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https://en.prophecy.de/en/CD/Tar-Pond-PETROL-CD-Digipak.html | 2024-04-12T17:13:49 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816045.47/warc/CC-MAIN-20240412163227-20240412193227-00326.warc.gz | 0.940328 | 475 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__14357820 | en | "PETROL", the second full length of Swiss doom visionaries TAR POND is clearly drawing inspiration from US doom classics such as SAINT VITUS as way as going all the way back to the British roots embodied by BLACK SABBATH. There are also moments that connect TAR POND with contemporary doom acts such as ELECTRIC WIZARD and ACID BATH. At the same time, TAR POND also exemplify the stubborn streak of Swiss metal that displays a fierce individuality and creative independence as outstanding acts such as CELTIC FROST, CORONER, and ZEAL & ARDOR easily attest. Going back to the crossroads of time, everything seemed to change when Martin Ain, bass player of the iconic CELTIC FROST and one of the founding members of TAR POND passed away in October 2017. Before this tragic day, the Swiss legend had already recorded the debut album together with the other founding members, the former CORONER drummer and lyricist Marky Edelmann, and the renowned scratchboard artist and vocalist Thomas Ott. After a long time of intense deliberation, TAR POND decided to continue as a band and to release the debut under the title "Protocol of Constant Sadness". This album was originally written and recorded in 2016/17 under the guidance of producer and guitar-legend Tommy Vetterli of CORONER fame. Inspired by the enthusiastic reception of "Protocol of Constant Sadness", TAR POND again joined forces with Tommy Vetterli at the New Sound Studio to record "PETROL". Due to changes in the line-up, Petrol" is a collaboration of old and new band members throughout different times. Despite these circumstances, the second album appears to be coherent and focused on TAR POND's declared aim to deliver a soundtrack of brutality and an electric protocol of constant sadness. And while the Swiss filed their debut under the description 'Doom'n'Gloom', their sound has also been described as a combination of doom and post-metal. With "PETROL", TAR POND fulfil their original promise: this album is a beautiful soundtrack of darkness and sorrow. | music_and_dance |
http://unioncountyhistory.org/page2/page8/styled-3/index.html | 2013-12-13T07:47:31 | s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164919525/warc/CC-MAIN-20131204134839-00058-ip-10-33-133-15.ec2.internal.warc.gz | 0.913757 | 135 | CC-MAIN-2013-48 | webtext-fineweb__CC-MAIN-2013-48__0__16776919 | en | Union County Historical Society
Shape Note Music Singing
EVERY 2nd THURSDAY, 2011
at the Old Union County Court House in Blairsville
Courtroom of the Court House, 6:30 p.m.
Beginners and Listeners Welcome!
The key phrase is audience participation. Different singing masters, or leaders, will choose a song from one of the shaped-note songbooks and lead the congregation in the singing. The music is like any music except each note has a particular shape, and the music is performed by reading and singing the notes. Those in attendance who cannot read the shaped notes simply listen and enjoy the music. | music_and_dance |
http://www.dartpro.com/Products/KaraokeStudioCD+G.html | 2013-05-26T04:05:25 | s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368706624988/warc/CC-MAIN-20130516121704-00015-ip-10-60-113-184.ec2.internal.warc.gz | 0.732621 | 282 | CC-MAIN-2013-20 | webtext-fineweb__CC-MAIN-2013-20__0__183773498 | en | DART® Karaoke Studio
The software suite with everything you need to make custom Karaoke for CD+G machines.
All the tools and fun of DART Karaoke Studio
Plus - record CD+G discs for Karaoke machines
Plus - create CD+G files for software CD+G Players
Record from CD+G discs (rip) for CD audio AND graphics (BIN files) or just audio (WAV files)
Compile and burn custom CD+G discs
Includes a CD+G player
Add your own lead-in graphics to the CD+G disc or individual tracks
Customize display of lyrics colors, refresh style and fonts
Support for CD-R/W drives that read and write CD+G
Many additional features in our latest version
Karaoke Studio’s Player Screen:
You’re in control, select a song, then playback, sing along, or record as the lyrics roll by.
CD+G Technical Notes
Who Uses DART Karaoke Studio CD+G
A Visual Guide
Great user support
About DART DeVocalizer
Click to Download the DART Karaoke Studio CD+G Data Sheet (pdf format)
What Karaoke Studio CD+G users are saying:
"Now I can expand our (CD+G) library beyond those available on the open market." | music_and_dance |
https://red-priest-education-concerts.lilregie.com/booking/attendees/new | 2019-02-16T05:43:35 | s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247479885.8/warc/CC-MAIN-20190216045013-20190216071013-00563.warc.gz | 0.879061 | 114 | CC-MAIN-2019-09 | webtext-fineweb__CC-MAIN-2019-09__0__173821486 | en | A FREE, fun concert with recorder!
Join us for a morning of musical exploration.
The brilliantly wacky ensemble Red Priest will share music up close during their tour of Aotearoa. https://youtu.be/V8wL1AR7iqo
An accompanying educational resource for schools will be available prior to the concert.
If you have any questions, please get in touch using the contact information below.
Please note: this event will be photographed and recorded. By registering for this event you are giving permission to be recorded / photographed. | music_and_dance |
https://www.aestheticaprojects.com/what-research-about-sales-can-teach-you.html/ | 2020-10-24T02:52:16 | s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107881640.29/warc/CC-MAIN-20201024022853-20201024052853-00416.warc.gz | 0.956331 | 553 | CC-MAIN-2020-45 | webtext-fineweb__CC-MAIN-2020-45__0__170970564 | en | Pop beats are popular because they are responsible for some of the hit songs that have topped the Billboard charts for a considerable period. Not just that; pop music is a favorite to many music listeners because they have the best beats that guarantee the unrivaled entertainment. Indeed there is high demand for pop beats, and if you create the best beats, you will sell them to the artists. This is an opportunity to create and sell the pop beats to the artists, and if you do an exemplary job, then you can always find artists ready to buy the beats. If you are producing and selling pop beats, then you should work hard to offer the best as there is fierce competition in the industry. You can be sure of selling many pop beats and making money only if you master the technique. For that reason, this article provides the essential tips on pop beats production and selling that are helpful.
Use high-quality sounds – A high-quality sound is an essential ingredient if you want to make the best pop beats. Indeed, you can do everything necessary to produce the best pop beats, but if you mess in the quality of sound, all your efforts will be watered down. You need to have the best software and equipment for pop beats production so that you get an edge over your rivals in the industry. Every music artist wants the best, and you must provide it if you want to get their money.
Take time to listen to pop music – Do not always think that there is nothing to learn from others because there is plenty of information about pop beats that you might not know. Learning in the music industry is a continuous process, and you must be ready to grasp new concepts. You can research on the internet to know about the new trend on pop beats, or you can listen to pop music and try to identify the things that you do not know. Once you want what artists like, then it becomes easy to produce pop beats that suit their preferences. There is no harm in listening to the pop beats produced by other producers as you can borrow a few tips that can spice your work. You need to pay attention to beat patterns, vocals, transitions, rhythms, synthesizers, and melodies so that you master what is appealing to most people and thereby you can create something worth buying and listening.
Do not focus on beats only – Although you focus on producing pop beats, if you want to sell them fast, you can accompany it with a chorus. This gives artists clue on the kind of song that suits the pop beats, and thus, it will be easy for them to use the beats once they buy it. Well, this might be an additional task that you do not know, but you can engage a songwriter to provide the reference hooks. | music_and_dance |
https://midnightagency.com/blogs/news/boogey-the-beat-joins-midnight-agency | 2023-12-10T16:03:25 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679102612.80/warc/CC-MAIN-20231210155147-20231210185147-00012.warc.gz | 0.96419 | 331 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__256539349 | en | Midnight is thrilled to announce that Boogey The Beat has joined the Agency roster. Boogey is an Anishinaabe DJ and producer from Treaty One Territory (Winnipeg, Canada) making waves with his blend of traditional Indigenous rhythms and modern electronic beats.
Boogey has worked with The Halluci Nation (formerly a Tribe Called Red) and Snotty Nose Rez Kids, playing stages across Turtle Island. In 2021, Boogey's work earned him a finalist spot for the RBC Emerging Musician Award, as well as a performer selection for TD Music Connected Series. Complex Canada also took notice of Boogey's talent, featuring his track on the "30 Best Canadian Songs of 2021" list.
Boogey's style of music production involves building each song around a percussive heartbeat, then adding vocals and instruments, letting the drum lead the way. While he hopes his music will resonate with revelers from all walks of life, he beams at the thought of Indigenous youth hearing pow wow and sundance songs for the first time at one of his shows.
“It’s important to not forget that at one time it was illegal for us to sing these songs, play these drums, and go to these ceremonies,” he says. “Now it’s a time for celebration, and for us to take over the main stage.”
Midnight Agency is proud to represent this accomplished and dynamic artist.
FOR BOOKINGS PLEASE CONTACT:
Responsible Agent (Canada)
For more on Boogey The Beat visit www.boogeythebeat.com | music_and_dance |
https://asufadesign.com/products/%D7%94%D7%93%D7%A4%D7%A1-%D7%92%D7%96-%D7%AA%D7%95%D7%A3-%D7%A4%D7%95%D7%A1%D7%98%D7%A8-%D7%9E%D7%95%D7%96%D7%99%D7%A7%D7%9C%D7%99-%D7%A2%D7%9E%D7%99%D7%AA-%D7%9E%D7%A2%D7%95%D7%96 | 2024-04-19T06:09:48 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817289.27/warc/CC-MAIN-20240419043820-20240419073820-00287.warc.gz | 0.922072 | 240 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__33630539 | en | Jazz Print, "Drum" - Musical Poster | Amit Maoz
High quality digital print of a musical instrument and a player that comes to life through a simple app that gives art another layer through augmented reality technology and original music!
Amit explores the different proportions between the instrument and the musician and creates an attempt to describe the power of the music that the instrument produces in relation to the musician, and the connection created between them.
This effect is presented through dramatic colors, graphic shapes and a sense of infinite space.
Print details: This art print is part of a musical series that is sold in various museums and galleries across Europe and features new augmented reality technology.
Just download the Artivive app, scan the poster with your phone / tablet camera and the graphics come to life on your wall! The animation is accompanied by original music.
The print comes in three sizes (A4, A3, A2).
Fine Art print with UltraChrome HD ink.
Digital printing on quality paper 250 g White Fine Art.
The print comes signed by the artist.
Please note - Prints are sold without a frame! | music_and_dance |
https://learndelphi.org/comprehensive-music-theory-and-ear-training-app-built-in-delphi/ | 2022-06-30T00:34:00 | s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103646990.40/warc/CC-MAIN-20220630001553-20220630031553-00698.warc.gz | 0.927121 | 170 | CC-MAIN-2022-27 | webtext-fineweb__CC-MAIN-2022-27__0__23249233 | en | With almost 3,000 lessons created by music teachers for beginners to professional musicians playing any instrument, EarMaster is a comprehensive, consumer-grade app with extraordinary functionality that uses a variety of different technologies. Despite the app’s technologically advanced backend, the EarMaster team worked hard make it as simple and intuitive as possible to use. EarMaster features audio recording and audio playback, musical instrument digital interface (MIDI) input and output, instrument sound sampler and many other technologies – all made with the native iOS frameworks (AudioUnit, CoreMidi, etc). It supports Windows and macOS as well as iOS. It draws real-time pitch curves on a musical staff based on pitch detection of microphone recordings, teaching musicians of all levels to recognize, transcribe and sing melodies, scales, chords, intervals, chord progressions and rhythms. | music_and_dance |
https://www.accratheatreworkshop.com/post/diva-stepchild-presents-mod-accra-lurve | 2024-02-29T07:52:15 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474795.48/warc/CC-MAIN-20240229071243-20240229101243-00729.warc.gz | 0.967855 | 331 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__110486594 | en | The cast performs a highlife song with Kyekyeku’s band
In April 2015, we previewed Act I of an experimental highlife musical written by Artistic Director Elisabeth Efua Sutherland at the Live in Accra 2015 Jazz festival hosted by Alliance Francaise.
Mod fashion, heavy funk, local highlife, two feisty singers and a heartbroken jazz pianist populated this musical comedy set in 1960s Accra. An exploration of the music scene in Ghana & West Africa at the time, the play includes original songs and covers of songs selected from the period, bound together by the story of Diva Stepchild, an up-and-coming funk duo whose concert pianist (Elliot Yorke) has just been dumped by his fiancé. Will Elliot Yorke get over his heartbreak in time for their big debut, or will political unrest sabotage their one shot to make it big in West Africa?
The audience responded well, and there was particular resonance with older members of the audience who wanted us to delve deeper into the atmosphere surrounding the 1966 coup in particular, as they felt that there was not enough new media critically exploring the period. Younger members of the audience were fascinated with the songs and the funky highlife covers that were played.
We intend to continue the development of this show as time goes by if we can secure funding to do so. The lead roles, played by Kyekyeku and the twins Winnie and Amanda, will be fleshed out fully over three acts with more original songs and a deeper look at Ghana’s past political climate. | music_and_dance |
http://yourmove.siobhandavies.com/imagepopup/481 | 2018-06-23T00:29:29 | s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267864848.47/warc/CC-MAIN-20180623000334-20180623020334-00122.warc.gz | 0.912781 | 145 | CC-MAIN-2018-26 | webtext-fineweb__CC-MAIN-2018-26__0__80155112 | en | I love this image of Candoco Dance Company's Vicky Malin performing This Is It, the solo I made for her as part of the company's 20th anniversary season. She is a rock star.... literally. The work toys playfully with our expectations of a solo contemporary dance performer and features Vicky singing (live!) her very own, specially-written, uplifting euro pop single, available now on iTunes (search for Vicky Malin, This Is It). You can find out more about the work here: http://www.candoco.co.uk/videos/insight-matthias-sperling-this-is-it/. Photo by Tom Palliser/Candoco. | music_and_dance |
https://exils.org/can-dance-classes-improve-balance.php | 2024-04-24T03:13:03 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818999.68/warc/CC-MAIN-20240424014618-20240424044618-00407.warc.gz | 0.931898 | 1,712 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__157191227 | en | Dance is a universal language that transcends boundaries and cultures. It is an art form that allows for self-expression, emotional release, and physical well-being. But can dancing also improve balance? Balance plays a vital role in our daily routines, from walking and running to climbing stairs and carrying loads. Can engaging in regular dance classes really enhance this crucial aspect of our lives? Let’s delve into the topic and explore how dance can be beneficial for your balance.
Before we can fully comprehend how dance can improve balance, we must understand the relationship between the two. Dance can be defined as a series of controlled, purposeful movements that use gravity and momentum to maintain equilibrium.
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Dance requires a great deal of balance to execute precise movements and transitions, and over time, this can lead to an improvement in overall equilibrium. But how exactly can dance classes lead to enhanced stability?
One of the most crucial aspects of dance that can lead to better balance is enhanced body awareness. Dance is a physical activity that utilizes every muscle in our bodies. Through dance, you learn to become more aware of your body’s position and how it moves in space.
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A heightened body awareness can help you understand how your body functions and how it maintains balance. This knowledge can then be applied to everyday activities, helping to improve balance and coordination in other areas of your life.
Another critical factor in balance is core strength. Your core, which includes your abdominals, lower back, and hips, is the stabilizing center of your body. Strong core muscles are essential for maintaining balance in all types of movement, not just in dance.
Dance classes often involve movements and routines that strengthen the core muscles. By consistently participating in dance classes, you can build a stronger, more stable core, which can ultimately lead to better balance.
Different dance styles have different impacts on balance. Some types of dance may focus more on certain aspects of balance than others. Here are a few examples of how various dance styles can improve balance.
Ballet is renowned for its emphasis on balance and control. Ballet dancers must maintain their balance while executing intricate moves and maintaining precise postures. By practicing ballet, you will not only enhance your core strength and body awareness but also improve your proprioception, the body’s ability to sense its position and movement in space.
Ballroom dancing is another dance style that can significantly improve balance. It requires a strong sense of rhythm, precise footwork, and tight coordination with a partner. The ability to maintain balance while moving quickly and changing directions can be greatly enhanced with regular practice of ballroom dancing.
Latin dance forms like salsa, rumba, and cha-cha require quick footwork, sharp turns, and agile movements. These dance styles can heighten body awareness and improve core strength, contributing to better balance.
Research supports the idea that dance can improve balance. Numerous studies have explored the impact of dance on balance, particularly in older adults and people with conditions like Parkinson’s disease that can affect balance.
As people age, their balance tends to deteriorate, increasing the risk of falls. However, research has shown that dance can help improve balance in older adults. A study published in The Gerontologist found that older adults who participated in a weekly dance program showed significant improvements in balance and physical performance.
Parkinson’s disease affects motor control, often leading to balance problems. However, a study in the Journal of Neural Transmission found that patients with Parkinson’s disease who participated in a 12-week tango dancing program showed significant improvements in balance and mobility.
Whether you’re an older adult looking to maintain balance or someone dealing with a balance-affecting condition, dance classes could be a beneficial addition to your routine.
If you’re convinced about the benefits of dance for balance, the next step is to incorporate dance into your routine. However, you must select a dance style that you enjoy and are comfortable with.
You can start with simple dance classes and gradually move on to more complex ones as your balance and confidence improve. Remember, consistency is key when it comes to reaping the benefits of dance. Regular practice will help enhance your balance, agility, and overall physical fitness.
While dance classes can help improve balance, it’s essential to approach them with realistic expectations. Improvement takes time and dedication. But with regular practice, patience and perseverance, you can harness the power of dance to enhance your balance and overall well-being.
Remember, dance is not just about improving balance; it’s also a fun, enjoyable way to stay active and healthy. So, step into the dance studio with an open mind and see the difference it can make in your life.
In summary, dance classes can indeed improve balance. They enhance body awareness, strengthen core muscles, and can even provide significant benefits for older adults and individuals with balance-affecting conditions. The key is consistency, so find a dance style you enjoy and start moving!
Scientific research has played a significant part in exploring the relationship between dance and balance. Many studies have been conducted globally, and their findings are usually accessible through databases like Google Scholar, PubMed, Crossref, and PMC. These studies often involve control groups and physical activity assessments to ensure the results are accurate and reliable.
One of the areas where scientific studies have been particularly useful is in identifying how dance can improve balance in older adults and individuals with Parkinson’s disease. As mentioned earlier, as people age, their balance often deteriorates, increasing their risk of falls. However, dance classes can help counteract this natural decline.
A study cited on PubMed and available freely on PMC showed significant improvements in balance mobility in a group of older adults who participated in a weekly dance program. The participants showed improved postural control, which is crucial for maintaining balance, especially when the eyes are open.
Similarly, research focused on Parkinson’s disease, a condition known for affecting motor control and causing balance problems. An article on PubMed referenced a 12-week tango dancing program for patients with Parkinson’s disease. The separate window of research concluded that the patients who participated in the program showed significant enhancements in balance and mobility.
These scientific studies offer evidence that dance can indeed improve balance and postural control among different groups. However, it’s important to understand that while dance classes can help, they are not a cure for conditions like Parkinson’s disease. Always consult with a healthcare professional before beginning any new physical activity routine.
The rhythm, movement, and grace of dance can indeed be harnessed to improve balance. Whether it’s the careful precision of ballet, the fast-paced footwork of Latin dance, or the rhythmic coordination of ballroom dancing, each dance style contributes to enhancing body awareness, strengthening core muscles, and improving balance mobility.
Scientific studies, accessible through Google Scholar, Crossref, PubMed, or PMC, have further emphasized the benefits of dance for balance. They’ve shown significant improvements in balance among older adults and individuals with Parkinson’s disease who participated in a dance program. It’s crucial to have eyes open to these findings as they offer a depth of understanding to the connection between dance and balance.
Incorporating dance into your routine, therefore, can be a beneficial step towards improved balance. However, improvement requires consistency, realistic expectations, and dedication. Each dance class will bring you a step closer to better postural control, increased body awareness, and enhanced core strength.
So, why not step into a dance studio or join a creative dance class? With each dance step, you are not just moving to the rhythm, but also enhancing your balance, and overall well-being. Whether you’re an absolute beginner, an older adult looking to enhance mobility, or about to open a separate window of dance exploration, remember, improvement takes time, but the journey can be as enjoyable as the destination.
In essence, dance classes do improve balance. They are a fun, interactive, and effective way of enhancing body awareness, strengthening core muscles, and improving balance. Start your journey with a dance style you enjoy and experience the difference it can make. | music_and_dance |
http://www.likeacoupon.com/2012/06/beats-by-dre-30-off-coupon/?direct=yes | 2013-05-19T21:34:59 | s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368698090094/warc/CC-MAIN-20130516095450-00024-ip-10-60-113-184.ec2.internal.warc.gz | 0.876646 | 143 | CC-MAIN-2013-20 | webtext-fineweb__CC-MAIN-2013-20__0__54628744 | en | Beats By Dre: 30% Off Coupon
Save 30% off at Monster’s eBay store including Beats By Dre headphones with the coupon. Coupon expires 6/28/2012 or while supplies last.
Notable deals: Beats Solo (Refurb) – $91, Beats Studio (Refurb) – $140, Beats Pro (Refurb) – $175
Beats Electronics is the brainchild of legendary artist and producer Dr. Dre and Jimmy Iovine, Chairman of Interscope Geffen A&M Records, who set out to develop a new type of headphone with the capability to reproduce the full spectrum of sound that musical artists and producers hear in professional recording studios. | music_and_dance |
http://www.kentroundtown.org/artist/mo-mojo | 2018-06-17T23:43:36 | s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267859904.56/warc/CC-MAIN-20180617232711-20180618012711-00139.warc.gz | 0.937374 | 130 | CC-MAIN-2018-26 | webtext-fineweb__CC-MAIN-2018-26__0__37402371 | en | Mo’ Mojo is a hard driving, high energy, “Pardi-Gras” band. The female-fronted group features three-part harmonies, accordion, fiddle, electric guitar, mandolin, rubboard, sax, trumpet, harp, bass, percussion, and drums. Songs are sung in English and French.
