мінская вясна-2015". Фота А. Манчук. БЕЛТА
Music Forum "Minsk Spring-2015". Photo by O. Manchuk. BELTA
Канцэрт аркестра М. Фінберга на МТЗ. Фота А. Пакумейкі. БЕЛТА
Concert orchestra of M. Finberg at MTZ. Photo by A. Pokumeyko. BELTA
На"Славянскім базары". Віцебск. Фота А. Хітрова. БЕЛТА
On the "Slavonic Bazaar". Vitebsk. Photo by A. Khitrov. BELTA
Modern Belarusian music aims to preserve rich national traditions developing popular musical styles and directions. The pieces of Belarusian music along with world classic and pop music are performed by professional and amateur musicians.
Belarusian musical art is characterized by a high professional level. The country has unique school for composers and performers: the Belarusian Academy of Music and the Belarusian State University of Culture and Arts.
The Belarusian State Philharmonic Society is the main concert organization of our country. It’s a birthplace of academic, folklore, orchestra, choral, choreographic, jazz, pop and chamber bands.
Belorusskij soyuz muzy'kal'ny'x deyatelej (The Belarusian Union of Musicians) and Belorusskij soyuz kompozitorov (the Belarusian Union of Composers) promote the development of country’s musical and concert life.
Musical and theatrical life of the country is connected with the activity of the National Academic Bolshoi Opera and Ballet Theater of the Republic of Belarus and Belorusskogo gosudarstvennogo akademicheskogo muzy'kal'nogo teatra (the Belarusian State Academic Musical Theater). They stage the plays of Belarusian, Russian and West European composers.
The most popular musical bands of the country are:
- Gosudarstvennaya akademicheskaya xorovaya kapella im. G. Shirmy' (Grigory Shirma State Academic Choir of Belarus)
- National Academic Concert Orchestra of Belarus named after M.J. Finberg
- Presidential Orchestra of the Republic of Belarus
- State Academic Symphony Orchestra
- Vokal'naya gruppa «Chisty'j golos» (Vocal band "Chisty Golos")
- Vokal'ny'j ansambl' «Kamerata» (Voice band "Kamerata")
Belarusian show business has different styles and stylistic directions: pop music (performers – Inna Afanasieva, Irina Dorofeeva, Nikolay Skorikov, Petr Elfimov, Iskui Abalyan, Alyona Lanskaya and others), rock music, folk and ethno music.
National musical instruments accompany the performances of numerous contemporary artists.
The musical life of Belarus is famous for its festivals, opening to their listeners new names and performers, defining the direction of development of the art of Belarusian music and popularizing musical culture in general.
The genre palette of festivals is diverse. In addition to events dedicated to pop music, blues, jazz, rock and roll, there are festivals of sacred, organ, chamber and academic music.
Among numerous music events the most significant are "Belarusian Musical Autumn", Yuri Bashmet International Music Festival, International Music Festival "Golden Hit" in Mogilev, Festival of Chamber Music "Muses of Nesvizh" and, of course, International Festival “Slavonic Bazaar” in Vitebsk. | music_and_dance |
http://liberty.albany.k12.or.us/2016/12/02/liberty-singers-shine/ | 2018-10-23T02:18:31 | s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583515564.94/warc/CC-MAIN-20181023002817-20181023024317-00290.warc.gz | 0.954909 | 129 | CC-MAIN-2018-43 | webtext-fineweb__CC-MAIN-2018-43__0__154044009 | en | The Liberty Singers, under the direction of music teacher Steve Herb, put on a superb performance on Thursday, Dec. 1. The chorus, composed of students from grades 3-5, sang a variety of selections based on a winter theme. Parents, grandparents, siblings and friends watched the group performed in the school’s cafeteria. The group dazzled the audience with their finale, “Hot Chocolate”, which featured a salsa beat and a variety of movements. The group will be recording a CD in the near future which will be for sale to the general public. Interested parties should contact Mr. Herb at the school. | music_and_dance |
https://tdotwomen.ca/teens-new-musical-talent/ | 2022-09-25T21:18:42 | s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030334596.27/warc/CC-MAIN-20220925193816-20220925223816-00393.warc.gz | 0.990192 | 588 | CC-MAIN-2022-40 | webtext-fineweb__CC-MAIN-2022-40__0__55711787 | en | Jessica Oppermann, a 17 year old francophone high school student from Ancaster, Ontario, has been singing on stage since she was 2 years old. This honour roll student, who speaks three languages, has used her love of music to help her get through the stress of the pandemic.