Mo’ Mojo takes Zydeco music and infuses it with Americana, Cajun, reggae, rock & roll, funk, R&B, and African and Latin rhythms. One of their favorite things is to play for dancers, so dance! | music_and_dance |
http://longmeadow.org/1112/NEW-Musical-Theater-Summer-Dance-Program | 2019-07-18T22:41:23 | s3://commoncrawl/crawl-data/CC-MAIN-2019-30/segments/1563195525829.33/warc/CC-MAIN-20190718211312-20190718233312-00327.warc.gz | 0.877298 | 198 | CC-MAIN-2019-30 | webtext-fineweb__CC-MAIN-2019-30__0__214386351 | en | Ages: 10 & Up
Dates: Monday - Friday, July 9-13
Location: Community House Dance Studio
A full week of fantastic advanced technical musical theater dance classes in the styles of jazz, contemporary and hip hop. We will explore famous Broadway musicals, their choreographers, dance steps and lyrics. Dancers will learn the choreography for some of the greatest numbers in musical theater history. If you love watching the dancing in musicals like Wicked, School of Rock, Hamilton, Beauty & The Beast, Matilda, Newsies, Cats or Lion King you need to come to our Musical Theater Summer Dance Program! The week will commence with a Musical Theater Dance Performance showcasing all we have learned for families and friends on Friday at 11:45 am. Dancers should wear any black leotard and bring a nut free snack and a full water bottle daily. Please email instructor, April with any questions [email protected]. | music_and_dance |
http://www.bach.org.au/index.php/about/mission-and-objectives | 2019-04-22T08:51:59 | s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578548241.22/warc/CC-MAIN-20190422075601-20190422101601-00501.warc.gz | 0.9313 | 321 | CC-MAIN-2019-18 | webtext-fineweb__CC-MAIN-2019-18__0__36444413 | en | Our mission is to cultivate and disseminate a local appreciation of the music of J.S. Bach, his family and contemporaries, as well as sacred/classical music in general by arranging performances, lectures and other activities.
- Develop appealing concert programs for our patrons with musicians from Australia and abroad
- Support talented young musicians in various ways
- Facilitate the musical relationship between Melbourne and Leipzig and exchange programs
- Explore suitable options, programs and partnerships concerning ‘Bach for kids’
- Work with academics on related issues
- Hold public lectures and seminars on related issues
- Facilitate international Bach networking
Statement of purposes
The purposes of the Society are:
- to promote the appreciation and the performance of the works of J.S. Bach
- to increase the appreciation and knowledge of J.S. Bach and his music
- to promote other classical composers, particularly contemporaries of J.S. Bach, and composers of organ and sacred music
- to encourage young musicians and young people with an interest in classical music by, without limitation, arranging performance opportunities, assisting in musical education, and providing tickets to events and scholarships
- to arrange performances, concerts, lectures, or other activities to promote an interest and appreciation in J.S. Bach, other classical composers and organ and sacred music in Australia.
The Australian Bach Society Inc. was incorporated in Victoria as a Not-for-profit organisation on 13 October 2011, Reg. No. A0056814L, ABN 51 744 708 578. | music_and_dance |
http://www.videoconverttool.com/technilogical-innovation-has-reach-the-drumming-industry/ | 2021-01-16T08:48:07 | s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703505861.1/warc/CC-MAIN-20210116074510-20210116104510-00599.warc.gz | 0.972054 | 631 | CC-MAIN-2021-04 | webtext-fineweb__CC-MAIN-2021-04__0__99535180 | en | Technology has steadily infiltrated our daily lives. Most people will say that it makes their lives easier, more convenient, and maybe even, more interesting. Everybody has a gadget on hand at any given time of the day, because nowadays, there is a need to be “connected”. There’s a popular saying that goes: “there’s an app for that,” and whether you like it or not, technology is already part of the norm. Technological innovations are wonderful things that keep society on its toes and encourage individuals to improve things that have already been established. Take, for example, the humble percussion instrument: the drums.
Throughout history, drums have been known as musical instruments that are only seen, and heard, in the background. However, with the rise and popularity of electronic drum kits, they are now something of great interest, worthy of taking center stage. Compared to acoustic sets, electronic drum sets are easier to set-up, bring from one gig to another, and even store away. They can also be played “quietly” if you use them with headphones, which makes it a great choice for those who don’t want to bother their neighbors. If you like the look of an acoustic kit but want the variety that an electronic kit provides, you can even have your acoustic kit converted into an electronic one.
For those who record their own music, electronic kits make that much easier because they can be connected directly to your recording device or computer. You can even change the sound that your electronic drums produce, based on the genre you want to play. You can add or take away accessories whenever you like, without sacrificing space. Basically, the electronic kit has made drumming more convenient and accessible for everyone. This may be why more and more people, budding musicians and professional drummers alike, are attracted to electronic drum sets. Here is a video that talks more about the difference between acoustic drums and electronic drums:
Technological innovations have resulted in a lot of great advances that have made drums more popular and enticing to beginning musicians. You don’t even have to be a musician to appreciate the wonders that technology has brought about. If you think about it, to get a drum set (or anything, really), you don’t necessarily have to go a physical store anymore. Technology has made it possible to buy your drum kit online and have it delivered directly to your home. If you are a beginner, you can even find online drum lessons and learn from great and well-known drummers from respected music groups. Imagine getting drum lessons from a rock star. What a time to be alive!
The rise of electronic drums and drum machines have become the forerunner of some of the most popular music today. Aside from technological advances on the instrument itself, there are also various accessories that have been created to accompany the new and improved drum kit and the experience it provides. With these innovations, the music scene has also grown and expanded. The future of drumming is definitely something to be excited about even if you’re not a drummer yourself. | music_and_dance |
https://www.northernlightschool.com/apps/pages/index.jsp?uREC_ID=1577915&type=u&pREC_ID=2079222 | 2021-05-08T03:26:37 | s3://commoncrawl/crawl-data/CC-MAIN-2021-21/segments/1620243988837.67/warc/CC-MAIN-20210508031423-20210508061423-00557.warc.gz | 0.966283 | 375 | CC-MAIN-2021-21 | webtext-fineweb__CC-MAIN-2021-21__0__26303623 | en | Melanie is the K-5 Music Teacher for the wonderful children of Northern Light School. She has been a faculty member of Zion Lutheran School, East Bay Center for the Performing Arts and City of Oakland Music and Dance Dept. as well as a music enrichment instructor for various elementary and preschools. In addition to sharing her love of music and performance with students, Ms. Rath performed, toured and recorded with Bobby McFerrin’s acappella group Voicestra and the vocal band SoVoSo’ for eleven years. As a studio musician, Melanie’s voice has been featured on Chrysler, Britta Water and Sprint television and radio commercials, and she was featured on KCSM’s “Best of the Bay” CD for her arrangement/recording of Mongo Santamaria’s jazz anthem “Afro Blue.”
Ms. Rath majored in both music education and vocal performance at Colorado State University and later San Francisco State University. She received her piano pedagogy/teaching certificate from SF State and studied vocal jazz and jazz theory at Jim Grantham’s Jazz School.
“Music elevates the mind, frees the soul, fosters happiness and brings people together. It’s the universal language for a reason! The study of music is very flexible and improvisational which allows for me to take each student and class at their current level, discover their unique talents and grow from there. My mission is to help develop each child into a well rounded young musician who can create music, read music and perform music individually as well as in groups. I want music class to be a very joyful moment in the day for the children, and for those joyful moments to add up to a lifetime of musical creation, appreciation and sharing with the world.” | music_and_dance |
https://www.tribal-dance-academy.com/event-details/weekly-contemporary-oriental-dance-with-sofiya | 2021-11-27T08:31:33 | s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358153.33/warc/CC-MAIN-20211127073536-20211127103536-00183.warc.gz | 0.783252 | 233 | CC-MAIN-2021-49 | webtext-fineweb__CC-MAIN-2021-49__0__87994295 | en | Weekly Contemporary Oriental Dance with Sofiya
Zeit & Ort
Über die Veranstaltung
Treat yourself with an energizing, fun and exciting dance session!
Contemporary Oriental Dance is a blend of oriental and contemporary dance with elements of tribal fusion. The class incorporates various techniques that improve the improvisation, body control, isolations, body-mind centering, musicality, and expressiveness.
During the class we will learn more about the correct dance posture, make dance conditioning exercises, go through simple ballet exercises and turns, and learn important oriental moves. In the end, we will combine these techniques into an exciting choreography. The class level will vary according to the students. No age restriction.
Price: 12 € regular/ 9 € reduced 4-er card: 40 € regular/ 30 € reduced (valid for 5 weeks) Available through he Urban Sports Club and Class Pass
Class language : english
Contact and more info: | music_and_dance |
http://www.carolbdance.com/ | 2021-06-23T18:05:59 | s3://commoncrawl/crawl-data/CC-MAIN-2021-25/segments/1623488539764.83/warc/CC-MAIN-20210623165014-20210623195014-00418.warc.gz | 0.9621 | 290 | CC-MAIN-2021-25 | webtext-fineweb__CC-MAIN-2021-25__0__29402938 | en | Phone number: 636-537-3203
philosophy and goals
Our goals are to encourage and instruct children to develop and enjoy the art of dance. Dance education gives children of any age the opportunity to work on areas of coordination, rhythm, confidence, discipline, and creativeness. Limited class size allows us to give individual attention as well as working with the class as a group, learning teamwork in a non-competitive atmosphere.
Dancing gives children the chance to feel pride, satisfaction, and self-esteem in their accomplishments. Dancing is a wonderful healthy outlet, excellent exercise, and stress relief outlet away from our busy lifestyle.
Children are taught in each form of dance, technique and terminology. Beginning in the mid year we begin preparing for our year end performance to the excitement of costumes and the highlight of performing at the theatre.
Dancing is a skill that can be learned at any time and can be carried on throughout their entire life. Many of our students have taken their dance education to participate in Poms, Cheerleading, school theatre, and musicals. Some of our students have gone on to pursue dance in college and use the skills they have learned in theatre, dance ensembles, and teaching careers.
We feel truly blesssed to have been given this opportunity to be a part of so many children's lives. We are looking forward to a great year!
-Carol Bowman and Faculty | music_and_dance |
https://www.tango.us/blog/meet-a-mango-annie-ng | 2024-02-28T23:13:28 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474746.1/warc/CC-MAIN-20240228211701-20240229001701-00350.warc.gz | 0.966145 | 1,155 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__40503404 | en | Tango empowers teams to share and scale their knowledge so everyone can be their best at work. And we’re equally passionate about empowering our own team to be their best at work, outside of work, and everywhere in between. This series is all about the people behind the product (the Mangos behind Tango, if you will 🤗) and everything they bring to the team that makes us stronger.
Annie Ng is the Social & Brand Partnerships Lead at Tango. She has been with our company since the early days, and has been a huge contributor to Tango’s culture and growth.
When she’s not taking Tango viral on TikTok, you can find her on the dance floor pursuing her passion. We’d love to tell you that the style of dance she’s obsessed with is also called Tango. But alas, she’s chosen another, equally awesome style—Bachata!
Let’s hear from Annie how she Bachatas—when she’s not Tangoing, of course. 😉
I was exposed to both Salsa and Bachata music growing up, but never learned how to dance either style until college. I credit my undergraduate friends for dragging me out to “Latin Nights” at our local venues on weekends. Those immediately drew me in. I was mesmerized watching people connect through social dancing and I loved seeing how happy everyone was.
I started learning by watching people dance, and eventually, as my passion grew, I decided to join the college Salsa team. My first time attempting to dance Salsa / Bachata was probably seven years ago, but I started consistently dancing and taking lessons about four years ago.
It’s been a life-changing hobby for me. Aside from it being my favorite way to de-stress, it’s given me a community, lifelong friends, and ankles of steel. 👠
What is Bachata?
Bachata is a genre of music and style of dance that originated in the countryside of the Dominican Republic. It was actually banned there for some time during a dictatorship, but the genre grew in popularity, and eventually spread across the world through a prominent Bachata group called Aventura.
There are three different Bachata styles—traditional, sensual, and modern. My favorite is traditional. I like that it’s musicality-oriented, less flashy, and all about the vibes!
How was the experience pursuing performance dance while working full-time?
Working full-time while learning choreography for performances was definitely challenging. During the months where I was dancing on a team there were many days where I’d work during the day, eat a quick dinner, and then learn choreography and rehearse for three hours at night—usually until 11 p.m. 😳
On weekends, I would travel to perform at Salsa/Bachata Festivals that took place across the United States. Performing can be quite stressful, especially as someone with stage fright!
I learned that it was important to take breaks between dancing on teams to avoid burnout. When I’m not on a team, I still take lessons and dance socially—which helps me keep the balance and remember the “fun” of dancing. I enjoy the periods of time when I’m just dancing whenever I want vs. performing on a team.
Any advice for people looking to get into Salsa / Bachata?
The biggest piece of advice I have for people who are looking to get started in Salsa or Bachata is to take lessons AND go social dancing.
Lessons teach technicality and steps, but social dancing is where you find your own style and learn to improvise. People often think that you only need lessons to learn to dance, but coupling social dancing with lessons makes you a much more well-rounded dancer.
It takes a lot of vulnerability to go social dancing, but it’s where you build your confidence, find community (“social” dancing, get it?), and in my opinion, is the purpose of learning to dance in the first place.
What good do lessons do if you’re not able to whip out some moves when you’re out with friends?
How has Tango supported you on your journey as a dancer?
My work-life balance at Tango really allows me to continue pursuing my passion for dance, and I get a lot of encouragement from the team to do so.
One of my favorite things about working at Tango is that everyone has a personal project or hobby outside of work, and that we have the space and support to continue exploring them. This is so important to me—and having the flexibility to attend Salsa/Bachata Festivals, continue to take dance lessons, and go social dancing allows me to bring my fullest self to work.
It’s been awesome to share my passion for Salsa/Bachata with the team as well. We’ve been to a Salsa lesson together at one of our offsites, and I even got a chance to teach Salsa at our booth during a tech conference!
The bottom line
The Tango team comes from a wide range of industries, all with unique backgrounds, experiences, and perspectives—and we’re stronger for it. Join us.
Keep in touch
We'll never show up empty-handed (how rude!).
Thank you! Your submission has been received!
Oops! Something went wrong while submitting the form. | music_and_dance |
https://blog.amathuslimassol.com/index.php/2018/06/20/cyprus-rialto-music-festival-june-21-july-31/ | 2020-03-29T08:45:39 | s3://commoncrawl/crawl-data/CC-MAIN-2020-16/segments/1585370494064.21/warc/CC-MAIN-20200329074745-20200329104745-00231.warc.gz | 0.946015 | 108 | CC-MAIN-2020-16 | webtext-fineweb__CC-MAIN-2020-16__0__65048935 | en | Now in its 13th year, this awarded festival offers music lovers a series of free, open-air music events at Heroes Square. Well-known European bands and artists perform in a melting pot of traditions and influences that has earned the festival a place on the EFFE list of Europe’s finest festivals. The theme of the event is unity through music, with Cyprus acting as a bridge between different cultures and musical traditions.
Heroes Square, Limassol 20:30
Tel: 7777 7745 (box office) | music_and_dance |
http://verdadesepoesia.blogspot.com/2007/11/for-you-love-you-forever-and-ever.html | 2018-07-19T02:05:23 | s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676590443.0/warc/CC-MAIN-20180719012155-20180719032155-00542.warc.gz | 0.847363 | 131 | CC-MAIN-2018-30 | webtext-fineweb__CC-MAIN-2018-30__0__146597151 | en | quinta-feira, 1 de novembro de 2007
«For you! Love you... forever and ever»
"Song to the Siren" by This Mortal Coil
On the floating, shapeless oceans
I did all my best to smile
til your singing eyes and fingers
drew me loving into your eyes.
And you sang "Sail to me, sail to me;
Let me enfold you."...
...Hear me sing: "Swim to me, swim to me, let me enfold you."
"Here I am. Here I am, waiting to hold you." | music_and_dance |
http://www.dancingwiththedocsottawa.ca/ | 2017-04-25T06:32:46 | s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120187.95/warc/CC-MAIN-20170423031200-00348-ip-10-145-167-34.ec2.internal.warc.gz | 0.946796 | 127 | CC-MAIN-2017-17 | webtext-fineweb__CC-MAIN-2017-17__0__101775919 | en | Dancing with the docs is an annual fundraiser supporting patient care and research at The Ottawa Hospital.
Each year a number of selected physicians and researchers from The Ottawa Hospital train rigorously for months with professional dancers from Arthur Murray Dance Studio to compete for the coveted Medicine Ball Award while raising money for a priority need of their choice. The winner is determined by a panel of judges scores combined with supporters’ votes.
Stay tuned for our 2018 Dancing Doc Lineup.
If you missed the event this year, join us in 2018 for a great evening out all in support of The Ottawa Hospital.
Thank you to our 2017 Sponsors | music_and_dance |
https://theninthworld.com/mixing-and-mastering-music-understanding-the-differences/ | 2024-02-24T05:27:05 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474523.8/warc/CC-MAIN-20240224044749-20240224074749-00592.warc.gz | 0.962399 | 482 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__61295888 | en | Mixing and mastering music is different; however, they are equally important parts of the audio production process. They can usually become blurred and difficult to differentiate. Mixing is basically the step before mastering that includes adjusting and combining tracks to form a stereo audio file after a mixdown. The file is then mastered that makes sure the different songs are clearly polished and create a cohesive whole on an album. If you are planning to record music at the Songmill recording studio, it can help to understand the differences between mixing and mastering.
How to Mix Music
After recording all the individual song tracks, a mixing engineer works their magic. They label and organise the tracks into their similar groups. Usually, the song is normalised to make sure the tracks are at similar volume levels and no tracks peak. Then, the engineers will EQ every track to get the best tones out of the instruments and utilise high and low pass filters to eradicate unnecessary frequencies. Generally, EQing is meant to make important adjustments that let all tracks inhabit their own frequency areas. This makes the song clear and every instrument distinguishable.
This is also applicable in terms of panning the tracks to get a full, wide sound. Delay, reverb, and compression can be added to every track to obtain the desired tones for the instrument. Automating effects and fades throughout the songs can help engineers control the song’s emotion sonically. Many engineers switch between the studio reference monitor and headphone to achieve a consistent sound for their mix on different sources. The mixing process ends when the song sounds as best as they possibly can.
How to Master Music
This starts with the mastering engineer getting the stereo track, together with some notes and reference songs from the artist or mixing engineer. This will help them understand the sound they will go for. Also, this will ensure the mix is not modified in areas intended to sound a certain way. The next step the mastering process includes adding the finishing touches to the song by making slight adjustments mainly to the EQ, limiting, stereo enhancement, and compression. The beginning and ending of a song is added with spacing and fades. Usually, audio mastering engineers provide sequencing services for albums to put songs in the desired order, encode the tracks, and label track names. Their main goal is to offer a high-fidelity, professional, and high-clarity sound that listeners can enjoy on any source. | music_and_dance |
https://salonafricana.com/events | 2019-10-24T03:06:32 | s3://commoncrawl/crawl-data/CC-MAIN-2019-43/segments/1570987838289.72/warc/CC-MAIN-20191024012613-20191024040113-00203.warc.gz | 0.948313 | 309 | CC-MAIN-2019-43 | webtext-fineweb__CC-MAIN-2019-43__0__74998125 | en | Salon Africana at The Africa Center.
1280 5th Ave, New York, NY 10029
Doors at 7:30pm. Performance at 8pm. $30 Seated Tickets HERE.
Julia Sarr, one of the most original vocal artists to emerge from francophone West Africa. Initially making her mark in the Paris music scene as an A-list backing vocalist for luminaries such as Salif Keita, Marcus Miller, Oumou Sangaré, Alpha Blondy, and the legendary Miriam Makeba, Julia Sarr is a singular and incomparable voice in her own right. Her debut album “Set Luna” featured her long time mentor Youssou Ndour as a special guest and was heralded widely by the international music community. Most recently, Sarr released the acclaimed "Daraludul Yow”, an intimate and magical collection of songs that evoke nostalgia for her native Senegal, where she grew up.
Zoë Modiga is an artist who represents the present and future of African music while challenging the status quo and inspiring a new generation. She draws from the roots of African storytelling, Jazz composition and Motown soul but creates a sound entirely her own. Zoë’s debut album was nominated for Best Jazz Album and Best African Artist for the 24th South African Music Awards 2018 and was awarded with the Mbokodo Award for music in 2018. Zoë was in the TOP 8 of The Voice SA, 2016. | music_and_dance |
https://www.anaheimpackingdistrict.com/events/live-music-from-c-a-n-d-i-d-pop-alternative | 2023-09-29T09:50:16 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510501.83/warc/CC-MAIN-20230929090526-20230929120526-00793.warc.gz | 0.778106 | 99 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__188732130 | en | Sun, Jun 21|
Anaheim Packing House
Live Music From: C A N D I D ! (Pop/Alternative)
We are celebrating Make Music Day and Father's Day! Head to Instagram @candid_band to watch a live performance if you can't make it out.
Time & Location
Jun 21, 2020, 6:00 PM – 8:00 PM
Anaheim Packing House, 440 S Anaheim Blvd, Anaheim, CA 92805 | music_and_dance |
https://vfis.tdtu.edu.vn/news/2021-01/christmas-season-vfis | 2021-02-28T21:54:55 | s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178361776.13/warc/CC-MAIN-20210228205741-20210228235741-00197.warc.gz | 0.930329 | 163 | CC-MAIN-2021-10 | webtext-fineweb__CC-MAIN-2021-10__0__176181861 | en | Christmas season at VFIS
The Christmas season is not only about fun activities, but also a time for students to learn about the values of love, generosity and caring. In the weeks before Christmas, students explore the Christmas season through crafts, food and performances.
This year’s theme was "Christmas Around the World" and our students decorated the school’s Christmas tree with flags and information about Christmas traditions in each country. The top of the tree was decorated with paper doves symbolising the message of Christmas, Peace on Earth. The Christmas celebration showcased our students’ talents in dancing, singing, playing and acting. Even the teachers prepared a dance to wish VFIS students a Happy Christmas and a joyful end to Term 1.
Thanks to all who made our Christmas celebration special! | music_and_dance |
https://ericespinosa.com/what-has-changed-recently-with-schools/804 | 2023-12-11T05:52:26 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679103558.93/warc/CC-MAIN-20231211045204-20231211075204-00896.warc.gz | 0.977816 | 546 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__180595405 | en | The Best Source of Quality Music Lessons
If you are a lover of music, then you certainly know that it has been around for centuries, as it is one of the most beautiful forms of art, one through which human beings can express themselves and feel things more deeply. Being a lover of music, then, you might want to learn how to play it yourself, so that you too can express yourself through this beautiful form of art. One will be glad to know that it is not at all hard to learn how to create music through playing musical instruments – all that one needs to do is to find an excellent source of music lessons. One who finds the best music school offering diverse music lessons, then, can be sure that when he or she does so, it will be possible to enjoy a lot of benefits through it, all of which are so satisfying.
Finding the best school of music like this is certainly something that you should do, as when you do so, you can be sure that you can choose from between a lot of musical instruments to learn. One can find music lessons that include how to play the piano, the guitar, the drums, the saxophone, the violin, the clarinet, the cello, and a host of other popular and beautiful musical instruments. Maybe you have always dreamed of playing a certain musical instrument, one that deeply speaks to your taste in music and beauty, and if this is so, you will love it that here, you have the chance to live your dream.
Another thing that people can gain when they find a school like this one is the benefit of learning only from the best teachers in the industry. One can choose the musical instrument that he or she wants to learn how to play, and when one does so, one will be assigned to a music teacher who specializes in such an instrument, and has had a lot of experience playing and teaching it. You can be certain, then, that because you will learn only from the best, you will have your best chances of really being able to develop your skill when it comes to the instrument that you have chosen.
Last but not least, people will be able to benefit when they find a music school like this one because when they do so, they will be able to enjoy convenience. The reason why this is so is because they can pick a time slot that fits in with their busy schedules, plus how many hours per week and per month they can give to study, making the program easy for them to finish.
Those who find a great music school like this one, then, can be sure that when they do so, they will be able to gain a lot of benefits, all of which are worthwhile. | music_and_dance |
https://www.cottonwoodmusictherapy.com/ | 2022-08-08T15:34:31 | s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882570868.47/warc/CC-MAIN-20220808152744-20220808182744-00185.warc.gz | 0.921984 | 357 | CC-MAIN-2022-33 | webtext-fineweb__CC-MAIN-2022-33__0__80173747 | en | What is Music Therapy?
Music Therapy is the clinical and evidence-based use of music to achieve patients' physical and mental care needs, promote good health and healing through a therapeutic relationship with a credentialed professional.
Cottonwood Music Therapy now offers virtual lessons and music therapy sessions. On an individualized, client-to-client basis, we can adapt all of our services to the virtual world. Popular services include guitar lessons, general music class, and songwriting workshops.
Individual Music Therapy
One-on-one private music therapy sessions. Each client receives personalized assessment, recommended goals and a treatment plan. Music exercises are used to target non-musical objectives and facilitate progress or retention of the client's particular needs.
Music lessons that are specifically designed for individuals with varying needs such as physical or emotional afflictions. Lessons cater to people's needs with adaptive techniques, use of technology, customized instruments and lesson plans.
Group Music Therapy
Similar to individual music therapy except in a group settings. Groups typically have related goals such as behavioral & emotional needs or memory retention. Group sessions are often held in assisted living facilities, counseling centers and clinics.
Traditional private music lessons for all ages and abilities on Guitar and Ukulele. Beginner lessons also available for Piano, Electric Bass, Mandolin and Vocal training. If appropriate, group lessons such as Rock Band classes can be provided.
Folk Classes & Preschools
In the spirit of Pete Seeger, these educational classes and assemblies are specifically catered for children ranging from preschool through high school. They focus on the history of folk music, folk instruments, and the global influence of folk from songwriting to strengthening community. | music_and_dance |
https://www.helpinghaitiwork.org/morpheus-concert-342017/ | 2023-02-08T11:02:28 | s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500758.20/warc/CC-MAIN-20230208092053-20230208122053-00878.warc.gz | 0.888273 | 194 | CC-MAIN-2023-06 | webtext-fineweb__CC-MAIN-2023-06__0__37816 | en | Saturday, March 4, 2017 at 7:00 PM – 9:00 PM
Hamel Community Center, 3200 Mill St, Medina, MN 55340
You are invited to a concert featuring the band, Morpheus! Rock to music by Blood, Sweat & Tears, Steppenwolf, Santana, Chicago, The Eagles, The Doors and others as the 12-member group performs hits from some of music’s greatest bands.
Admission: $15 in advance. Use this ticket link to make your tax-deductible donation through GiveMN. Refreshments will be available; wine/beer for a $5 cash donation at the event. Bring your friends!
Hamel/Medina Community Center just off Hamel Rd, a half mile west of Hwy MN-55 and Old Rockford Rd. (NOT Medina Ballroom but the Community Center at 3200 Mill Street, Hamel, MN 55340). | music_and_dance |
https://phoenix-dx.com/case-study/mobile-application-development-trove/ | 2024-03-04T20:39:14 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476532.70/warc/CC-MAIN-20240304200958-20240304230958-00800.warc.gz | 0.943326 | 214 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__155693927 | en | Our customer is a fast-paced worldwide consulting organisation supporting over 40,000 community members across 19 countries. The group presents tailored solutions to maintain the community values and way of life.
Music is important to the group’s global community. However, they could not easily share music, including songs produced by famous artists and their members. The organisation wanted an application that would enable its members to access music – including music videos – selected by community administrators in a user-friendly way. They also saw an opportunity to generate revenue for reinvestment in the group.
Working with PhoenixDX, the group used the OutSystems platform to build Trove – a Spotify-like music-sharing application. The mobile app enables the group’s 50K+ community members worldwide to browse, select and listen to songs and music videos from a catalogue curated and managed by the group’s community administrators. The music app is available on a free subscription basis for community members, with premium additional content available via a paid subscription, creating a new revenue stream for the group. | music_and_dance |
http://sandzen.org/program-event-calendar/ | 2018-05-23T19:00:09 | s3://commoncrawl/crawl-data/CC-MAIN-2018-22/segments/1526794865702.43/warc/CC-MAIN-20180523180641-20180523200641-00362.warc.gz | 0.915097 | 219 | CC-MAIN-2018-22 | webtext-fineweb__CC-MAIN-2018-22__0__167156319 | en | Tuesday evening, June 5, 2018, at 7 p.m. – Dala Camerta Quartet in concert. The group is composed of musicians Ann Samuelson on violin, Cindy Fong on piano and violin, Diane Guillemette on viola, and Valerie Matthews on cello. They will be playing selections by Franz Joseph Haydn and Robert Schumann. The concert is the first performance in the Sandzen Gallery’s 2018-19 chamber music series.
Saturday, July 14, 2018, at 2:00 p.m. – Chamber Music at the Barn performing at the Sandzén Gallery.
Saturday evening, August 4, 2018, from 5 to 7 p.m. – reception for guest artists William Counter, Krystall Barnes, John Keeling, and Stan Detrixhe. Artists talks begin at 5:30.
Sunday, November 4, 2018, from 2 to 4 p.m. – reception for Ray Troll, Chuck Bonner, Curt Clontz and Holiday Gift Show artists. Artists talks begin at 2:30. | music_and_dance |
http://www.elcic.ca/Partners-In-Faith/Workshop-Modules/Music.cfm | 2019-03-19T15:31:56 | s3://commoncrawl/crawl-data/CC-MAIN-2019-13/segments/1552912201996.61/warc/CC-MAIN-20190319143502-20190319165502-00455.warc.gz | 0.960028 | 820 | CC-MAIN-2019-13 | webtext-fineweb__CC-MAIN-2019-13__0__70407824 | en | Prepared by: Barry Bence
Theme: Music can help us get to know God better.
Target Audience: Confirmands, youth, seniors, boomers, intergenerational, families.
- To hear how music has helped individuals to get to know God better.
- To understand that different styles of music may contain similar life lessons.
Materials or Resources (required)
- Music tapes and CDs
- Tape and CD player
Have everyone bring a CD or tape of his or her absolute favorite piece of music. Play it. Share in a few words why you like it, what it says about you and what you believe in. Let others comment on how it helps them better understand you.
The common experience depends on everyone's listening non– judgmentally to the other person's favorite music. Trust me, that's not as easy as it sounds. Set ground rules like "no grimaces, earplugs, etc." As well, try hard to listen non-judgmentally to other people when they share why they like that music.
Try to identify each piece of music's predominant message. For instance, Roy Rogers theme song, "Happy Trails" seems to say, happiness depends on your attitude, not on your outward circumstances. (For those who do not know who Roy Rogers was, my condolences. I watched every one of his movies he ever made! But you get the idea.) One of my son's favorite groups, Oasis, has a line that asks whether there's Anyone there who even cares. That's a little deeper than old Roy's song. But it, too, raises a good point.
The challenge is to try to come up with the universal human situation that this song addresses. Some commentators have pointed out that 80% of all songs deal with broken relationships. Others wonder who am I sexually? Some refer to our cultural anxiety. Others may contain memories of experiences from an older generation that we aging boomers would like to pass on.
If appropriate, try rearranging the cards so that different songs are grouped together around similar themes such as loneliness, happiness, etc. Do different songs from wildly different artists all try to speak to the same human questions we all raise?
Ask yourselves, which of these pieces of music are likely to be enjoyed 10 or 20 or even 50 years from now? Will these songs help us better face whatever those new days bring?
The Psalms encourage us to "sing to the Lord a new song." Ask each other, which of your songs would the Trinity like to listen to tonight?
Revelation 15:3-4 for one such song.
Revelation 5: 11-14 has the words to another.
- Which, if any, of your songs belong in the same concert hall?
- Do any of them reach above our daily lives to help us sing about the role God plays in our lives?
Someone wrote, "Those who hear not the music think the dancers mad." Some feel that our generation has a lot of people who can't or won't hear the music from heaven's FM Stereo station.
Play a selection from the leader's collection of faith–full music. Then have the leader say a few words how that music helped him or her get to know God better.
Have someone read Psalm 150, perhaps with any one of the previously played selections as background music. (CDs can praise the Lord as well as harps and timbrels.)
As the music dies away have someone pray this prayer:
God of harmony, God of silence, you call us each to be one special note in your great symphony called creation. Let all we say and do be a song of love, performed for an audience of One, the Trinity and overheard and applauded by all time and all places. Amen.
Permission is granted to reproduce this module for use in ELCIC congregations. Any other use requires copyright permission. Please contact [email protected]. | music_and_dance |
https://www.eleea.net/ | 2019-06-17T03:36:43 | s3://commoncrawl/crawl-data/CC-MAIN-2019-26/segments/1560627998369.29/warc/CC-MAIN-20190617022938-20190617044938-00461.warc.gz | 0.922727 | 592 | CC-MAIN-2019-26 | webtext-fineweb__CC-MAIN-2019-26__0__104596784 | en | Award winning singer-songwriter ELEEA is a force to be reckoned with; embodying the modern day storyteller and making music that juxtaposes sensitivity and strength. ELEEA’s raw, powerful voice ringing out over her guitar is what first captures your attention, then her intelligent, emotive songwriting captivates and holds you until her final breath. As an avid solo-traveler, many of ELEEA’s more recent songs are influenced by her travels internationally, as part of an anthology she’s dubbed ‘The Travel Collection’.
Since beginning her career at 15, ELEEA has become recognised as a rising talent in the Australian independent music scene (Queensland Music Award winner 2018). In her burgeoning career, she has released two albums; played numerous festivals (Edinburgh Fringe, Mullumbimby Music Festival, BLEACH*, Buskers By The Creek); featured on The Voice Australia (2015), supported touring acts (Karise Eden, Stonefield, Kate Martin); and has performed and busked throughout Australia and internationally.
ELEEA has recorded two independent works: ‘Human’ (album, 2011) and ‘Lion’ (EP, 2016). Upon its release, the title track from ‘Human’ peaked in the top 10 of the Triple J Unearthed charts, while ‘Lion’ officially debuted on 102.9 Hot Tomato’s Gold Coast Uncovered segment. In 2018, ELEEA won a prestigious Queensland Music Award in the Funk/Soul/R&B category, for her song “Without You”, while “Conditions” was a Top 4 Finalist. ‘Lion’ was a passion project that integrated ELEEA’s eclectic taste in music and broad vocal range, and was brought to life under the guidance of producers Chris Naughton and Guy Gray (David Bowie, Midnight Oil, Bon Jovi, Joan Jett, Cindy Lauper and Paul Kelly.)
Aside from Music, ELEEA has also been a Miss Universe Australia national finalist (2014), Miss World Australia top 10 finalist (2016), and won the Miss World Australia talent section (2016). She’s also a strong ambassador for the Animal Welfare League of Queensland, and regularly volunteers her time and talents to children, animals and people with special needs.
ELEEA’s talent is instinctual and intense, emerging from a fierce passion for her art. If two original albums, three music videos, hundreds of knock out performances and over 700 unique songs have been achieved already, the question on everybody’s lips is: what will we see next?
AWARDS AND ACHIEVEMENTS
Queensland Music Awards Soul/Funk/R&B winner (2018)
Queensland Music Awards Indigenous Artist finalist (2018) | music_and_dance |
http://imageandspirit.blogspot.com/2008/10/marys-song.html | 2018-07-17T05:45:24 | s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676589573.27/warc/CC-MAIN-20180717051134-20180717071134-00416.warc.gz | 0.979366 | 263 | CC-MAIN-2018-30 | webtext-fineweb__CC-MAIN-2018-30__0__751465 | en | Mary's song is her response to her cousin Elizabeth's spirited greeting, but it is more than that. It comes from deep inside her. It knits together in a new way the sacred experience and language and hope of her people like pieces of a quilt transformed from scraps to splendor.
Nowhere in this song do we hear the name of her child, but somehow he is there in every phrase. Mary's song is not hers alone; it is the song of the child who wants to come, who comes to do the will of God. This song echoes in the events of her son's life, his death, and his exaltation. The song celebrates the God who keeps promises -- not only to Abraham, but also to us.
The Church has picked up this song and sung it often, particularly in daily evening worship. Mary's song, The Magnificat, is a central text in the liturgy of the historic Church. Who knows what number of settings musicians have composed for it through the years? Who knows how many voices have joined with Mary’s in singing her song through the centuries? From "The Song of Divine Triumph" by the Rev. Charles Hoffacker. Read it all HERE.
Image: "Magnificat" by Virginia Wieringa | music_and_dance |
https://indiannavy.nic.in/node/25015 | 2024-04-20T12:59:21 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817650.14/warc/CC-MAIN-20240420122043-20240420152043-00775.warc.gz | 0.969256 | 173 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__189480186 | en | Naval Band Concert, INS Shivaji
INS Shivaji organised a Navy Band Concert on 14 December 2019. In addition to the local populace of Lonavala, ex-servicemen, prominent civilian dignitaries, personnel from Air Force Station Tropo and Police Training Centre (Khandala), children from various schools and SCC cadets were also invited for the event. The concert opened with a fanfare, which was followed by a wide ranging score, comprising classical, popular and martial music, as well as Bollywood and patriotic numbers. The under trainee sailors of the unit displayed their military skills by performing a Continuity Drill, which consists of a series of coordinated and precise drill movements with rifles. The cadets of the Sea Cadets Corps performed the traditional hornpipe dance, and enthralled the audience with their enthusiasm and verve. | music_and_dance |
https://raisedbybadgers.wordpress.com/ | 2023-05-30T05:36:03 | s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224645089.3/warc/CC-MAIN-20230530032334-20230530062334-00364.warc.gz | 0.954221 | 1,354 | CC-MAIN-2023-23 | webtext-fineweb__CC-MAIN-2023-23__0__219667293 | en | In an earlier post I implied that learning to play a specific instrument is secondary to the goal of learning to play music. That’s very much what I believe, but on the practical level anyone who wants to learn music will need to choose an instrument to start with. With that in mind, here are some relatively brief remarks on three instruments that are among the most popular for the purpose, plus one that I think should be more popular than it is.
Yes, this list is short, and deliberately so. Some future posts will present additional (and occasionally rather oddball) alternatives. The ones mentioned here made the initial cut because (a) any of them can play more than one note at a time; (b) I have experience with them, and (c) All of them come in acoustic versions requiring no electricity, orgone, forsaken children, or any other external power source. (An ever-increasing variety of electric models are available, of course. Still, I favor acoustic instruments for most beginning students, for reasons that would constitute a major topical tangent.)
By the way, I haven’t arranged these in any particular order of desirability. Prospective musicians’ living arrangements, travel patterns, personal preferences, et cetera ad nauseam vary widely and change often.
A final caveat: I present these remarks with the adult or semi-adult novice in mind. Pre-teens introduce a few additional considerations.
And fair warning: Future posts may discuss each of these instruments in much greater depth.
With all that out of the way, then:
The guitar is well into its second century as the clear favorite, for many good reasons. Its range in terms of pitch meshes well with human voices from bass to soprano. The piano covers a much wider pitch range, but the guitar is arguably more versatile in the variety of timbres1 available to it. Although most standard-size guitars won’t fit in the overhead bin of a Boeing 737, and thus don’t quite meet my personal standards of portability, they’re still a lot more portable than pianos (which might not even fit in the luggage compartment and really shouldn’t be put there even when they will. Especially if you’re flying United. They break guitars, after all; I don’t even want to think about the havoc they’d wreak on a piano.) Guitar is the primary instrument in many genres of popular–and indeed not-so-popular–music, thus appealing instantly to semi-social nerds in search of charisma generators. <points back at self with 3 fingers>
Not much can be said about piano that hasn’t been said over and over for the past three centuries or so. It’s one of the canonical instruments for general musical instruction, with an insanely broad pitch range and the ability to adapt to almost any genre of music. Portability is obviously a major issue, with a couple of almost-as-obvious coping strategies: (1) When traveling, try to stay, as much as possible, in places where a piano is available; or (2) Get a cheap-ish electronic keyboard, with built-in speakers, to travel with.
Then there’s violin. Oh boy, is there ever. It’s been around even longer than the piano. Look, I’m biased here: This is currently my primary instrument. It really helps, though, that I’d been playing quite a few other instruments for 40+ years before picking up the violin seriously. It’s technically demanding, remarkably unforgiving, and difficult (most classical musicians would say ‘impossible’) to learn well without some kind of formal instruction. We’re talking about a major challenge for anyone who approaches it without having any prior background in music. For those who stick with it, though, the payoff can be amazing. The violin is often called ‘the world’s most versatile instrument’. It has, demonstrably, the most expressive range of timbres in the acoutstic world. Dark, bright, mellow, brassy, dry, lush, ringing clarity, grating distortion: In the hands of a skilled enough player the violin can do it all. As far as I’m concerned, the only non-electronic instrument that really rivals it is the human voice. As with piano and guitar, the violin shows up in virtually every genre of music.
As long as I’m indulging my biases, I’ll put in a plug for the mandolin. This little Mediterranean noisemaker, which came on the scene in about the same era as the violin family, is my own secondary instrument these days, getting almost equal time with the violin. The mandolin is tuned just like the violin, except that instead of having four strings it has eight, tuned in unison pairs: GG-DD-AA-EE. It uses the same fingering patterns as the violin but is much more forgiving. (Being played with a pick rather than a bow really helps.) Thus, in addition to its own merits, it’s a good ‘gateway’ instrument for people who think they might like to try violin someday but are understandably intimidated by that instrument’s technical demands. Also like the violin, the mandolin fits easily in the overhead compartment of a Boeing 737, which is my standard of portability. Although its presence in mainstream rock music is limited, it’s widely used in most genres of folk music, shows up fairly often in some styles of jazz, and has a surprisingly broad classical repertoire. It deserves to be taken more seriously.
So here we are, for the time being. There’s more to come.
(1) Timbre is a somewhat technical term but a hard one to avoid when dicussing the tonal qualities of musical instruments, so here’s an explanation straight outta Wikipedia:
…also known as tone color or tone quality from psychoacoustics, [timbre] is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, string instruments, wind instruments, and percussion instruments … In simple terms, timbre is what makes a particular musical sound different from another, even when they have the same pitch and loudness.
There are lots of links in the original, of course, so I recommend at least skimming it. | music_and_dance |
https://www.thenorepeatsproject.org/ | 2021-03-02T09:56:35 | s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178363809.24/warc/CC-MAIN-20210302095427-20210302125427-00333.warc.gz | 0.96357 | 599 | CC-MAIN-2021-10 | webtext-fineweb__CC-MAIN-2021-10__0__226114106 | en | In 2017, an eighth grade teacher challenged Nicholas Boettcher's class to make a difference in their community. Nicholas, the principal bassist with the Chicago Youth Symphony Orchestra (CYSO), envisioned a music mentor program that uses advanced teenage musicians to bring musical experiences to local juvenile detention centers.
That is how The No Repeats Project was created!