“I’m a student at a francophone high school and during the pandemic, classes went online for the first time in my educational history,” said Jessica in an online interview. “This was very a difficult (adjustment) because having access to a social outlet is key during an adolescent’s life. I found myself feeling like I was “locked-up” in my room, always doing schoolwork. Since I was a little girl, I loved to sing. My parents would find me singing and dancing in the house, and it’s something that’s always made me happy. One day, I started thinking I should write down my ideas so that someday I could turn them into songs. Within a 4 month period, I had surprised my family by writing and composing melodies to 14 songs.”
Jessica’s father, who plays guitar and has been involved in music since a young boy, had built a recording studio in the family basement, but Jess always seemed disinterested in recording herself. “I was a competitive dancer before. That being said, I didn’t have the time to focus on music,” added Jessica.
After she presented her family with a small living room concert (with her sister’s gentle prodding) she impressed her family so much that her father joined her to help lay down the tracks for the vocals, including the harmonies. She creates all her music and lyrics on the ukulele. “Sometimes, I get on the drums to add percussion to my songs,” she added, “My music has started changing my life to deal with the stress and anxiety of being home during the pandemic. It also helped with any boredom I was feeling since there was nothing much to do.”
Jessica is definitely very creative. She has asked her English teacher if she can record a song and video to present as a final project, which is something she is currently working on. You can listen to that song here: https://youtu.be/hBUYjCvHer0 .
She ended our interview by saying, “COVID has had various negative effects on my mental health, and I tried to turn a difficult situation around by developing my musical talents.”
Jessica’s new, “Covid Talent” is something that is worth looking out for. She is hoping to have her tracks online soon. We can’t wait to hear a lot more from her in the future. Go Jess!! | music_and_dance |
https://seandgolden.wordpress.com/2016/01/19/an-eagle-soars/ | 2022-08-10T01:36:11 | s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882571097.39/warc/CC-MAIN-20220810010059-20220810040059-00480.warc.gz | 0.96579 | 277 | CC-MAIN-2022-33 | webtext-fineweb__CC-MAIN-2022-33__0__138969436 | en | I have a heavy heart typing this. Glenn Frey has passed away. Glenn Frey and Don Henley were responsible for a large fraction of the soundtrack of my high school years. My best friend and I would crank up the radio with every Eagles song and sing at the top of our lungs as we cruised around town in my ’64 Impala or his Maverick. Songs like “Peaceful Easy Feeling” set the tone for my burgeoning love life. And it was songs like “Desperado” that resonated with my broken heart, time after time.
As I type this, I have “Tequila Sunrise” playing on my iTunes. Not by deliberate action, it’s on random song selection, so I’ll take it as an omen. A message, if you will.
It is our legacies that give us our only chance to push back the inevitability of mortality. Glenn’s genius will live on for a long time to come. And in that small way at least, so will he.
So long Glenn. Your music, in a very real and compelling way, shaped my life, and the lives of my friends and family. You will be missed. You sent me, and all of us, the best of your love. And we are the better for it. | music_and_dance |
http://emilycrossland.com/about.html | 2024-02-28T16:09:00 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474737.17/warc/CC-MAIN-20240228143955-20240228173955-00410.warc.gz | 0.976149 | 525 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__18606748 | en | Emily hails from Portsmouth but has lived in Yorkshire since starting her BA in Music at the University of York. She graduated with first-class honours in 2007, having spent an enjoyable three years nurturing interests in composition (with Thomas Simaku), Javanese gamelan (with Neil Sorrell) and medieval music (with Nicky Losseff). She subsequently returned to the University to study with Bruce Cole for an MA in Community Music, for which she was awarded a Distinction in 2010. Emily is still involved in academic life at York, working as the Director of Gamelan Sekar Petak and as a tutor on the MA and BA Community Music programmes. She is also a visiting lecturer for York St John University and Director of the University of Leeds Golden Thread Gamelan Ensemble.