Early on the program faced many obstacles— instrument access/inconsistent attendance/low self-confidence/variable education levels/etc, not to mention being taken seriously because of his age. In order to tackle these problems, he had to collaborate with many different people. First, he convinced the facility he was committed and mature enough to work with the teens. After all, he was just an eighth grader and asking to set up a volunteer program at a Illinois Department of Corrections facility. Next, he needed instruments and a lot of them. So he contacted Austin's Violin Shop, a local luthier, who generously donated the regular use of instruments and bows. Another challenge for The No Repeats is also its biggest reward, teaching kids how to play an instrument (violin, viola, cello, bass) that is foreign to them. Next he needed other mentors to help him teach the kids. He first recruited his brother and reached out to area music programs. Soon he had a team of mentors to work at the facility. He and the other mentors have developed various methods to maintain focus, improve their confidence, and keep them coming to our sessions.
The No Repeats Project's mentors also love to perform for the center and arrange for the teens to attend musical events inside and outside the facility.
OUR VISION AND MISSION
The No Repeats Project is a 501(c) (3) organization. No Repeats is a music mentor program for teens who are incarcerated. We recruit advanced high school musicians with a desire to share their love of music with teens at the Illinois Detention Center in Warrenville. We envision that the musical exposure and experience will have positive effects on the teens and will help increase their self-esteem and self-confidence. We believe The No Repeats Project will help them educationally, socially, and psychologically. By giving them the opportunity to experience the transformative power of music, we hope to minimize their chances of returning to the criminal justice system. Simultaneously, our musicians develop communication and leadership skills and gain an understanding of the lives of teens in the criminal justice system. Our music mentor program benefits all involved.
The No Repeats Project Team
We are looking for motivated and dedicated high school musicians to share music's powerful influence with others. With The No Repeats Project, you can be a music mentor and gain invaluable experiences working with our young men and women. If you are interested in performing at one of the youth centers, we can help arrange the visit. Our program also is in need of financial support, and we would greatly appreciate your help. | music_and_dance |
https://thechurchathp.org/worship-services/easter-sunday-april-17-2022/ | 2023-05-31T10:38:04 | s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224646457.49/warc/CC-MAIN-20230531090221-20230531120221-00527.warc.gz | 0.903193 | 131 | CC-MAIN-2023-23 | webtext-fineweb__CC-MAIN-2023-23__0__53408520 | en | “Christ Is Risen! What Now?”
Easter Sunday with Rev. Cheryl Kimble preaching, a brass quintet, and special music from the choir and a solo by Director of Music, Chris Vineis.
Worship at The Church at Highland Park on May 21, 2023
May 22, 2023
Rev. Masyn Evans-Clements
The Worship of God on Ascension Sunday. Rev. Masyn Evans-Clements preaches “Onward and Upward” from Acts 1:6-14. Our special music for the day is “I Will Lift My Eyes”… | music_and_dance |
https://rmstitanichotel.co.uk/tribute-night-packages/ | 2017-11-18T12:05:02 | s3://commoncrawl/crawl-data/CC-MAIN-2017-47/segments/1510934804881.4/warc/CC-MAIN-20171118113721-20171118133721-00448.warc.gz | 0.878381 | 125 | CC-MAIN-2017-47 | webtext-fineweb__CC-MAIN-2017-47__0__35347692 | en | Tribute Nights at 30 James Street- Home of the Titanic,
are the perfect way to enjoy an evening of fine dining, fun and of course, a couple of drinks.
Set in the iconic and utterly stunning White Star Grand Hall, our Tribute Nights are billed to be the best in the city with the likes of Robbie Williams, George Michael and a whole host of other tribute performers taking to the stage.
This will certainly be a night to remember, so choose your perfect performance night and get ready for an incredible evening.
To find out more about our Tribute Night Package please get in touch below. | music_and_dance |
https://www.hinsdalehistory.org/events/holly-jolly-trolley-4 | 2023-09-21T10:21:21 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233505362.29/warc/CC-MAIN-20230921073711-20230921103711-00202.warc.gz | 0.822014 | 154 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__101920788 | en | Wed, Dec 14|
Holly Jolly Trolley
Holiday fun for everyone!
Time & Location
Dec 14, 2022, 5:00 PM CST – Dec 15, 2022, 9:00 PM CST
Immanuel Hall, 320 S Grant St, Hinsdale, IL 60521, USA
About The Event
This event is fun for all!
Gather your family or friends and secure your spot on the festive trolley experience! Enjoy special Nutcracker vignettes by the West Suburban Ballet Conservatory and holiday singing by the Hinsdale Chorale.
Trolleys depart each half hour from Immanuel Hall.
Tickets include entertainment, trolley ride, beverages, and treats! | music_and_dance |
https://www.hillwoodmusic.com/blog/2012/11/17/Vibrato.aspx | 2020-07-06T08:27:54 | s3://commoncrawl/crawl-data/CC-MAIN-2020-29/segments/1593655890157.10/warc/CC-MAIN-20200706073443-20200706103443-00320.warc.gz | 0.880671 | 658 | CC-MAIN-2020-29 | webtext-fineweb__CC-MAIN-2020-29__0__210371378 | en | Vibrato is rarely discussed
but is very important.
It is to music what icing is
to the cake.
Vibrato is a steady change in
It expresses emotion like
There are 2 ways it’s done on
a stringed instrument.
- – Think of the way a violinist or cellist moves
their hand back and forth on the neck while playing a note. On the guitar this is the most
subtle type of vibrato. The idea is to keep the finger firmly pressing
down on the note/string while moving the fretting hand back and forth or
left to right. Changing the speed of the movement changes the speed of the
vibrato. I use this type of vibrato for soft passages and for long tones,
not short, staccato notes.
- – This is the most popular type and takes the longest
to do well. Here’s the catch. With this type of vibrato the idea is to
holdonto the fretted note/string and move the hand back and forth bending the string steadily.
Anchor the base of the index finger to the neck. What beginner students do
is move the fingers instead of the hand, which sounds like a spring going
“boing”. It will never sound good or express the desired feeling.
are 2 aspects of vibrato that must be mastered.
A) The speed at which the pitch changes. i.e. slow – fast
B) The width. i.e. how much does the pitch change.
variations: slow and wide Clapton (bluesy and soulful) and fast and narrow
(B.B. King). The last thing to
master is applying vibrato while bending a note. This is the most difficult but
it’s powerful. When bending a note it’s important to first establish the pitch
add the vibrato, not the
other way around. Ever hear a opera singer or violinist with such a constant
vibrato that you can’t really hear the exact pitch? Nasty stuff. There are many
types of vibrato. Angus Young and Jimmy Page are 2 guitarists that have a
vibrato when they bend a note that is distinctly British (o.k. Angus is
Australian). Angus uses it half way through his solo on You Shook Me All Night
Long and Led Zeppelin’s Since I’ve Been Loving You. Also, listen to the solo in
All Right Now by Free. There’s soulful vibrato, 60’s San Francisco vibrato, of
course all the many blues players have there own sound.
and mysteriously to me I’ve never heard 2 guitarists with the same vibrato. It
is a unique stamp on a person’s playing in much the same way that no 2 voices
are the same. Listen for different types of vibrato in music and you’ll find
the ones that appeal to you. Use different types of vibrato for different
styles of playing and you’ll sound like a seasoned player. | music_and_dance |
https://liebermannolie.wordpress.com/2013/10/17/three-more-thoughts-on-miley-cyrus-bangerz/ | 2021-01-25T07:12:43 | s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703565376.63/warc/CC-MAIN-20210125061144-20210125091144-00575.warc.gz | 0.937271 | 625 | CC-MAIN-2021-04 | webtext-fineweb__CC-MAIN-2021-04__0__7187765 | en | Miley Cyrus has been in the news quite a bit lately, but one of the least talked-about aspects of the Miley of it all is the music. I gave Miley’s new album “Bangerz” a mixed review in The Eagle’s latest Album Reviews Brew.
“In case anyone lived under a rock for the past few months, Miley Cyrus dominated the pop culture conversation with foam fingers, giant teddy bears, gratuitous nudity and problematic associations with hip-hop culture. “Bangerz,” her first album to fully abandon all traces of her Hannah Montana origins, is neither a game-changing triumph nor an outright disaster. Instead, it lands somewhere in the middle: several songs are excellent with strong vocal performances, but many of the raunchier hip-hop-flavored tracks fall flat.”
Read the rest of my review here. Click through for three more thoughts!
1. The guest spots on this album disappoint fairly consistently. Future lazily apes Ben E. King’s “Stand By Me” on the lackluster “My Darlin’.” Britney Spears’ robotic shtick is nearly indistinguishable from Miley’s on the anemic title track “SMS (Bangerz).” French Montana and Big Sean do nothing to reverse my feeling that they’re among the laziest, hackiest lyricists in hip-hop right now. Overall, the “featured” verses feel like they’ve been shoehorned onto the album in an attempt to demonstrate Miley’s connections to the worlds of pop and hip-hop, rather than showcasing Miley’s impressive chemistry with those acts.
2. It’s equally encouraging and depressing to find that this album contains several excellent tracks beyond even the strong first two singles. “Adore You” opens the album on a lovely high note, and the Pharrell-produced “#GetItRight” injects a flirty, energetic vibe into an album that trends too frequently towards the dour. On a less bloated set of tracks, “Maybe You’re Right” might even pack an emotional punch. The glimmers of quality peaking through the cracks of Miley’s wild persona suggest that the wild persona isn’t entirely necessary, except for the purpose of boosting buzz. Let the music speak for itself, I say.
3. Can we issue a moratorium on hip-hop producers dropping their names every time they put their fingerprints on a track? I’m fine with a Mike WiLL Made It shout-out once in a while, but hearing his blatant self-promotional interjection on every single one of his tracks on this album grates on the nerves. Pharrell has reached a point in his career when his distinctive, malleable musical style speaks for itself. Let’s hope Mike WiLL Made It makes it to that point soon. | music_and_dance |
https://www.girlguidingnorfolk.org.uk/event/national-scout-guide-orchestra/ | 2018-07-17T16:56:04 | s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676589757.30/warc/CC-MAIN-20180717164437-20180717184437-00004.warc.gz | 0.909611 | 124 | CC-MAIN-2018-30 | webtext-fineweb__CC-MAIN-2018-30__0__268900768 | en | The National Scout & Guide Symphony Orchestra ( NSGSO ) and Concert Band are still recruiting members for their 2018 summer week & concerts. In particular they are looking for 4 x violins, 2 x double bass & 2 trombones, check their website for the full list of vacancies. Ages 13-25.
It’s taking place Sunday 29 July – Sunday 5 August 2018 in Stourbridge, West Midlands, with concerts open to the public on 5 and 6 August.
Please pass onto any musical members (up to 25).
More information on http://apply.nsgso.com/ | music_and_dance |
https://www.pinkfeatherdc.com/ | 2023-12-04T07:06:32 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100525.55/warc/CC-MAIN-20231204052342-20231204082342-00291.warc.gz | 0.98222 | 281 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__41759534 | en | Family, Filmy Fun!
As the mother of the groom, there was a long to do list on my plate and Pink Feather took a lot off that list. We hired PFDC to choreograph and teach 5 separate groups of family and friends for the Sangeet night and Reception night. Anshu is an amazing teacher and choreographer! She made the dance practices a fun and productive environment. She clearly has a lot of experience in teaching as she effortlessly taught the less experienced dancers. The choreography was a hit as all of the audience members cheered and clapped for the dancers. I would recommend Pink Feather to everyone for an easy and fun experience! Thank you PFDC!
Anshu is a talented choreographer with a caring and patient personality! She choreographed 5 dance performances for my daughter’s wedding. We were a large group (37 Adults) who did not have any experience in choreographed dances. Anshu’s choreography was beautiful and fun; she broke down the steps so it was easy for us to learn. Anshu was flexible and went the extra mile to ensure we were ready for the big dance night. Thanks to Anshu, It was such a fun and enjoyable experience!! It was a complete transformation from when we started to the final performance on Sangeet night. She is amazing and I strongly recommend her! | music_and_dance |
https://nashville.johnmayer.events/ | 2024-04-21T08:33:32 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817729.87/warc/CC-MAIN-20240421071342-20240421101342-00735.warc.gz | 0.985424 | 209 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__105613324 | en | John Mayer is a renowned musician and songwriter known for his bluesy guitar work and soulful voice. He has released multiple hit albums throughout his career, including "Room for Squares," "Heavier Things," and "Continuum." Some of his most popular songs include "Your Body is a Wonderland," "Daughter," and "Gravity."
John Mayer has won multiple awards throughout his career, including 7 Grammy Awards, 1 American Music Award and 1 People's Choice Award. John Mayer is hitting the road for his highly-anticipated US tour and will be performing in various cities across the country. He will be showcasing his latest hits along with some of his classic songs.
Get your John Mayer tickets now through our website, and experience the magic of John Mayer Nashville concerts at Bridgestone Arena! Prices vary depending on the location and seating, so check out the options and choose the one that's right for you. Don't wait - secure your spot now and get ready to be mesmerized by John Mayer's incredible talent! | music_and_dance |
https://theidoguide.com/what-is-a-circle-dance-at-a-jewish-wedding/ | 2023-12-05T03:15:17 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100540.62/warc/CC-MAIN-20231205010358-20231205040358-00478.warc.gz | 0.932304 | 3,337 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__161823796 | en | Table of Contents
One of the most beloved and joyous traditions at a Jewish wedding is the circle dance, also known as the hora. This dance involves wedding guests holding hands and dancing in a circle, often around the couple, to lively traditional Jewish music. But what is the significance of this cherished tradition? Let’s explore the origins and cultural significance of the circle dance at a Jewish wedding.
- The circle dance, or hora, is a traditional Jewish wedding dance that involves guests holding hands and dancing in a circle to lively Jewish music.
- The circle dance is a joyous celebration that promotes community and unity among guests, with its circular formation and continuous motion symbolizing unity and eternity.
- The circle dance has historical roots in Jewish tradition and culture and remains an important and beloved tradition at Jewish weddings around the world.
An Overview of Jewish Wedding Traditions
Weddings are joyous occasions filled with cultural and traditional significance. This is especially true for Jewish weddings, which have a rich history of customs and practices passed down through generations. These traditions are an integral part of the celebration, connecting the couple and their families to their heritage and community.
One of the most well-known Jewish wedding traditions is the circle dance, also referred to as the “hora.” This dance involves everyone forming a circle and joining hands, then moving together in a circular motion to upbeat music. The circle dance is often called at some point during the wedding reception and is a highlight of the evening.
However, the circle dance is just one of many traditions that make up a Jewish wedding. Other customs include the signing of the ketubah (marriage contract), the breaking of a glass to symbolize the destruction of the Temple in Jerusalem, and the reciting of the Seven Blessings.
Overall, Jewish wedding traditions serve a significant purpose in honoring the couple’s commitment to each other and their faith, while bringing together loved ones in celebration.
The Circle Dance: A Joyous Tradition
The circle dance is an essential part of Jewish wedding celebrations, bringing together the bride and groom with their family and friends. During the dance, participants form a circle and dance together in a continuous motion, creating a sense of community and joy that reflects the significance of the occasion.
Often referred to as the “hora,” the circle dance is popular at Jewish weddings around the world and holds a special place in Jewish wedding traditions. It is typically called upon by the band or DJ at some point during the reception, and guests are quick to join in on the dance floor.
The circle dance is a joyous tradition that symbolizes the unity and happiness of the newlyweds and their loved ones. It is a time for celebration and connection, as participants hold hands and dance together in a circle, moving to the beat of the music.
The Significance of the Circle Dance at Jewish Weddings
The circle dance is an essential part of Jewish wedding traditions, representing the joyous celebration of the newlyweds. It symbolizes unity, community, and love, bringing together family and friends in a joyous display of camaraderie. The dance is a testament to the couple’s commitment to each other and their community, as well as their shared history and cultural heritage.
Through the circle dance, guests join together in a collective celebration of the couple’s love and happiness. It is an opportunity for everyone to take part in the joy of the occasion, creating an unforgettable experience that will be cherished forever.
The Role of Community and Unity
The circle dance, also called the “hora,” is an essential part of Jewish wedding dance traditions. It symbolizes the importance of community and unity, bringing together all of the wedding guests in a joyous and celebratory dance.
As the wedding band strikes up an energetic tune, the guests form a circle and begin to dance, holding hands and moving in a continuous circular motion. The bride and groom may even be lifted up into the air on chairs, surrounded by their loved ones as they dance.
This is more than just a fun dance; it is a representation of the strength and support that comes from being part of a community. Everyone joins in, regardless of age or background, creating a vibrant and inclusive atmosphere of togetherness.
The circle dance is often called out at Jewish weddings as a way to unite the guests and create a sense of collective celebration. It is a beautiful expression of Jewish tradition and culture, and a testament to the power of community to bring people together in joy and solidarity.
Symbolic Elements of the Circle Dance
The circle dance at a Jewish wedding holds deep symbolic significance, with every aspect of the tradition representing an important element of the couple’s union and the community’s celebration.
The circular formation is one of the most recognizable and meaningful elements of the circle dance. The circle itself symbolizes unity and eternity, as there is no beginning or end. This formation signifies the couple’s commitment to each other and their shared future, as well as the enduring support and love of their community.
The continuous motion of the circle dance is also highly symbolic. The dance never stops, representing the ongoing nature of the couple’s relationship and the constant flow of love and support from their loved ones.
In addition, the act of holding hands during the circle dance represents the strong bond and connection between all of the wedding guests, as well as their desire to support and uplift the couple as they embark on their new journey together.
Overall, the circle dance is not only a beautiful and joyous tradition, but also one that holds deep meaning and significance for Jewish wedding celebrations.
Traditional Circle Dance Steps and Music
The traditional circle dance at Jewish weddings involves a simple yet lively rhythmic pattern. The steps involve participants holding hands and moving in a clockwise direction, taking small steps to the beat of the music. The circle dance is typically led by a designated dancer who may be a professional or a respected member of the community.
Music plays a significant role in the circle dance, and traditional Jewish wedding music sets the tone for the joyous celebration. Klezmer music, a style of traditional Jewish music, is often played during the circle dance, and the tempo and rhythm of the music dictate the pace of the dance.
The music generally starts slowly and gradually builds up to a faster tempo, creating a frenzy of excitement and energy among the participants. As the pace quickens, the dance becomes more exuberant, with participants raising their arms, waving handkerchiefs, or clapping their hands to the beat of the music.
The circle dance is typically the climax of the wedding celebration, and its energetic and joyous atmosphere is infectious, encouraging even the most unlikely participants to join in.
The Historical Origins of the Circle Dance at Jewish Weddings
The circle dance, also known as the hora, has been a beloved tradition in Jewish weddings for centuries. Its origins can be traced back to Eastern European Jewish communities, where it was used to celebrate important events such as weddings, bar mitzvahs, and other festive occasions.
Historically, the circle dance symbolized unity and continuity, connecting the past, present, and future. The circular formation represented the unbroken chain of tradition and faith that has been passed down through generations of Jewish families. It also symbolized the unbroken circle of life, with no beginning or end, signifying the eternal nature of the marriage union.
The dance was typically accompanied by traditional Jewish music, featuring instruments such as the violin, clarinet, and accordion. The rhythm was lively and upbeat, reflecting the joyous nature of the occasion and setting the tone for the festivities to follow.
Over time, the circle dance has evolved and adapted to various Jewish communities around the world. In Israel, for example, it is often performed with a modern twist, featuring popular Israeli pop songs and incorporating elements of contemporary dance styles.
Despite these variations, the circle dance remains a beloved tradition in Jewish weddings, a symbol of unity, continuity, and joyful celebration.
Circle Dance Variations Across Jewish Communities
The circle dance, or “hora,” is a beloved tradition at Jewish weddings, but its specific variations and customs may differ depending on the Jewish community. For instance, in Sephardic Jewish weddings, the circle dance may be called the “Circling of the Groom” and is performed exclusively by men in honor of the groom. In Ashkenazi Jewish weddings, both men and women participate in the hora, with variations including the “three-step hora” and the “Tzena Tzena” dance.
The Yemenite Jewish community has its own unique circle dance known as the “Jewish Yemenite Step,” performed in a slow, circular motion with intricate footwork and arm gestures. Meanwhile, the Persian Jewish community may incorporate elements from traditional Persian dance into their circle dance.
Overall, while the circle dance remains a prominent tradition among Jewish weddings, the specific variations and customs reflect the diverse cultural backgrounds and histories of the Jewish people.
Modern Interpretations of the Circle Dance
The circle dance has evolved over time, with modern interpretations reflecting contemporary Jewish wedding celebrations. While the traditional steps and music are still widely used, there have been new variations and innovations that have emerged.
One example of a modern interpretation is the incorporation of different types of music. While traditional Jewish music is still the most common choice for the circle dance, some couples choose to incorporate more modern or popular music to reflect their individual tastes and personalities.
Another modern interpretation of the circle dance is the inclusion of more diverse groups of people. Historically, the dance was typically performed by men and women separately, but in modern times, there is more inclusivity and everyone is encouraged to participate.
Additionally, some couples choose to put their own spin on the dance by incorporating different styles or adding unique elements to make it more personal and memorable.
Overall, the circle dance remains a beloved tradition at Jewish weddings, and its evolution over time showcases the adaptability and vibrancy of Jewish culture and celebration.
Circle Dance and Gender Roles
The circle dance is a joyous tradition at Jewish weddings, promoting community and unity among guests. However, the role of gender in the circle dance varies across Jewish communities.
In Orthodox communities, men and women may dance separately or together, with men leading the circle dance. In other communities, the circle dance is open to all guests, regardless of gender.
Some communities have specific customs related to men and women’s participation in the circle dance. For example, in some Sephardic communities, the bride dances with the female guests while the groom dances with the male guests before joining together in the circle dance.
Overall, the circle dance reflects the cultural values and traditions of Jewish communities, and its interpretation may vary depending on individual or communal beliefs and customs.
Cultural Significance and Emotional Impact
The circle dance at a Jewish wedding is steeped in cultural significance and has a powerful emotional impact on the couple and guests alike. It is a joyous and celebratory tradition that symbolizes unity and eternity.
As guests join hands and dance around the couple in a circular formation, they become part of a larger community united in celebration. The bride and groom are at the center of the circle, representing the focus and love of the wedding day.
For the couple, the circle dance is a deeply emotional moment. They are surrounded by loved ones, family, and friends, all sharing in their joy and happiness. It is a poignant expression of the couple’s commitment to each other and their community.
The circle dance also has historical significance, dating back centuries in Jewish tradition. It is a reminder of the rich cultural heritage of the Jewish people and their connection to tradition.
Overall, the circle dance at a Jewish wedding is a powerful and poignant tradition that brings together the couple, their loved ones, and their community in a moment of joy and celebration.
In conclusion, the circle dance at Jewish weddings is a time-honored tradition that symbolizes community, unity, and eternal love. As discussed throughout this article, the circle dance plays an essential role in Jewish wedding customs, reflecting both historical and modern interpretations of Jewish culture. The circular formation of the dance represents the cyclical nature of life, while the continuous motion emphasizes the importance of unity and connection in Jewish communities.
Throughout the generations, the circle dance has evolved and adapted to different Jewish communities, with unique variations and customs reflecting regional traditions and personal beliefs. This dance encourages participation from all wedding guests, promoting a sense of joy and celebration that is infectious and memorable.
For the couple, the circle dance represents a moment of pure joy and connection, surrounded by loved ones who share in their happiness. It is a cultural tradition that reflects the essence of Jewish wedding celebrations – a time for love, community, and shared joy.
Q: What is a Circle Dance at a Jewish Wedding? Unveiling the Tradition
A: The circle dance is a significant tradition in Jewish weddings where guests form a circle and dance together to celebrate the joyous occasion. It holds deep cultural and symbolic meaning within Jewish wedding customs.
Q: What are some Jewish wedding traditions and customs?
A: Jewish weddings are rich in traditions and customs. Some common traditions include the signing of the ketubah (marriage contract), the chuppah (wedding canopy), the breaking of the glass, and, of course, the circle dance. These customs reflect the values and heritage of Jewish culture.
Q: What does the circle dance symbolize at Jewish weddings?
A: The circle dance represents unity, community, and eternity. It symbolizes the connection between the couple, their families, and their community, creating a joyous and celebratory atmosphere.
Q: How does the circle dance promote community and unity?
A: The circle dance brings all the wedding guests together in a circle, encouraging them to join hands and dance as one. It fosters a sense of togetherness, solidarity, and collective joy, reinforcing the importance of community in Jewish traditions.
Q: What are the symbolic elements of the circle dance?
A: The circular formation and the continuous motion of the circle dance symbolize unity, eternity, and the cyclical nature of life. It represents the unbroken bond between the couple, their families, and their community.
Q: What are the traditional steps and music associated with the circle dance?
A: The traditional steps of the circle dance vary across different Jewish communities. However, it typically involves rhythmic movements, clapping, and linking arms while dancing to traditional Jewish wedding music, such as the Hora.
Q: What are the historical origins of the circle dance at Jewish weddings?
A: The circle dance has deep roots in Jewish tradition and culture, dating back to ancient times. It has been a part of Jewish weddings for generations, serving as a way to celebrate and honor the couple’s union.
Q: How does the circle dance vary across different Jewish communities?
A: The circle dance may have variations in its steps, music, and specific customs across different Jewish communities. Regional influences and cultural traditions can shape the way the circle dance is performed.
Q: How has the circle dance evolved in modern times?
A: In modern times, the circle dance has seen new interpretations and variations, reflecting contemporary Jewish wedding celebrations. It may incorporate different dance styles and music genres, while still maintaining the core elements of unity and celebration.
Q: Are there any gender-specific roles in the circle dance?
A: While there may be variations across different Jewish communities, the circle dance typically involves both men and women dancing together. It is a collective celebration that brings together people of all genders to celebrate the union of the couple.
Q: What is the cultural significance of the circle dance at Jewish weddings?
A: The circle dance holds immense cultural significance in Jewish weddings. It represents the joy, unity, and communal celebration of the couple’s love and the beginning of their married life. It is a deeply emotional and memorable moment for all those involved. | music_and_dance |
https://alumni.wheelerschool.org/news/alumni-news/9/9-Composer-Nico-Muhly-99-creating-original-music-with-his-alma-mater-this-spring | 2024-03-04T17:08:23 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476464.74/warc/CC-MAIN-20240304165127-20240304195127-00638.warc.gz | 0.970804 | 596 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__66189613 | en | Thirty-five high school musicians, one 9th-grade poet, and one world-class composer named Nico Muhly ‘99 will debut original music this spring at Wheeler. Muhly is donating his time and talent to compose a one-of-a-kind piece of music at his alma mater based on a poem selected from student submissions.
Muhly will set 9th-grader Isabelle Mitchell’s poem, “A Trance” to music as a gift to the school and is working with the student singers and players as they learn the music. All students in the Upper School were welcomed to submit a short lyric poem of eight to sixteen lines, written in response to any topic of their choosing. Muhly read all the submissions and made the selection.
Wheeler’s Choral Music Director Kristin Sprague, who taught Muhly at Wheeler, says of the musical process underway, “The musicians come from all grades – 9 through 12, some play jazz, some classical, some both, some pop. It runs the gamut. They all have busy lives, but they’ve thrown themselves into this, and it’s quite exciting to see them dig in. The music is very challenging, but not above them. It really stretches them in a good way. And the thrill of seeing a student’s poetry set to music is indescribable. It’s always a treat to come to school to make music with kids, but this is icing on the cake!”
Nico Muhly is a composer and sought-after collaborator whose influences range from American minimalism to the Anglican choral tradition. The recipient of commissions from The Metropolitan Opera, Carnegie Hall, Los Angeles Philharmonic, Tallis Scholars and St. John’s College, Cambridge and others, he has written more than 100 works for the concert stage, including the opera Marnie (2017), which premiered at the English National Opera and was staged by the Metropolitan Opera in the fall of 2018.
Muhly is a frequent collaborator with choreographer Benjamin Millepied and, as an arranger, has paired with Sufjan Stevens, Antony and the Johnsons and others. His work for stage and screen include music for the Broadway revival of The Glass Menagerie and scores for films including the Academy Award-winning The Reader. Born in Vermont, Muhly studied composition at the Juilliard School before working as an editor and conductor for Philip Glass. He is part of the artist-run record label Bedroom Community, which released his first two albums, Speaks Volumes (2006) and Mothertongue (2008). He lives in New York City.
Learn more about Muhly and his works since graduation from Wheeler in 1999, here. You can find him on Spotify, Apple Music and Twitter. | music_and_dance |
https://lifestoryography.wordpress.com/2016/12/16/angel-city-chorale-brings-on-the-joy/ | 2018-07-19T23:04:59 | s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676591332.73/warc/CC-MAIN-20180719222958-20180720002958-00034.warc.gz | 0.961071 | 368 | CC-MAIN-2018-30 | webtext-fineweb__CC-MAIN-2018-30__0__270820954 | en | Review by John K. Adams
Last weekend, Angel City Chorale once again delivered Bring on the Joy, their program of glorious chorale music that was unambiguously and unapologetically Christmas music.
If you have never heard music that was transcendent, you have not heard an ACC concert. I can imagine God listening to them with pleasure and turning to his angelic choir to say, “Listen to them. Sing like them.”
Ranging in material from ancient to contemporary, with three Hanukkah songs included, the program offered a rich variety of selections all dedicated to celebrating God’s love for his creation and especially the birth of our Savior, Jesus.
There were also sing-alongs of traditional carols. The audience sang these beloved songs, joyfully joining artistry with worship. There are so many great Christmas songs available from across the centuries and cultures. ACC sang sublime arrangements from the best.
The concert was ably conducted by ACC founder, Sue Fink, including her personable introductions to each song which emphasized “diversity.” Associate Conductor Dan Barnett lent support on the sing-alongs. The orchestra provided warm accompaniment led by Concertmaster Liliana Filipovic and principal accompanists Mark McCormick and Gordon Glor. The many soloists all sang beautifully and with feeling.
ACC now embarks on their annual Tour of Hope, where the singers take their holiday program on the road, performing concerts for the homeless, the elderly and any who could benefit from an infusion of holiday spirit.
Stay tuned for ACC’s upcoming annual Spring Concert in June 2017. Visit AngelCityChorale.org for updates.
Note: this review appeared originally in the Tolucan Times on December 9th, 2016. | music_and_dance |
http://peteandpaul.com/ | 2013-06-19T19:41:26 | s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368709101476/warc/CC-MAIN-20130516125821-00016-ip-10-60-113-184.ec2.internal.warc.gz | 0.949046 | 227 | CC-MAIN-2013-20 | webtext-fineweb__CC-MAIN-2013-20__0__212554127 | en | And what a spring it has been so far! Just got back from a wonderful Spring Gathering, maybe the best ever! (I say that every year.) I’ve been diligently rehearsing with friend and pianist Ryan Rogers who will be joining me at 68 Jay St. Bar this Saturday, May 19 for a 40-minute set. I will be opening for my dear friend Myshkin, of whom I am a passionate fan. I have not seen her in years and am delighted to be sharing the stage with her next week. We will, rehearsal time permitting, be doing some tunes together.
This is my last official gig for a good long time, probably until at least the end of the year. I’m taking the summer off of gigging and my next big project (besides helping to produce Roll in the Hay: A Celebration of Harry Hay in September) will be going into the studio (hopefully this fall) to do my first-ever full-length recording as a solo artist. More on this as it develops.
Happy Spring! (And summer just around the corner.) | music_and_dance |
https://www.canterburytrebles.com/about-us | 2024-04-17T05:44:42 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817144.49/warc/CC-MAIN-20240417044411-20240417074411-00477.warc.gz | 0.97233 | 651 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__138827742 | en | The Canterbury Trebles Women's Ensemble
Founded in 2005, the Canterbury Trebles Women's Ensemble is a welcoming and accepting ensemble, aspiring to bring music for women’s voices to the Ottawa region and beyond. The choir has an eclectic repertoire ranging from Purcell and Verdi to Hatfield and Daley and often partner with local charities to raise funds. The choir has participated in Choral Canada's National Competition for Canadian Amateur Choirs, and has represented the National Capital Region at the Canadian Music Festival.
The Canterbury Trebles was originally created to offer graduates of the Canterbury High School Vocal Program a welcome place to sing. The ensemble has since been opened to the community and now includes women from a variety of experiences.
James Caswell, Director (2015-present)
James Caswell is the vocal and choral performance teacher at Canterbury High School, a position he has held for 22 years. He is also the Minister of Music at Glebe-St. James United Church. James has a strong passion for exploring choral music of a wide range of styles and he puts particular emphasis on building community and creating safe, collaborative spaces in the ensemble setting.
James has directed the Anglican Chorale of Ottawa, on six performing tours of cathedrals in England, Scotland, Ireland, and Wales. James was the music director of the Canadian Centennial Choir for 15 years, and previously was the music director and organist at First Baptist Church, Ottawa. He has been a guest conductor and clinician for many ensembles in the Ottawa region and is very excited to find renewed opportunities as a collaborative organist/pianist.
Having assumed the role of Artistic Director of the Trebles from founder, Robert Palmai, James is thrilled and honoured to continue his work with the Trebles in this, his eighth season as director, and the choir’s return to post-COVID activities.
Robert Palmai, Founding Director (2005-2015)
Robert has spent all his adult life as a music educator, accompanist and coach, conductor and church musician. He is the founding director of the Amadeus Choir of Greater Toronto, the Cantando Singers of Deep River, and the Canterbury Trebles Women’s Ensemble, which he conducted from 2005 to 2015. From 1993 to 2000, he was the musical Director of the Savoy Society of Ottawa. On Christmas Eve of 2018 he ended his service in church music ministry by retiring as organist and music director at Glebe-St. James U.C (GSJ UC).
After his retirement from teaching at Canterbury High School in 2001, he kept himself active as an accompanist for university auditions and juries, RCM exams and Kiwanis Music competitions. During this time he also served as a volunteer for the local Kiwanis Music Festival.
In March 2019, he assumed the role of co-chair of property and grounds of GSJ UC. Robert and Susan now enjoy some travelling and are actively involved in the lives of their seven grandchildren. The recent purchase of a trailer hitch and a bike rack will enable the couple to enjoy cycling, wherever they go! | music_and_dance |
http://argyleband.edublogs.org/band-directors/kathy-johnson/ | 2017-07-28T06:32:45 | s3://commoncrawl/crawl-data/CC-MAIN-2017-30/segments/1500549448095.6/warc/CC-MAIN-20170728062501-20170728082501-00164.warc.gz | 0.962382 | 568 | CC-MAIN-2017-30 | webtext-fineweb__CC-MAIN-2017-30__0__74041408 | en | Director of Instrumental Studies
Kathy Johnson is in her seventh year at Argyle High School and 27th year of teaching. Her responsibilities include directing the high school Marching Band, Wind Ensemble and Symphonic Band, teaching the beginner flute class and overseeing the instrumental music program in both middle school and high school. Under the direction of Kathy Johnson, the Argyle High School Band earned the honor of performing at the Texas Music Educators Conference as the 3A State Honor Band in 2009, performed at the Midwest International Band and Orchestra Clinic in Chicago in 2007, and is the reigning Texas 3A State Marching Band Champion earning the disticntion in 2008, 2010, & 2012. Both high school concert bands for which Mrs. Johnson is responsible consistently earn Superior ratings at the University Interscholastic League Marching and Concert and Sightreading Contests and Superior and “Best in Class” awards at the various festivals they have attended.
Prior to teaching at Argyle High School, Mrs. Johnson taught in the Lewisville Independent School District for 20 years. During her time in LISD, Mrs. Johnson taught at Griffin Middle School, Arbor Creek Middle School, and McKamy Middle School where her students consistently earned Superior Ratings and “Best in Class” awards. Under her direction, the Griffin Symphonic Band advanced to the State Honor Band finals and placed 5th and 4th respectively in both 1986 and 1988. While she was Director of Bands at McKamy Middle School, Mrs. Johnson has had the distinct honor of conducting the McKamy Honor Winds at the Texas Music Educators Conference as the 2001 Class CC Honor Band and in Chicago at the 2001 Midwest International Band and Orchestra Conference. Mrs. Johnson also served as Fine Arts Department Head for McKamy Middle School.
In addition to teaching, Mrs. Johnson has played flute in the Dallas Wind Symphony for the past 26 years and also performed with the Camerata Chamber Winds. She is an active clinician and adjudicator in the metroplex area and teaches at several summer band camps throughout the state of Texas.
Mrs. Johnson attended The University of North Texas, where she received both her Bachelors and Masters Degrees in Music Education. While there, she studied flute under Dr. George Morey and Dr. Mary Karen Clardy.
Mrs. Johnson’s professional affiliations include Phi Beta Mu, the Texas Music Educators Association, the Texas Bandmasters Association, the Association of Texas Small School Bands, and the Texas Music Adjudicators Association. In addition, she has had the honor or serving on the UIL Technical Advisory Committee and holds offices in several of the aforementioned professional associations. Mrs. Johnson resides in Flower Mound with husband Eric and sons, Matthew and Adam. | music_and_dance |
http://wbhsband.com/ensembles | 2019-04-22T22:20:48 | s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578582736.31/warc/CC-MAIN-20190422215211-20190423001211-00538.warc.gz | 0.960024 | 611 | CC-MAIN-2019-18 | webtext-fineweb__CC-MAIN-2019-18__0__203415795 | en | The Wind Ensemble is the premiere ensemble of the band program at Willowbrook High School. Designed for students that have achieved the highest level of proficiency on their instrument, Wind Ensemble emphasizes advanced performance skills and musical interpretation and performs the finest available repertoire for the wind band. Students are placed in Wind Ensemble by audition and are expected to make a 100-percent commitment to the group, including attendance of all rehearsals, sectionals, clinics, and performances. Additionally, students enrolled in Wind Ensemble are strongly encouraged to take private lessons and are expected to include daily practice in their lifestyle in order to maintain the necessary level of musical proficiency. Members of Wind Ensemble are required to participate in solo and ensemble as well as marching band and pep band.
Symphonic Band emphasizes the refinement of ensemble skills, musical interpretation, and technical proficiency through the performance of appropriate literature of various periods and styles. In addition to performing at several concerts during the year, Symphonic Band also participates in occasional clinics and festivals. Students are placed in Symphonic Band by audition and are highly encouraged to take private lessons and participate in solo and ensemble. Members of Symphonic Band are required to participate in marching band and pep band.
Concert Band is designed to give students the opportunity to further their musical knowledge and development in an ensemble setting. In addition to performing appropriate literature of various periods and styles, Concert Band emphasizes the development of individual musicianship, ensemble skills, and technical proficiency. Concert Band performs at several concerts during the year, as well as occasional clinics and festivals. Students enrolled in Concert Band are highly encouraged to study privately, particularly if they have not previously taken private lessons, and are required to participate in marching band and pep band.
Perhaps the most visible ensemble of the band program, the Marching Warriors perform at all varsity home football games throughout the fall, as well as the annual Lombard Lilac Parade, the Villa Park 4th of July Parade, and various other events during the year. Membership in the Marching Warriors is required for all students enrolled in Wind Ensemble, Symphonic Band, and Concert Band. Exemptions for fall sports will be considered on an individual basis by the director during the preceding spring semester. Students may also participate in Color Guard or Drumline with the approval of the director.
Jazz Ensembles I & II are extracurricular groups open to students interested in auditioning on saxophone (alto, tenor, and baritone), trumpet, trombone, drums/percussion, piano, bass, and guitar. In addition to performing at school concerts during the year, the Jazz Ensembles participate in several festivals and clinics throughout the Chicagoland area and can also be seen at occasional gigs in the community.
Pep Band performs for varsity home basketball games as well as other school spirit events throughout the year. Enrollment in this ensemble is required for all Wind Ensemble, Symphonic Band, and Concert Band members. | music_and_dance |
https://www.feldmannbaritone.com/biography | 2024-04-12T10:21:39 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296815919.75/warc/CC-MAIN-20240412101354-20240412131354-00401.warc.gz | 0.917222 | 852 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__114820743 | en | B i o g r a p h y
Hailed for his "fresh and resonant voice" (Seen and Heard International),
baritone Gregory Feldmann is a rising artist on opera and recital stages alike. He continues with the International Opera Studio with Opernhaus Zürich for the 2023-24 season, where he will appear in Verdí's Macbeth, Sondheim's Sweeney Todd, and Giordano's Andrea Chenier, as well as the roles of Demetrius in Britten's A Midsummer Night's Dream and Moralès in Bizet's Carmen. Feldmann was a Young Artist with the 2022 Glimmerglass Festival, going on to cover Max Detweiler in The Sound of Music, as well as premiering the roles of Cedric and Matteo in Ken Ludwig's new Rossini pastiche, Tenor Overboard.
On the concert stage, Feldmann appeared in the Tonhalle Orchester Zürich's Matinee Kammermusik Series, singing Beethoven Scottish Folksongs and Schubert lieder with piano trio. He sang the role of Christus in Bach's Johannespassion with the Zürcher Bach Chor and the baritone solos of Fauré's Requiem with the Baseler Münsterkantorei in March 2024 under the baton of Annedore Neufeld. In January 2024, Feldmann appeared with the Ballett Zürich in Timekeepers, singing the bass solo in Stravinsky's Les Noces. He made his Carnegie Hall debut in November 2018 with MasterVoices, singing the Bass I solo in Handel's Israel in Egypt under Ted Sperling.
A passionate recitalist, Feldmann enjoys a "luminous" partnership with pianist Nathaniel LaNasa (Oberon's Grove). Feldmann and LaNasa’s recitals have confronted national narratives and artistic legacies, with recital projects including Degenerate Music, a contrarian reimagining of the 1938 Entartete Musik exhibition in Düsseldorf. Here, Feldmann and LaNasa celebrated and uplifted composers that were censored by the Third Reich and asked questions of who historically has decided the classical canon. The duo presented Degenerate Music in their sold-out Carnegie Hall debut in 2019. Their most recent project, American Icons, partnered with oral historian Cynthia Tobar to explore national monuments and the communities living in their shadows. American Icons saw the premieres of songs by Shawn Chang, Molly Joyce, Matthew Ricketts, and Jorell Williams.
Feldmann and LaNasa have partnered with organizations including the New York Festival of Song (to premiere Iain Bell’s We Two in October 2023), Sparks and Wiry CRIES (to premiere Curtis Stewart’s Do You See the Flag? in 2021), and the Musee d’Orsay and Royaumont Foundation (to produce their first studio release of Faure’s L’horizon chimérique and Ullmann’s Liederbuch des Hafis). The duo took First Prize in the 2021 Gerda Lissner Song/Lieder Competition and the 2019 Joy in Singing International Song Competition.
Feldmann is a frequent collaborator with pianist Steven Blier and the New York Festival of Song. In October 2021, he curated and performed in NYFOS Next: 9 under 34, a concert of composers born after NYFOS' first concert. In January 2018, Feldmann and Blier gave two world premieres of John Corigliano's song literature, performing the cycle Rhymes of the Irreverent and song no comet ever scratched the sky with NYFOS at the Peter Jay Sharp Theatre.