As a composer, Emily's work is shaped by her passion for collaboration - with amateurs and professionals, across genres, and with other art forms. She is interested in the theatricality of music and has developed scores for dramatic productions, as well as composing works that are inherently theatrical in their own right. She is also interested in the musicality of words, creating performance poetry and responding to text commissions from fellow composers, including Judith Ring, David Bremner and Peter Moran. Her compositions have received performances across the UK and internationally, at the National Concert Hall Dublin and as part of Gaudeamus Muziekweek. She has recently been commissioned through the BBC Performing Arts Fund and as part of Hull City of Culture 2017, and has spent several years in residence with multi-arts performance ensemble Engine Room Theatre. In 2010, Emily was one of six composers selected to take part in Adopt A Composer (run by Sound and Music, PRS Foundation and Making Music, in association with BBC Radio 3) and in 2018 she was delighted to return to the scheme as a Mentor.
Emily is an experienced educator and community musician, interested in inclusive and facilitative approaches to music-making. She spent 8 years looking after the Learning & Participation programme of the National Centre for Early Music and, as a freelancer, has delivered projects for clients including Hallé, National Concert Hall Dublin, Jessie’s Fund and Castaway Accessible Music Theatre. She is currently leading on Yorkshire-based youth gamelan programme The Sound of Bronze and continues to run the Northern Gamelan Network, which she founded in 2015. She also delivers gamelan courses for Converge York and Good Vibrations, working with adults with mental health conditions and people living in criminal justice settings. | music_and_dance |
http://luicollins.com/marketplace/agora.cgi?p_id=301&ppinc=1a | 2018-04-20T22:15:13 | s3://commoncrawl/crawl-data/CC-MAIN-2018-17/segments/1524125944742.25/warc/CC-MAIN-20180420213743-20180420233743-00247.warc.gz | 0.957596 | 391 | CC-MAIN-2018-17 | webtext-fineweb__CC-MAIN-2018-17__0__182723576 | en | Please use the links in the sidebar to order or see details about other items, or use the links below to place your order or to return to the Catalogue page.
Shipping charges for CDs and books are as follows: $2.25 for the first item, $3.25 for two, $4.25 for three, and $ 4.95 for four-seven items. Shipping for eight or more items is free.
Electronic delivery of PDF documents (such as "Blessed" SATB score) is free.
Shipping charges will be calculated and added in the checkout process.
A four-part choral arrangement for this much-requested song, available by download in two pdf's. Part 1, for mezzo-soprano soloist, has the lyrics written out with music for all four verses; Part 2, the Score with SATB parts, has guitar chords and piano accompaniment.
Once your order and payment is received, Lui will send the Blessed sheet music to you as pdf email attachments. Please be patient, as she's not always right by her computer, but she will send them along as soon as she can.
The cost for both pdf’s is $10. If you choose to perform the song with a choir or choral group, additional parts may be printed as needed, with a requested royalty fee of $1 per additional part printed. Thanks for your interest in singing Blessed!
If you love Lui's music, check out her Kids' Jam Curriculum. Created for teachers and home-schoolers, it includes music Lui uses in the Kids' Jam classes she teaches. Lui is joined on the recordings by Anand Nayak, of Rani Arbo & daisy mayhem. The music is fun for kids and enjoyable for adults - it's a great way to introduce your kids or grandchildren to the music you love! | music_and_dance |
https://idolsmasher.bandcamp.com/album/idol-smasher-victims-of-the-cave-split-7 | 2017-08-20T11:27:57 | s3://commoncrawl/crawl-data/CC-MAIN-2017-34/segments/1502886106465.71/warc/CC-MAIN-20170820112115-20170820132115-00372.warc.gz | 0.807519 | 133 | CC-MAIN-2017-34 | webtext-fineweb__CC-MAIN-2017-34__0__11816089 | en | Record/Vinyl + Digital Album
Idol Smasher: Barbara EP
Victims of the Cave: "Cold & Grey" & "The Wolf"
Includes unlimited streaming of Idol Smasher/Victims of the Cave Split 7"
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
ships out within 3 days
Streaming + Download
Includes high-quality download in MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app.
released December 4, 2015
All Music by Idol Smasher & Victims of the Cave
all rights reserved | music_and_dance |
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