Feldmann was a recipient of the 2021 Richard F. Gold Career Grant through the Shoshana Foundation, and a graduate of the Artist Diploma in Opera Studies program at the Juilliard School, where he studied with Elizabeth Bishop, Randall Scarlata, and Sanford Sylvan. | music_and_dance |
http://assets.conn-selmer.com/en-us/instruments/String-Instruments/violas | 2024-04-18T08:39:42 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817200.22/warc/CC-MAIN-20240418061950-20240418091950-00592.warc.gz | 0.964499 | 123 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__147042944 | en | The viola is the alto voice in the string family. Like the violin, it is held under the chin, resting on the shoulder. Unlike the violin, the viola is slightly larger and is tuned five notes lower. It has a darker and warmer tone quality than the violin, but is not as brilliant.
The viola's tone is thicker and darker than the violin which makes it perfect for providing resonant solo passages in the middle of the orchestral range and the perfect antidote to the penetrating, crystal quality of the violin. It also blends particularly well with the clarinet and bassoon. | music_and_dance |
https://www.twinlionwellness.com/danceclasses | 2024-03-01T08:30:10 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475203.41/warc/CC-MAIN-20240301062009-20240301092009-00779.warc.gz | 0.878869 | 111 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__6785763 | en | top of page
West Coast Swing Dance Classes!
Twin Lion Wellness is partnering with Crossroads Church to bring you dance classes.
Need an opportunity to spark the inner child in yourself? Want to take your partner on a great date? Want to learn the basics of dance that works with all kinds of music? Come join us!
Where: Crossroads Church in NW Loveland
When: April 15th and 29th from 3:00 - 4:30 pm
How much? FREE! Yes - free!
bottom of page | music_and_dance |
http://davidlomond.com/ | 2021-09-16T11:43:59 | s3://commoncrawl/crawl-data/CC-MAIN-2021-39/segments/1631780053493.41/warc/CC-MAIN-20210916094919-20210916124919-00702.warc.gz | 0.986532 | 403 | CC-MAIN-2021-39 | webtext-fineweb__CC-MAIN-2021-39__0__30268061 | en | Welcome & Aloha!
David Lomond, the Hawaiian King, is a uniquely different Elvis tribute artist. The biggest reason why is his VOICE! Make no mistake, when it comes to Elvis, VOICE MATTERS! David made a living as a full time professional singer, entertainer, songwriter and recording artist for ten years before he started his Elvis shows. He is very honored and grateful to be an Elvis Entertainer. He brings a Hawaiian flavor with Aloha, the heart of Elvis, and his amazing VOICE to every show.
Over his amazing career, he has performed all over the U.S.A., including Hawaii, Las Vegas, and Branson, MO. He has done many television and radio shows, as well as, commercials, along with many other great accomplishments and has received numerous awards. But what he treasures more than anything; what is most dear to his heart, is being ordained as a minister of the gospel of Jesus Christ and His Kingdom.
David started his musical and voice training as a child. His talents and charisma were noticed at a young age. He began playing in bands throughout High School. He studied voice and guitar at the University Of Hawaii, while working as a tour guide, perfecting his comedy skills and his uncanny ability to sing like Elvis. Soon, he was performing on Hawaii’s biggest stages.
Famous Hawaiian entertainers, like Don Ho, nicknamed him “the kid that sings.” David has a very powerful voice with excellent pitch and extraordinary control and he possesses a rare range ability as he sings from deep bass to high falsetto.
David is recognized as an extraordinary Elvis tribute artist, a highly esteemed Hawaiian entertainer, and a very inspirational gospel singer and minister. View his video clips, listen to his sound bites and read his reviews. You’ll find he is easy to work with, accommodating, excellent at event planning and a tremendous asset and inspiration to any occasion. | music_and_dance |
https://specialcollections.cmlibrary.org/repositories/2/resources/28 | 2023-03-28T02:16:27 | s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948756.99/warc/CC-MAIN-20230328011555-20230328041555-00586.warc.gz | 0.886199 | 1,282 | CC-MAIN-2023-14 | webtext-fineweb__CC-MAIN-2023-14__0__87156340 | en | Charlotte Symphony Orchestra Collection, 1931-1997
This collection consists of programs, ASID House booklets, and newspaper clippings. Materials are arranged into four series:
Programs, 1931-1997, consists of loose and bound Charlotte Symphony Orchestra programs (1931-1997) and Oratorio Singers of Charlotte programs (1962-1982).
ASID House, 1974-1984, includes informational booklets on the Charlotte Symphony Orchestra’s ASID House. [The ASID House was built in 1917 on the corner of Coddington and East Morehead Extension by Charles Campbell Coddington. Members of the Carolinas District Chapter, the American Society of Interior Designers (ASID), and Edward H. Springs transformed the Coddington House into the Symphony Designer House in 1976.]
Newspaper Clippings, 1934-1983, contains miscellaneous copies of newspaper clippings relating to the Charlotte Symphony Orchestra.
Manuscripts, c1926, is one manuscript of a play entitled, “The Pageant of Charlotte and Old Mecklenburg,” to celebrate the sesquicentennial of the believed Mecklenburg Declaration of Independence signing in 1776.
Collection materials date 1934-1990 and are in good condition.
- 1931 - 1997
- Charlotte Symphony Orchestra (Organization)
- American Society of Interior Designers (Organization)
- Oratorio Singers of Charlotte (Organization)
Conditions Governing Access
This collection is open to the public without restriction. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material.
Conditions Governing Use
Permission to duplicate or publish material from this collection must be obtained from the Robinson-Spangler Carolina Room, Charlotte Mecklenburg Library.
Biographical / Historical
The Charlotte Symphony Orchestra's current goal is to do more than perform, but to also find a way to serve the community. This manuscript collection describes--through newspaper articles, concert programs, and other items--how the organization has been interwoven with the community from its beginning. Although the Armory-Auditorium was utilized by the Charlotte Symphony Orchestra, the Charlotte Symphony Orchestra used local school auditoriums for their concerts before Ovens Auditorium was built. Those schools included Alexander Graham Junior High School, Myers Park High School, Mineral Springs High School, and Piedmont Junior High School.
Since the Orchestra's conception, the organization and its affiliates have performed at such community locales as Queens College's Dana Auditorium, the United States Naval Hospital, Davidson College, and the University of North Carolina-Charlotte. While the full organization may not have participated, individual Orchestra conductors and orchestral players have been participants in the Brevard Music Festival Orchestra and the Transylvania Music Camp. They have also performed during local church services including those held at Covenant Presbyterian Church, Myers Park Presbyterian Church, and Providence United Methodist Church.
Beyond performing in various locations throughout the region, the Charlotte Symphony Orchestra--as an organization and as individual personnel--participated in collaborative efforts that allowed them to spread music beyond a season's regularly scheduled concerts. The Charlotte Symphony Orchestra collaborated with such artists as Ella Fitzgerald, the Atlanta Ballet Company, and the Carolina Ballet Company. The Orchestra also reached out to other musicians through smaller ensembles such as the Charlotte Symphony Youth Orchestra, the Charlotte Flute Club, the Mint Museum Ensemble, and the Charlotte Chamber Music Players.
3.14 Linear Feet
3.26 Cubic Feet
Language of Materials
The Charlotte Symphony Orchestra was formed in 1932. It is the largest and most active professional performing arts organization in the central Carolinas. The Charlotte Symphony also includes small ensembles of musicians such as the Flute Club and two Youth Orchestras, among others. Some of these small ensembles perform outreach services to local hospitals, and other organizations.
This collection consists of programs, ASID House booklets, and newspaper clippings.
The Oratorio programs are a sub-series of programs but housed in Box 3 after the ASID House series.
Immediate Source of Acquisition
The immediate source and date of acquisition for this collection is unknown.
Charlotte Symphony Orchestra. “Mission & History.” http://www.charlottesymphony.org/files/ba2b0d97-fdcb-4c8b-93a5-593ded77f525--a8609306-7345-4ef8-b12a-b11f3f5f3354/press-kit-missionhistory.pdf
Harry & Bryant Funeral Home. “In Memory of Joseph Little, July 16, 1919-October 13, 2012.” http://obits.dignitymemorial.com/dignity-memorial/obituary.aspx?n=Joseph-Little&lc=2734&pid=160457553&mid=5271450
Materials are in good condition.
The processing, arrangement, and description of this collection was completed by Sydney Carroll, February 2020.
- Business Subject Source: Local sources
- Concert programs Subject Source: Library of Congress Subject Headings
- Concerts Subject Source: Library of Congress Subject Headings
- Programs Subject Source: Library of Congress Subject Headings
- Symphony orchestras Subject Source: Library of Congress Subject Headings
- Theaters and Music Subject Source: Local sources
- Charlotte Symphony Orchestra Collection, 1931-1997
- Sydney Carroll
- Language of description
- Script of description
Part of the Robinson-Spangler Carolina Room, Charlotte Mecklenburg Library Repository
Charlotte Mecklenburg Library-Main
310 N. Tryon Street
Charlotte NC 28202 USA | music_and_dance |
https://uebelundgefaehrlich.com/veranstaltungen/conway-the-machine/ | 2024-02-21T08:54:04 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473401.5/warc/CC-MAIN-20240221070402-20240221100402-00394.warc.gz | 0.980034 | 176 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__29625339 | en | „Demond Price (born February 16, 1982), better known by his stage name Conway the Machine, is an American rapper from Buffalo, New York.
He is the brother of fellow rapper Westside Gunn and the cousin of Benny the Butcher. Price is signed to Westside Gunn’s record label, Griselda Records,
and has released his entire discography on the label. In 2017, Shady Records signed a distribution deal with Griselda for Westside Gunn and Conway’s work,
making the two the first rappers from Buffalo to achieve major label distribution.
In 2012, Conway was shot in the neck and shoulder; his face was partially paralyzed, giving him a signature slur.
He released his debut studio album, From King to a GOD in 2020, followed by God Don’t Make Mistakes released in 2022. | music_and_dance |
http://shaanig.cc/home/x-factor-uk-s14e05-auditions-5-hdtv-x264/ | 2019-05-25T12:52:02 | s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232258058.61/warc/CC-MAIN-20190525124751-20190525150751-00073.warc.gz | 0.89555 | 119 | CC-MAIN-2019-22 | webtext-fineweb__CC-MAIN-2019-22__0__222076193 | en | Dermot O’Leary hosts as Britain’s biggest singing competition continues its fourteenth series. Simon Cowell once again heads up the judging panel, alongside seasoned judges and music industry veterans Sharon Osbourne, Louis Walsh and Nicole Scherzinger. As the auditions continue, Dermot will be standing by as always, offering support to the nervous hopefuls as they approach the judges and a shoulder to cry on for those who fail to make it through to the next stage. What weird and wonderful performances are still to come this year?
Size: 395.5 MB | music_and_dance |
http://www.livingcomposers.com/composerreg/samplepage.html | 2018-02-26T03:02:44 | s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891817999.51/warc/CC-MAIN-20180226025358-20180226045358-00523.warc.gz | 0.960269 | 175 | CC-MAIN-2018-09 | webtext-fineweb__CC-MAIN-2018-09__0__140874314 | en | Sample Score or Part Page
Are you really proud of how your music looks on the page? Performers don't want to have to spend half of their rehearsal time just trying to figure out how to read the music in front of them. Demonstrate the cleanness, readability and detailed notation of your score and parts by posting sample pages with your listing. Plus, this will give performers the opportunity to play through a few bars of the music before buying, and the ability to try out a piece before buying it has been rated one of the top features influencing sheet music purchases in an on-going survey conducted by Quest Haven Publishing.
Cost (per year): $1 per page.
Scanning or file conversion services are available for a fee if you are unable to send a ready-to-post digital graphic of your sample page. (PDF files are preferred.) | music_and_dance |
http://www.settomusicecd.com/2nd-saturday-dance | 2018-12-16T06:44:56 | s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376827281.64/warc/CC-MAIN-20181216051636-20181216073636-00042.warc.gz | 0.888222 | 99 | CC-MAIN-2018-51 | webtext-fineweb__CC-MAIN-2018-51__0__175113532 | en | 2nd Saturday Dance Party
Come for a fun evening of English Country Dancing with friends far and near!
Location: McMinnville Grange, 1700 Old Sheridan Road
Time: 6:30-9:30 p.m. The first half hour will be easier dances.
Cost: $5 per person, ages 13 through adult
Dates: 2nd Saturday of every month
Our next Dance Party will be on Saturday, December 8th! Hope to see you there! | music_and_dance |
http://drinkthis.typepad.com/auralize/2006/11/index.html | 2018-10-20T02:42:03 | s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583512501.27/warc/CC-MAIN-20181020013721-20181020035221-00179.warc.gz | 0.954332 | 194 | CC-MAIN-2018-43 | webtext-fineweb__CC-MAIN-2018-43__0__239459391 | en | Pop star Michael Jackson will launch his comeback with a performance of his hit single "Thriller" at the World Music Awards in London next week.
The World Music Awards will mark the 48-year-old Jackson's first live performance since he was cleared of child molestation charges in California last year, the BBC reported Wednesday.
Jackson will also be receiving the diamond award for his contribution to music at the awards ceremony on Nov. 15.
"It's his first performance in a long time," said a spokeswoman for the World Music awards. "It's something of a comeback if you like."
The World Music Awards gives out prizes based on global record sales.
Hollywood actress Lindsay Lohan will host this year's ceremony, which will feature performances from Beyonce, Katie Melua and Mary J. Blige.
Jackson reportedly plans to recreate the groundbreaking video for "Thriller" on the World Music Awards stage, the BBC said. | music_and_dance |
https://axisfoundation.org/otakar-kraus-music-trust/ | 2024-03-04T08:03:49 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476432.11/warc/CC-MAIN-20240304065639-20240304095639-00748.warc.gz | 0.977312 | 783 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__11944218 | en | Otakar Kraus Music Trust
Music therapy helps children with additional needs
The Axis Foundation’s donation of £8,000 to The Otakar Kraus Music Trust (OKMT) enables seven pupils to attend OK Music School. Here qualified music therapists teach children and young people with physical, learning, mental or neurological disability or illness.
“We are delighted that the Axis Foundation has approved our application to enable seven pupils with disabilities to attend OK Music School for 36 weeks. This will make a huge difference to our music therapy work and allow more children to enjoy the benefits of learning and performing music. Music therapy helps children with disabilities when nothing else can reach them” – Valerie Roy, Fundraising Manager, OKMT
Whilst at the music therapy school, children interact and make friends, reducing isolation. They gain communication skills and become more confident. Improved listening skills and focus help their learning at school. And performing makes them feel happier, proud of their achievements and part of the community. Some children have passed Royal School of Music exams, and some have performed on national radio.
The children say:
- ‘It makes me feel good about myself – I can do something well!’
- “I love music because it gives me confidence and it takes me away from the pressures of real life. I make more friends here than anywhere else”
- “OK Music School has been amazing helping my daughter to gain confidence and improve her memory and listening skills. She is able to verbalise that she is proud of herself.”
- “E has blossomed, she had very low self-esteem when we started as she was unable to attend school due to her severe anxieties. It has been a Godsend for her mental health.”
OKMT Survey Results
OKMT asked parents what difference OK Music School was making to their child. The top survey results were:
- Increased their confidence and self-esteem 100%
- Improved their concentration and ability to follow instructions 79%
- Improved their mental well-being 74%
- Improved their listening skills 68%
The Axis Foundation Trustees additionally agreed a grant of £4,800 towards bursaries for 1-1 music therapy for children and young people and £120 for a new Yamaha Portable Keyboard. Valerie thanked us saying: “We are delighted to get the funding and we will increase our budget for the coming year for bursaries to £6,000. This will help us reach children, young people and families who receive very little regular help.”
OK Music School Case Study
D is 8 and is diagnosed with Autism Spectrum Disorder. He struggles with interacting with people he doesn’t know and with some motor skills. He lacks concentration and has some language and communication difficulties. Therefore it is hard for him to take part in activities where he could enjoy time and space with his peers. D had received speech and language therapy and some music therapy.
But then his mother heard about OKMT through a London Autism group.
D started attending the OKMT Youth Choir, where he was silent for a few months until he finally joined in and started singing along. Then he joined OK Music school where he began to learn to play the piano. He thrived on the stable routine, and playing piano now provides him respite and happiness. His concentration and motor skills have improved, and he is now confident in a group of children and socially more aware of others. He took part in the Christmas concert in 2019 and played Twinkle Twinkle Little Star on the piano which gave him a great sense of achievement. His family were so proud and joyful to watch him playing in the concert in front of a big audience.
D said: “I feel happy and excited to attend my music lessons!” | music_and_dance |
https://www.yourpolecamp.com/vladapolefitdubai | 2021-04-13T05:09:22 | s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072082.26/warc/CC-MAIN-20210413031741-20210413061741-00575.warc.gz | 0.944579 | 142 | CC-MAIN-2021-17 | webtext-fineweb__CC-MAIN-2021-17__0__117559509 | en | Being a co-founder and lead instructor at Pole Fit Dubai, Vlada has over 7 years experience in teaching and performing pole dancing and aerial arts.
Vlada is a certified Group Exercise Instructor; Pole Fitness Instructor by Vertical Dance UK (Level 1), recognized by REPs, ACE and PDC.
She is also member of the International Dance Council CID; a PDC Approved 3 star Pole Dance Instructor and a PDC Grading Level 5 Instructor (UK).
Vlada is a professional aerial arts performer and she has worked for the past six years in the UAE.
Pole Fit Dubai co-founder and lead instructor
2016 Pole Sport & Art Russia 1st Place | music_and_dance |
http://thecatalyst.ch/projects/improv/2017/music-in-improv-4-session-workshop/ | 2023-12-10T10:37:04 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679101779.95/warc/CC-MAIN-20231210092457-20231210122457-00451.warc.gz | 0.948218 | 179 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__205696898 | en | This four-week long workshop is all about music in improv: singing and the interplay between music and acting. The course was compiled, developed and first held by Alex Seeholzer as part of The Catalyst’s weekly drop-in improv classes, with help from the amazing improv-pianist Samuel Muscinelli.
The full curriculum is available here.
Please feel free to use and distribute the curriculum – if you do, accreditation would be appreciated. If you need more detailed descriptions of some sections, don’t hesitate to contact me. Classes marked by asterisks below (*) will involve singing – this does not mean that you have to be able to sing well, so don’t be afraid to attend. In fact, bad singing in comedy improv can sometimes be more fun to watch than perfect pitch! The only thing that matters is your dedication. | music_and_dance |
http://drmband.com/whats-happening/dave-joins-vinyl-legion/ | 2024-02-29T16:21:19 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474843.87/warc/CC-MAIN-20240229134901-20240229164901-00267.warc.gz | 0.930575 | 224 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__1481286 | en | Recently Dave Spaulding was asked to join up with a local band, Vinyl Legion. They play mostly 80’s Rock with a bit of Country added in for good measure. You can see their gigs listed in our events section below.
There is a great article about the band, which you can find at: https://chelmsford.wickedlocal.com/news/20200221/arts-scene—-new-lineup-vision-for-chelmsford-based-band?fbclid=IwAR33nQ8aU1Zx7WKo_EYSEcW9_Ix9C37XlVew4F1QaeVbAaCNrZD8yTHqJAo
Check out Vinyl Legion at Fody’s Tavern in Nashua on March 28th from 9pm to midnight or if you like to do Open Mic’s, the next one they host is Friday, March 20th at 9pm at the Alberton W. Vinyl American Legion in North Chelmsford. | music_and_dance |
https://top-breakingnews.com/2019/08/09/cds-for-concert-goers-help-rock-bands-boost-weak-billboard-rankings/ | 2022-01-18T15:56:54 | s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320300934.87/warc/CC-MAIN-20220118152809-20220118182809-00147.warc.gz | 0.934404 | 409 | CC-MAIN-2022-05 | webtext-fineweb__CC-MAIN-2022-05__0__79932385 | en | It’s a long way to the top if you want to rock ’n’ roll in 2019.
Gone are the days when a rock album could achieve the No. 1 spot on the Billboard 200 chart on the strength of record sales alone. Instead, rock acts have turned to their tours to get the boost, adding a CD to every ticket sold to help inflate their ranking.
The bundling strategy is particularly effective in rock ’n’ roll, since many rock albums lack viral hit singles whose millions of streams can carry an album to No. 1, like Drake found with “God’s Plan” last year.
Bands such as Vampire Weekend and the Raconteurs have outperformed established rockers like Bruce Springsteen this year thanks in part to the bundle, which can often mean additional fees for concert tickets for consumers and a physical copy of a CD they may never open. But for rockers, handing out CDs with concert tickets can be what they need for a No. 1 album ranking, a distinction that still carries a high premium in the industry. The bragging rights and marketing opportunities that come with the top spot can make a crucial difference.
“The charts are a form of marketing,” said Merck Mercuriadis, a longtime music executive and founder of music investment company Hipgnosis Songs Fund. “If you’re able to say ‘I’m Jack White, and in 2019 I’m still having No. 1 albums,’ that’s a major statement to the industry.”
Rock albums used to dominate the Billboard 200 chart, but now they struggle to hit No. 1. That has led some artists to bundle albums with concert tickets, in hopes to lift their Billboard rankings.
Note: Genre categories are based on a Wall Street Journal analysis of Spotify genres attached to each artist. Sources: Billboard (albums); Spotify (genres) | music_and_dance |
https://www.christinaashlee.com/about/ | 2024-02-23T18:02:20 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474440.42/warc/CC-MAIN-20240223153350-20240223183350-00716.warc.gz | 0.984466 | 277 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__20586385 | en | Christina is a Southern California DJ who has been spinning since 1999. Beginning with house parties and then doing mobile gigs for nearly 10 years, she learned to spin to a variety of crowds. But for as long as she can remember, her true passion was trance. While other genres can be fun to spin, Christina finds her passion in tech, uplifting, and hard driving trance. In addition to having a deep love for spinning, she's also had the desire to create music. Since 2016 she has produced a handful of tracks, which can be found on her SoundCloud as well as on Beatport and other streaming sites, and there are definitely some new works in progress!
Christina is constantly digging, refining, and perfecting her skills as much as as possible. She's had the privilege of performing at Avalon in Hollywood and Garage Gallery in LA. She's worked with Odyssey Productions, May Day Events, as well as with many other talented DJ's and producers. She is also involved in a collaboration with DJ Cipher as DJ duo 'Rogue Vision'. Currently she is a resident DJ at DI.FM where you can hear her show Electronic Agenda every first Thursday (1pm PDT/4pm EDT). For all of her past shows and live sets, you can listen to her on SoundCloud (and for archives, check out MixCloud).
Thanks for stopping by! | music_and_dance |
http://www.luckyji.com/tabla-the-free-percussion-android-app/ | 2013-12-08T22:19:56 | s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163824647/warc/CC-MAIN-20131204133024-00023-ip-10-33-133-15.ec2.internal.warc.gz | 0.949457 | 457 | CC-MAIN-2013-48 | webtext-fineweb__CC-MAIN-2013-48__0__65480936 | en | The Android market is full of free Apps in the music and audio category. Now you can get an Indian taste in the percussion App segment on the Android. Developer Rodrigo Kolb has introduced a fantastic percussion Android App named as “Tabla”. Drummers, percussionists and music lovers will find the Tabla App pretty interesting and upto their liking. Tabla – The free Percussion Android App; has already found millions of users worldwide and you would also love to play this wonderful instrument app. With Tabla you can really enjoy and have a fabulous new experience altogether.
Tabla is a free finger percussion instrument app for Android users. With Tabla you can be sure to enjoy and have the most fun experience in finger drumming on Android. It is a free to use app and can be installed on Android 2.1 and above. It works perfectly well with all screen resolutions and is suitable for mobiles and tablets as well. It would be better if you have a big mobile screen only to enhance your Tabla playing experience.
The Tabla set in the App is designed on the lines of the Indian Table and have drum pads which generates Indian, Arabian and Latin percussion sounds. The Tabla is Multi touch percussion Android App and is capable of producing 10 different and realistic tabla sounds. You get high quality studio audio sound. It also has the feature of vibrating tabla drums when you touch them. You get various sounds on pressing different areas of the Tabla. If used together with earphones it produces great sound effects too. It also features other instruments like gong, chimes and gungru. So Tabla is really a cool, simple and awesome Android App.
Tabla has been one of the most played and loved instruments in the Indian Musical Traditions. Now with the introduction of Tabla App you can also be the one to enjoy its great sound and love the feeling of playing the fabulous Tabla percussion instrument with your own fingers. You need not be an expert player of Tabla to use Tabla App as it is really easy and simple in use. You only need an Android mobile or Tablet to get started with it. So install Tabla – The Free Percussion Android App; and enjoy this great App. | music_and_dance |
http://archive.olats.org/pionniers/pp/asuar/asuar.php | 2023-12-02T15:58:24 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100427.59/warc/CC-MAIN-20231202140407-20231202170407-00003.warc.gz | 0.943836 | 510 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__256748707 | en | José Vicente Asuar composer and one of the pioneers in the use of computers for the creation in music, died after a prolific and generous life.
Asuar died at the age of 83 leaving behind him a series of groundbreaking initiatives that inaugurate the creation of electronic music in Chile and South America, influencing a transversal generation of musicians and artists from several fields, always with a mixture of high intelligence and humility, one of his most beloved characteristics.
In 1958 he founds at the Arts Faculty of Universidad de Chile the first Laboratory for Electronic Music in Chile, parallel in time to the huge achievements of masters such as Pierre Boulez, Iannis Xenakis and Karlheinz Stockhausen.
In 1959 he composed "Variaciones Espectrales", one of his most solid masterpieces, composition that also gives the name to the documentary film made to honor his lifetime achievements.
In the Universidad de Chile he shared his knowledge as professor of acoustic and electroacoustic music, founding at the same time the Technology in Sound career.
In 1960 he takes this knowledge to University of Karlsruhe, in Germany, where he found the Electronic Music Lab, and in 1965 he raise the same methodology in Caracas, Venezuela.
With this experience, in 1978 he developed the first computer dedicated for the creation of electronic music in Chile, the COMDASUAR. He declared, in a clear provocation to the dogmatics of the classical and conservative identity of the chilean music scene that "The piano or the violin is as artificial as a computer", making clear his disruptive and irreverent methodologies, condition trespassed to his creations, in a very subtle, poetic and elegant way.
"The Virtuous Computer" from 1973, and " That's how the computer spoke" from 1979, are just two examples of the rigorosity and dedication on the creation of music through experimental instruments that are nowadays massive creation tools, but that in that time, and in a country far away from the international circuit, an epic and huge contribution for the worldwide music and technology history. His thoughts and clarity to defend the creation of experimental music outside the commercial industry, is an inspiration for the chilean and international creative and experimental community.
We will remember his legacy, and put his name in the place that his kind, intelligent and generous humanity deserves.
Chilean Experimental Art and Music Community
© Enrique Rivera & Leonardo/Olats, janvier 2017 | music_and_dance |
https://www.cello-festival-szekesfehervar.com/ | 2018-10-15T11:10:26 | s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583509170.2/warc/CC-MAIN-20181015100606-20181015122106-00290.warc.gz | 0.914605 | 315 | CC-MAIN-2018-43 | webtext-fineweb__CC-MAIN-2018-43__0__92684606 | en | It is a privilege for Székesfehérvár to host the International Cello Festival between November 25 and December 2, 2018. Being the Mayor of Székesfehérvár, I welcome the four internationally renowned members of faculty who established the International Cello Festival, as well as all participants and honored guests to this prestigious event. The one-week Festival Program will offer faculty and student recitals, chamber performances, premieres of new compositions, and special youth presentations. As Székesfehérvár is dedicated to music education, it is an honor for our city to have music courses and music literature symposiums taught by highly esteemed professionals during the International Cello Festival.
The International Cello Festival will appear as a new color on the music scene palette at Székesfehérvár. I hope this world-class Festival will establish a tradition of bringing outstanding cellists from around the world to Székesfehervár.
It is my great pleasure to invite professional and non-professional musicians, young and old music enthusiasts at Székesfehérvár to attend the wonderful program of the International Cello Festival. While enjoying exceptional music performances, I also encourage guests to get acquainted with Székesfehérvár, a historic capital of Hungary, so you might be inspired to return here in the near future.
Dr. András Cser-Palkovics
Mayor of Székesfehérvár | music_and_dance |
https://sullivanupper.co.uk/extracurricular/music | 2020-11-27T08:35:48 | s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141191511.46/warc/CC-MAIN-20201127073750-20201127103750-00283.warc.gz | 0.939481 | 602 | CC-MAIN-2020-50 | webtext-fineweb__CC-MAIN-2020-50__0__195056394 | en | |FRIDAY||Traditional Group||Break & Lunchtime|
The band rehearses each Monday after school and performs at Christmas time in Holywood town centre and also at the Spring Concert in the Ulster Hall. Pupils in Years 8-14 are welcome to attend. Last year their highlight was performing Bach’s Toccata and Fugue featuring the Ulster Hall Mulholland Organ.
Junior choir is made up of pupils in Years 8-10 and has around 130 pupils attending on a weekly basis. Their performances include carol singing at Bloomfields shopping centre and the annual Spring Concert in the Ulster Hall. Their repertoire includes Traditional African and Indian pieces as well as popular and rock songs.
This is a group of around 20 pupils in Years 9 & 10 who successfully auditioned to be part of this small choral group. Last year they performed La Cucaracha and The Water of Tyne.
The training choir is made up of pupils in Years 11-14 and meets weekly at lunchtime and is currently rehearsing for Christmas.
This lively swing group play a variety of gigs including the Stormont Hotel and the Black Box Studio in Belfast. Their extensive repertoire includes well known film themes, big band sounds and contemporary Jazz.
The school brass group rehearse each week at breaktime and is open to pupils in Years 8-14. Last year their performances included the school carol service, prize day and the Spring Concert in the Ulster Hall. They have a varied repertoire of well known popular melodies and last year performed an arrangement of the Beatles Maxwell’s Silver Hammer.
This is a senior choir for pupils in Years 11-14 who perform a variety of music for SSA and also SATB. Along with the annual school musical events Sullivan Singers enjoy performing in the wider community including a joint performance with the choir of Holywood Parish. This year they are performing Karl Jenkins’ sacred setting Stabat Mater.
This Irish traditional group has been a popular group in the school for many years. They have recently incorporated Traditional Irish dancers into their performances and performed the lively King of the Fairies in the Ulster Hall. This year the pupils were given the exciting opportunity to travel to Washington to perform at the St. Patrick day celebrations.
The school orchestra is open to pupils in Years 8-14 and meets after school each week on a Thursday. It has around 80 members and performs a mixture of classical, film and popular music. Last year they performed Farandole from L’Arlesienne Suite by Bizet and Highlights from Wicked in the Spring Concert.
There are a number of smaller musical ensembles which meet on a weekly basis. These include string quartets, trios, rock groups and vocal ensembles.
Pupils have the opportunity to attend theory classes at break or lunchtime throughout the week. There are currently three levels to choose from, beginner, intermediate and grades 4/5. | music_and_dance |
http://www.southcoastukes.com/ti-reentrantreview1.htm | 2019-09-19T00:34:57 | s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514573385.29/warc/CC-MAIN-20190918234431-20190919020431-00528.warc.gz | 0.960118 | 4,871 | CC-MAIN-2019-39 | webtext-fineweb__CC-MAIN-2019-39__0__99050181 | en | When the Portuguese first came to Hawaii, they brought with them a couple of small wood bodied plucked instruments that immediately caught the attention of the islanders. The Machete was strung as a lead/melody instrument in an open style very close to a linear alignment, while the larger 5-string Rajao was the rhythm instrument. The Hawaiians main interest was in song, not in the sort of parlour instrumental arrangements the Portuguese had composed for their string duos and trios (with guitar in the latter). But the Hawaiians also favoured the smaller Machete and its brighter tone. An adaptation quickly took place, resulting in what we now know as the Ukulele.The Rajão tuning, one that worked beautifully for vocal accompaniment, was moved to the smaller Machete/Ukulele. The 5th string went away, and the 4 strings left served as what we have known ever since as a uniquely Ukulele form of reentrant tuning. The notes are aligned in 4ths, but unlike in a traditional linear arrangement, the 4th string goes up an octave.Plain string material, first gut and later nylon were used in the beginning; fluorocarbon is now probably used more than anything. Regardless of the material, however, all these sets have one thing in common: a tendency toward an imbalance in tone and response among the strings; one that grows more pronounced as the gauges get heavier. It’s an inevitable consequence of a plain string single material set in the Ukulele Reentrant form.What happens is that there are two high bright notes – the thinnest strings - on the outsides, an intermediate tone 2nd string, and a heavy, somewhat dull 3rd string. We address that problem with our “Mixed Materials” approach (see the Our Materials page for more). Strings of varying higher density in the middle produce much more balanced tone. For the Ukulele’s common use, rhythm accompaniment for vocals, we feel this mixed material plain string approach produces the finest traditional Ukulele sets available. And yet reentrant tunings are wonderful options for somewhat non-traditional use as well. Instrumental playing, both single note and chord melody are excellent with reentrant tunings. But in these styles a player more often goes up the neck, and in those higher positions, even our higher density centre strings begin to lose clarity. One common solution is to add a wound 3rd string. In the past we have tried to compromise, by offering sets with an option for a plain or wound 3rd string; sets where the transitions from either 3rd string wouldn’t be too jarring. Offering this sort of 3rd string option is obviously an economical approach. And yet with a bit of reflection you realize that strings which transition well to and from a plain 3rd, won’t transition as well with a wound 3rd. As a matter of fact, a “set” of strings is ideally matched as a whole. Changing one component, when the sound is as different as it is in this instance, is simply too much of a compromise, even with all the materials we have to pick from. And one thing we have come to realize is that compromise based on economy is what other string companies do with the Ukulele – that’s not really us.So in the end, in spite of considerable inventory and management cost, we now offer not two, but three distinct types of strings for the Medium and Heavy Gauge Ukulele sets along with the two formulae we have always had for the Medium and Light Gauges. The all plain sets will be balanced around their 3rd string, while the wound sets will be balanced around the wound 3rd. Sets may share one, possibly even two strings between them, but in the majority of cases, all 4 strings in, for example, a Light Medium NW (no wound) set will be different than those in an Light Medium W3 (wound 3rd) set. In spite of our best efforts, we have come to the conclusion that simply slapping a wound 3rd string into a plain string set is often just as bad as slapping a wound 4th onto a group of reentrant strings to create a linear set-up.So Wound 3rd sets are now offered from Light Medium Gauges upward. And while Light and Extra Light Gauges have no need of wound strings, the warmer sounding “Soft” sets continue from Medium Gauges on down. Finally, we’ve added another uniquely Ukulele reentrant form to the mix. This is what we call Lili’u tuning. It gives the advantages of a reentrant form (it’s double reentrant) for strumming and chord melody, while providing the deep tone of a linear set-up. *************************************But before going into the differences to expect among these three groups we want to make a few remarks on a common error in string set selection. Folks have the idea that smaller instruments should have lighter gauge sets. There is very slight justification for that belief from two factors. First, a string needs a bit more tension to maintain its height above the fretboard as scale length increases. This is a relatively minor factor, however. Secondly, a smaller soundboard needs less energy to drive it than a larger one. This deserves a bit more consideration, but Ukulele players have distorted that idea way out of all proportion.There is no reason strings for a Soprano can’t have a relatively high tension (on a normally constructed modern instrument) or that strings on a lightly built Tenor can’t be low tension. The idea that the opposite should be true comes partially from the factors above, but more specifically from the recent practice of tuning all Ukuleles to the Key of C. The most blatant example of poor tuning comes on the Soprano. There, for years, the most commonly used sets have been “combination” Soprano/Concert sets – strings long enough to be used on either instrument. But these sets were never meant to be tuned to C on both instruments. Throughout most of its history, the Soprano was commonly in D tuning. Take a Soprano/Concert set – tune it to C on the Concert, then to D on the Soprano, and the tensions are now similar. As such, a combination set was both more economical for the string companies and their customers, and served its function well for both instruments.You can see at this point that if for some reason you needed to tune both instruments to the same tuning, then to maintain similar tension, the shorter scaled instrument would actually need heavier strings than the longer one. Yet for the last 30 years, as a result of a new, lower pitched modern Soprano tuning without change in the old string set designs, people have been stringing Sopranos at the very low end of acceptable tension. The idea has developed that companies like Martin must know what is appropriate, and influenced by this unintended tuning practice, the latest group of Ukulele players have become accustomed to the feel of Sopranos at the very bottom end of acceptable tension. Martin does know what is appropriate, but in their adherence to a tradition now abandoned by current players, their original intent has been completely lost. The resulting mistuned instruments give performance that is far less than ideal, and has played a major role in the Sopranos recent decline. The same sorts of distortions are found throughout the various sized Ukuleles when C tuning is always used. Tenors, for example can sometimes have more tension than necessary and Baritones are seldom strung well. We’ll deal with some of the specifics as we discuss individual sets or groups of sets below, but while there will always be some experimentation with a new instrument, your best bet is to rely on the Tension and Tuning charts that are outlined on the Strings Setspage, not the common distortions of what sort of tensions are appropriate on what sized instruments. Remember that while materials play an undeniable part in string set soundtension is usually even more important when it comes to bringing out the best in your instrument. This is why we stand almost alone in offering the sort of selection in tension that can mesh your preference in feel with your instruments best response. More specific discussion of our Tension ratings, and some tricks on how to get the best out of the ratings system can be found here:Southcoast Tension Ratings w/ String Selection TipsAnd also remember, you can also avoid these contortions in tension and tone most effectively on instruments that are for solo play, where after all sound is most important. Simply use traditional tuning practice. The Tuning Your Ukulele series shows the ins and outs of that in detail. Click here:Tuning Your UkuleleWhile specifics will be dealt with in individual reviews below, let’s now talk in a general way about the differences in the three Ukulele reentrant groups - the sorts of differences that will lead you to the string group best suited to your style of play.*************************************First, the NW series. These “no wound” sets are the traditional way to string the Ukulele - they incorporate no wound material. With the introduction of these three series of reentrant strings, the NW sets have been tweaked to do what a no wound set can do best: offer a powerful, full, rich sound. However, our sets are non-traditional in that we use mixed materials to accomplish this with better balance in tone and tension than can ever be obtained with the single material approach used by everyone else. For more details on our “mixed materials” approach, click here:Our MaterialsIn addition to this, in some of the lighter gauges, where sometimes on certain instruments, sets can give too bright and assertive a sound, you have a choice of two NW formulae, our standard formula, giving clear bright sound, or our “Soft” formula, giving a warmer sound and thicker feel to these light gauge sets and high tunings. More detail on those differences can be found here:NW String Sets - Standard or Soft*************************************Next, the W3, or “wound 3rd” series. These sets offer a sound profile the Ukulele has never seen before, and we are very proud to present them. In the past, sets of this nature were put together with a traditional wound material 3rd string simply swapped for the 3rd string in a plain set. That practice results in a far less than ideal set-up. With our W3 series, we present a polished low density 3rd string that gives a feel not that much different than a plain 3rd. First, it’s polished, so it’s not nearly as noisy as the older wound 3rd sets, and second, the low density means it’s much thicker than a traditional higher density wound 3rd would be. As a matter of fact, one slight bonus to using this set is that no alteration in set-up should be necessary when switching from a plain set - the low density 3rd has practically the exact same diameter as a plain 3rd string would have (please avoid the misinformation of online “string scientists” with their generalizations about string diameters).The resulting sound is something new as well. The problem heard in varying degrees with wound 3rd sets is the same problem that comes from the common practice of simply slapping a wound 4th into a reentrant set to create linear set-ups. The wound 4th tends to dominate the sound, droning over the other three strings. While this is less noticeable in a wound 3rd reentrant set, where the wound 3rd is the root of most chords, the problem is the same. But this low density 3rd doesn’t have much more volume or sustain than a plain 3rd, so the balance is tremendously better.Then we match the three plain strings to this low density wound 3rd string. Occasionally two of these strings will be different than those used in an NW set. More often all three will be different. They are selected not for the volume and power we look for in the NW sets, but for clarity. As such, in traditional strumming, do not look for what some people have come to expect from wound 3rd sets. Don’t look for much more sustain. In traditional strumming there’s a little difference - not much. Don’t look for much more emphasis on the bottom end. An NW set might actually have a bit more. Don’t look for more volume. The NW sets will have a slight advantage there as well.So why would anyone want a set with a touch lower volume and not much difference in the bass or in sustain? Take the NW and W3 Medium Gauge sets and start to play up the neck and the main difference immediately jumps out at you. The weakness of NW sets is when you start to go up the neck. With the shorter scaled Ukuleles there is the famous “plinkiness” in the sound. And with the longer scaled Ukuleles the sound up the neck is not so much plinky as dead. These W3 sets maintain much of the same clarity they have in 1st position chords when you start to move up the scale.And this is also where we’d point out that projection and volume are two different things. Where an NW set will have more volume in 1st position strums, up the fretboard, the W3 sets produce much greater projection, as NW sets start to go dead. And our W3 sets, in contrast to what you may have experienced before, do all this without any droning from the wound string - they pull this off with picture perfect balance.With the Heavy Gauge sets you may even want a W3 set for 1st position strums, as with heavier gauges, the plain strings start to lose their advantage even in standard strumming. So choosing between these two sets is a matter of picking the series that is best suited to your style of play or in some cases, your taste in sound. For 1st position strumming in medium to high pitch tunings, the NW series, with their smooth power will be the favourite for most. In heavier gauges, it will often come down to what sounds best on a given instrument, or the players preference in sound. But for those players picking notes or playing chord melody up the neck the W3s should always be a prime consideration. *************************************And then we have the Lili’u series. If what you had hoped for in a wound 3rd set was actually what the W3s don’t emphasize - long sustain and more bass, well, don’t despair. We’ve got you covered there as well. For that sort of sound profile our last Ukulele reentrant series, the Lili’u Series really delivers. Once again, you’ll hear something you’ve likely never experienced from an Ukulele before. This is what is called a double reentrant set. Compared to a Linear set, the 4th string goes up an octave, becoming a “high reentrant” string as is the case with traditional Ukulele sets. But with Lili’u tuning now the 1st string also drops an octave, making it a “low reentrant” string.This set-up is best known in it’s 4 course 6-string form, the tuning invented by none other than Sam Kamaka Junior. But it is played with 4 strings as well, most prominently by Dr. Byron Yasui. With these set-ups, we have double wound sets; the low density wound material we use in the W3 sets predominate in the two Medium Gauge sets, and higher density material is used exclusively in the two Heavy Gauges. We mentioned that these typical higher density strings cause an imbalance in a traditional wound 3rd set, but with a Lili’u set, the 1st string, being an octave down, now requires wound material for best sound as well. And so, as is so often the case with Linear strings, a double wound reentrant set does away with the overbearing drone of a traditional single wound reentrant set. The comparison to a double wound Linear set is apt in another respect as well. A Lili’u set gives reentrant tuning much of the same character as a double wound linear set. There is just as much sustain, the same sort of clarity, if not more, and if tuned to to same key, the 1st string will be only one note higher than a Linear 4th, meaning it will have much of the same depth as well.But with the deep note on the 1st string, there are important differences between a Lili’u set and a Linear set where the deep note is on the 4th. The most important of these is in 1st position strumming. Whereas a Linear set-up often sounds awkward in this setting, a Lili’u set up gives much better sounding 1st position strums. While the deepest note is only one step higher, putting it on the 1st string means your ear won’t “hear” it as the bass note, as is the case with a Linear strum. In other words, the awkward sounding inverted chords of Linear tuning go away. You still hear the 3rd string as your “root” as it should be. For more on this see Part 7 of the Tuning Your Ukulele series linked above. The other advantage is that the typical weakness of a Linear set - a 1st string that is either weak or overly tense is gone, and the set has a smoother, more focused sound. There’s always some sort of trade-off, however, and in the case of Lili’u tuning it comes with using it for melody playing. The low 1st string means that typical melody picking, while not impossible, would require dedicated practice. On the other hand, chord melody will require no adjustment at all; this is what Byron Yasui uses it for. And clawhammer and bass/strum work, while needing some slight adjustment in technique, are excellent with this arrangement as well.So 1st position chords from a Lili’u set-up have the same sweet sounds that traditional Ukulele reentrant chords have always given, while producing them with almost as much depth and just as much sustain as a Linear arrangement. It is a wonderfully effective set-up for those for those looking for greater depth for traditional Ukulele playing, and one that we are very pleased to present.Therefore the 4-string Lili’u set-ups should be prime consideration traditional playing styles where you want a sound with much of the depth of a Linear set-up and all the sustain. We can almost hear the sigh of relief from players who have been looking for 1st position strumming with sweet sounding chords, a deep tone and long, lingering notes.*************************************But what now if you’re just in love with the deeper Lili’u reentrant sound and while you mainly play traditional styles, you do some picking as well. Isn’t there a way to pull this off without a major adjustment in your picking patterns? Fortunately, the answer is yes! But the answer also involves buying a new Ukulele, one that accommodates 6 strings.The 6-string Ukulele was invented for just this sort of all around playing. In 1959, Hawaii was on the verge on becoming the 50th state, and the Islanders were in a celebratory mood. Sam Kamaka Junior was then in charge of the Kamaka Ukulele enterprise, having taken over from his father, Sam Sr. The elder Kamaka had started building Ukuleles almost from the creation of the instrument itself, and thus Sam Jr. learned the history of its inception from his father. He had the idea to create a unique design in honour of Hawaii’s statehood, and looked back to that early history for inspiration. The result was the modern 6-string Ukulele.The first models were apparently closer in size to the Rajão or Taropatch Fiddle, but rapidly grew to a body size more in line with a modern Tenor. Most manufacturers today simply add two strings to their existing Tenor bodies. But the tuning was something entirely new. The 4th course was single, the 3rd course was doubled in octaves with the variant being an octave higher than standard, the 2nd course was again single and the 1st course was again doubled in octaves, this time with the variant being an octave down. While D tuning was prominent on the Sopranos at that time, the 6-string took its cue from the old Rajão, and has always been formally tuned in C : g’ c’c” e’ a’a.Sam Junior called it the “Lili’u’” model, in honour of Hawaii’s last monarch, Queen Lili’uokalani. The name was an apt one, as the Queen was not only a renowned player of the Ukulele, but one of its foremost composers as well. She had penned “Aloha Oe”, a song many interpret as a farewell to Hawaiian independence, while imprisoned in ‘Iolani Palace following the overthrow of the monarchy. The result was spectacular. The 6-string Ukulele is probably the finest instrument in the Ukulele family when it comes to vocal accompaniment, having a full, rich chime which displays both depth from its octave 1st course, while keeping the flavour of the Ukulele reentrant sound and the advantages that arrangement gives in first position chords and strumming.And once again, folks like Sam Jr. and Byron Yasui understood that the choice of notes on any given set-up, and how the ear will interpret them are two different things. We mentioned above that the 4-string Lili’u set-up doesn’t display the sort of 1st position improper chord inversions one hears from a Linear set because the 1st string note, even though only one step off from a linear 4th, is not “heard” as a bass note. The same sort of effect comes into play with a 6-string. Picking a 4-string Lili’u set-up does leave you with a low 1st string that falls outside of traditional picking patterns. But with the 6-string, that low 1st is now paired with another 1st string an octave higher - one in the traditional octave. And when picked together, the ear “hears” the higher, 1st in the common octave as the dominant note. The low octave is simply “background depth”. You can hear it illustrated here on this demo from Peter Moss. You create your 6-string sets from the Lili’u page simply by using the Add-On option in the drop-down menu. The high octave 1st and 3rd strings are added to the 4-string Lili’u set, then packed and shipped together.*************************************And so with this background, let’s now go on to the reviews and tips for usage on specific sets. | music_and_dance |
https://blog.ageoflearning.com/abcmouse-songs-now-available-on-top-streaming-services-spotify-applemusic-amazon/ | 2023-03-21T10:15:53 | s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00234.warc.gz | 0.929917 | 332 | CC-MAIN-2023-14 | webtext-fineweb__CC-MAIN-2023-14__0__196549833 | en | Complete Collection of ABCmouse Songs Now Available on Major Music Platforms!
Music has always been a big part of ABCmouse Early Learning Academy, which offers more than 175 songs that help bring learning to life for children. Now, for the first time, our complete collection of ABCmouse music is available on major music platforms worldwide, including Spotify, Apple Music, Amazon Music, Pandora, and Google Play. With a listener base of more than 300 million people in more than 100 countries, these platforms expand the reach of ABCmouse to many more families around the world.
The ABCmouse music collection features dozens of original compositions, including a song for each letter of the alphabet, songs that teach about numbers, shapes, colors, geography, and much more. The collection also includes many new arrangements of classic children’s songs. We produce and record all our songs in our on-site recording studios in our headquarters in Los Angeles.
“Listening and singing along to music is a wonderful way for children to learn about the world around them and build rich vocabularies, particularly for young children who are not yet able to read,” said Dr. Rebecca Palacios, a Senior Curriculum Advisor and Curriculum Board Member at Age of Learning. “These ABCmouse songs will delight kids while developing important pre-literacy and literacy skills, and at the same time introduce young listeners to a wide range of musical styles.”
Families can find our music under ABCmouse on Spotify, Apple Music, Amazon Music, Tidal, Google Play, Pandora, and several other music platforms. Happy listening! | music_and_dance |
http://www.renoswings.com/page/2/ | 2018-02-22T10:18:03 | s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891814101.27/warc/CC-MAIN-20180222101209-20180222121209-00146.warc.gz | 0.947821 | 620 | CC-MAIN-2018-09 | webtext-fineweb__CC-MAIN-2018-09__0__237184855 | en | Posted by Clayton On November 9, 2015
We are excited to present our first Lindy Hop workshop. Clay and Cullen will be teaching a 3-hour workshop on Saturday, November 21st at the University of Nevada Reno from 1-4 PM. This workshop will benefit UNR’s Wolf Pack Swing Dance Club, and will be followed by social dancing until 7 PM. The workshop will be held in the Rotunda at the Knowledge Center on campus.
The workshop is open to the general public in addition to students – reserve your spot and purchase your workshop pass HERE. Please don’t hesitate to contact us with any questions at [email protected]
Here is a short bio on the teachers, Clay and Cullen:
Products of the swing revival of the late 1990’s, Clay & Cullen Mitchell met (officially) on the dance floor in late 2000, and started teaching together shortly thereafter. They have traveled throughout North America, dancing socially and honing their skills. They have taught regular group classes, private lessons and workshops in Northern California. They moved to the Reno area almost 2 years ago, and are excited to share their passion for Lindy Hop, their favorite partner dance.
Lindy Hop is an energetic, engaging and most of all fun partner dance that was incubated in the ballrooms of Harlem to the sound of some of the premier swing bands of the early 1930’s. Lindy Hop underwent a revival in the early 1990’s when small, dedicated groups of Swedish and American dancers searched for, and found, some of the original professional swing dancers and convinced them to share the dance. Vintage swing dancing, and especially lindy hop, now exists in cities throughout the US and is also popular across Europe, Asia and the rest of the world.
This is a dance for everyone, there’s no need to have any previous dance experience and people of all ages, shapes and walks of life are part of the lindy hop community. The Wolf Pack Swing Dance Club and lindy hop scenes around the world focus on inclusivity, providing a fun, safe space for socializing and dancing, and on having fun while connecting with another dancer for about three to four minutes (the typical length of a swing tune)!
We hope to see you at the workshop – if you’re coming, wear comfy clothes, bring a water bottle and shoes that have some slip to them.
Posted by Clayton On July 14, 2015
You have found a dedicated and growing group of swing dancers in the Reno/Tahoe/Carson City area.
We are bringing Vintage Swing Dancing (Lindy Hop, Jitterbug, Charleston, Shag, Balboa) to the Reno area. We are also a resource for information about West Coast Swing Dancing and Blues and Fusion Dancing.
We are just getting the website up and running, so bear with us. We are active on our Facebook page, and are starting to flesh out our calendar of dancing opportunities. | music_and_dance |
https://myfilmagenda.com/west-side-story/ | 2022-05-24T12:44:10 | s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00034.warc.gz | 0.724889 | 225 | CC-MAIN-2022-21 | webtext-fineweb__CC-MAIN-2022-21__0__31918060 | en | — Watch at Home —
*Purchases not made on this site
“West Side Story” tells the classic tale of fierce rivalries and young love in 1957 New York City.
West Side Story
|| Drama • Musical || 2021 || 156′
Release Date (U.S.A.) ► December 10, 2021
Rating ► [PG-13] Some strong violence, strong language, thematic content, suggestive material and brief smoking.
Ansel Elgort; Rachel Zegler; Ariana DeBose; David Alvarez; Mike Faist; Josh Andrés Rivera; Ana Isabelle; Corey Stoll; Brian d’Arcy James; Rita Moreno.
Adapted for the screen from the original 1957 Broadway show, with book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and concept, direction and choreography by Jerome Robbins.
Leonard Bernstein (Original Music Composer) | music_and_dance |
https://elsdenmusic.com/elsden-music/press-information/casper-hoedemaekes-heim/ | 2023-12-04T20:53:46 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100534.18/warc/CC-MAIN-20231204182901-20231204212901-00554.warc.gz | 0.894699 | 148 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__76411789 | en | Release Date: 01/07/2023
The debut release of London-based Dutch bass player Casper Hoedemaekers, Heim is an intimate duo of double bass and piano, an inviting, after-hours meditation on the idea of home.
In the five original compositions, there are themes of European identity, lockdown, displacement running through the five original compositions on this album. They show a tangle with tradition, drawing on jazz in its European and American vernacular. The minimal instrumentation of the music allows the rich sonority of the double bass to sound through, revealing the delicate counterpoint of its melodic lines with the piano.
Please get in touch if you’d like a review copy | music_and_dance |
http://www.grandpianist.com/ | 2019-09-23T20:05:59 | s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514578201.99/warc/CC-MAIN-20190923193125-20190923215125-00108.warc.gz | 0.956684 | 127 | CC-MAIN-2019-39 | webtext-fineweb__CC-MAIN-2019-39__0__37826900 | en | Great news for Billy Andrusco fans! Although it has been awhile since Billy has been
in the studio, upon hearing the vocal rendition of Augusta, the theme song for The
Masters golf tournament, he was inspired. Leonard Cohen's Hallelujah was another
song he had always wanted to record, and so, spontaneously, the process of building
out an album's worth of material continued. This collection of songs tells a story that
takes the listener on a journey of memorable tunes from decades gone by. A must
have for Billy fans! Click on "Order Form" to get your copy now! | music_and_dance |
https://bachddsoc.org/ | 2023-09-29T09:35:49 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510501.83/warc/CC-MAIN-20230929090526-20230929120526-00270.warc.gz | 0.887577 | 334 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__184095527 | en | "This an incredible historic spot for Jazz. The venue is tiny, with a real personal vibe and all good seats with a concert most Sunday afternoons."
"Wow, I'm kicking myself for not coming before. Saw Kendrick Scott Oracle this weekend and the show was incredible."
Half Moon Bay, CA
"The best venue in the SF Bay Area to see world class jazz in an intimate setting.The most lovely people attend the concerts so it's good vibes all the way around."
Pete transformed a tiny beach-side shack into one of the most intimate
and vibrant jazz venues in the world. Through the years, our concert
hall has come alive with a long list of jazz legends, including Betty
Carter, Bill Evans, Dexter Gordon, Stan Getz, Max Roach, McCoy Tyner,
Bobby Hutcherson, Art Blakey, Etta James, Milt Jackson, and Eliane
Elias, to name just a few. It’s no wonder that the Bach has been listed
as a DownBeat magazine “Great Jazz Venue” for several years running.
And beyond jazz, we have featured classic notables including the Kronos
Quartet and Mariano Cordoba. Pete’s vision and spirit live on at the
Bach through his daughters, as they carry on with a unique mix of
quality local, upcoming, and world class programming.
Interview with Pete Douglas
Visit our Gallery for more historical musical moments!Visit Gallery | music_and_dance |
https://www.zodiak.fi/en/sidestep/2020 | 2022-10-02T01:14:52 | s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030336978.73/warc/CC-MAIN-20221001230322-20221002020322-00395.warc.gz | 0.935296 | 868 | CC-MAIN-2022-40 | webtext-fineweb__CC-MAIN-2022-40__0__90633343 | en | Welcome to experience the week-long, wildly abundant dramaturgic offering of Side Step 2020! Our line-up is full of intense trips of varying duration from the peaks of party mountains to fever dream valleys and back again.
The programme of this year's Side Step was born out of a desire to create a whole that focuses on the plurality of the making of art and the diversity of artistic vision, power of expression, artistic practice and artist personalities. It resists easy summarisation under one title, slogan or demand.
We want to make Side Step 2020 a celebration of multiple ways of inviting the audience to the worlds of the performances by the sometimes very different artists, of different ways of offering these experiences and the meanings that arise from them. The performances in this year’s line-up are both overabundant and subtle yet powerful. The programme also features works that tune into the act of performance with a very delicate touch — but still, or perhaps exactly because of it, with great impact.
Even though the themes of the performances are difficult to bundle together, the art of performance, the personalities of the performers and strong choreographic vision are the primary factors that fascinate us and attract our attention. We want to give the stage to works that exhibit energy, aesthetic qualities and attitudes rarely experienced here, works in which the personal sphere and certain idiosyncratic extravaganza come together in exhilarating and amazing ways to tickle the inner worlds of the audience quietly — or sometimes brazenly.
We have also wanted to invite young Finnish artists to the festival, to give a platform for them to showcase their work as an essential part of the international line-up, and to support their relationship with the audience, their artistic thinking and their work as performers.
Side Step 2020 wants to celebrate the diversity and the richness of today’s dance and performance art. The festival is also a place of coming together that enables us to speak about art also in the coming years in different places, deliberately yet in surprising ways. And what is best, this edition of the festival comes with three fabulous festival clubs that we can enjoy together. The heart of the festival is the Side Bar that opens in Zodiak’s lobby for the festival week – one hour before the first performance every day of the festival and all night for the festival clubs.
Art makes fissures to existing ideals for light to shine through. We invite the audience of Side Step to explore these cracks and to surrender to the new ideas and observations that emerge through them. Let us celebrate the full beauty and roughness of art. La Vie En Rose!
Side Step Tickets 2020
60 € incl. service fee
Festival pass holder is entitled to collect performance tickets to all festival performances with entrance fee (1 ticket per show).
Festival pass holders are advised to reserve their seats to the desired performances by collecting the performance tickets in advance while purchasing the festival pass. NB. The festival pass does not serve as a ticket and does not guarantee a seat in the performances.
Festival passes can be purchased from Tiketti and Zodiak. The most convenient way to buy the pass is via the Tiketti website. Remember to reserve seats for the individual performances at the same time.
Please show the festival pass, together with your individual performance ticket, at the entrance. Both the festival pass and any performance tickets collected with it are personal.
There is a limited amount of festival passes available.
Performances at the Cable Factory: 30,50/24,50/16,50 €
Prices via Tiketti (incl. service fees)
Performances at Stoa: 31,00/25,00/16,50 €.
Prices via Lippu.fi (incl. service fees)
Reduced price applies for students, retired, unemployed, and theatre and dance professionals with a valid certificate.
- Zodiak’s season and serial tickets are not valid for festival performances.
- Purchased tickets cannot be returned or exchanged.
- Ticket reservations cannot be made by e-mail or text messages. | music_and_dance |
http://heyrhody.com/stories/rehoboth-contra-dance,28884 | 2018-10-16T19:24:55 | s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583510866.52/warc/CC-MAIN-20181016180631-20181016202131-00214.warc.gz | 0.870867 | 125 | CC-MAIN-2018-43 | webtext-fineweb__CC-MAIN-2018-43__0__58291670 | en | There will be a Rehoboth contra dance on Friday, October 12, at 8:00 p.m. at Goff Memorial Hall, 124 Bay State Road, Rehoboth, MA 02769. All dances will be taught by caller Lisa Greenleaf. Music will be performed by Stomp Rocket, with Dave Langford, Glen Loper, and Bethany Waickman. Beginners welcome. Partners not necessary. $10; $8 students. For information, call 508-252-6375; http://www.contradancelinks.com/rehoboth.html. | music_and_dance |
http://www.esteemedevents.co.uk/services/bands/ | 2016-05-05T08:30:33 | s3://commoncrawl/crawl-data/CC-MAIN-2016-18/segments/1461860126377.4/warc/CC-MAIN-20160428161526-00070-ip-10-239-7-51.ec2.internal.warc.gz | 0.871951 | 127 | CC-MAIN-2016-18 | webtext-fineweb__CC-MAIN-2016-18__0__32318566 | en | Our great selection of live entertainment are guaranteed to provide the perfect early evening atmosphere or get the party started, the choice is yours.
We offer from just a single vocalist with an acoustic guitar, all the way to a full on rock concert! We can even provide a covers karaoke band where YOU will be the star of the show, belting out the hits to your crowd of adoring fans!
Our hand picked live entertainers can provide a real mixture of classical, jazz, soul, funk, indie and rock covers, ensuring every Esteemed Event goes with a real swing.
Let us entertain you! | music_and_dance |
https://www.ctaccordion.com/caa-blog?Page=6 | 2023-12-01T06:53:36 | s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100276.12/warc/CC-MAIN-20231201053039-20231201083039-00319.warc.gz | 0.980682 | 144 | CC-MAIN-2023-50 | webtext-fineweb__CC-MAIN-2023-50__0__249437294 | en | Last September, 2016, the CAA was awarded a grant through the Arts and Cultural Collaborative, Waterbury Region, to deliver a program that introduced the accordion to band students at Wolcott High School. This is one of many outreach activities that are taking place locally as well as on a national level. The program in Connecticut involved classroom instruction about the accordion, opportunities for the students to learn the rudiments of the instrument as well as hear guest artists in solo and ensemble format. The program will allow the students to join the CAA orchestra on their own instruments in concert on May 21 at the Mattatuck Museum. They will also perform for their own student body at Wolcott High School on May 24. | music_and_dance |
http://www.sync-blog.com/sync/2011/10/rocksmith-takes-music-games-to-11.html | 2013-05-22T09:50:06 | s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368701562534/warc/CC-MAIN-20130516105242-00090-ip-10-60-113-184.ec2.internal.warc.gz | 0.955819 | 904 | CC-MAIN-2013-20 | webtext-fineweb__CC-MAIN-2013-20__0__43948081 | en | Just when you though the music game craze was over and done with, Ubisoft is back with the first and only game that lets you plug in any real guitar.
If you’re ready to hang up your plastic peripherals in music games like Guitar Hero and Rock Band, you’ll have a blast rocking out with Ubisoft’s Rocksmith.
While the game might be a bit intimidating for non-musicians, Rocksmith is worth the price of admission for its engaging gameplay, great music and perhaps most importantly, real-world applications, as you can really learn how to play guitar in a fun and interactive manner.
If you already own a six-string, Rocksmith costs $79.99 for the game and a “patch cord” converter cable that has a quarter-inch jack on one end (to plug into your guitar) and a USB connection on the other end (to plug into a PlayStation 3, Xbox 360 or Windows PC). If you don’t already own an electric guitar you might opt for the $199.99 bundle, which includes a Gibson Epiphone Les Paul Junior guitar, as well as the game and cable. The Epiphone is an “entry level” guitar, my musician friends tell me, but two bandmates who came over to play said they were impressed with the quality of the guitar after holding and strumming it.
Similar to previous music games, you’re tasked with jamming along to popular rock songs from today and yesterday. But instead of pressing buttons on a plastic peripheral with large colourful buttons that trigger samples, you’re really playing notes or chords to rack up points. Think of your television as a guitar amplifier as what you play can be heard through the speakers. The game offers some helpful tools to get started, such as an easy-to-follow string tuner and a way to adjust guitar latency (the lag between hitting the strings and hearing the sound). There is no paper manual in the box, but the in-game tutorials will help newbies nicely.
The game includes more than 50 rock songs on the disc, including The Rolling Stones’ “(I Can’t Get No) Satisfaction,” David Bowie’s “Rebel Rebel,” Lenny Kravitz’s “Are You Gonna Go My Way,” Nirvana’s “In Bloom” and The White Stripes’ “Icky Thump,” to name a few — many of which need to be unlocked by performing well. Each of these tunes feature the real lead, rhythm and combo guitar licks, but Rocksmith automatically adjusts to your skill level; the game gets easier if you’re having trouble (slowing down and switching to single notes instead of chords) or it will get more difficult if you’re breezing through the tracks and racking up a lot of points.
While not tested for the purposes of this review, the game includes a split-screen multiplayer option to play with friends or family. There’s also a variety of in-game effects or “pedals” to tweak the sound – such as distortion or reverb – and you can unlock and play various mini-games to hone your skills, such as racing, action and puzzle diversions.
Visually speaking, the game isn’t too impressive – the dark environments and lackluster audience aren’t much to look at – but this is more acceptable for a music-focused game. Plus, there’s no support for other instruments (drums, bass, vocals, synthesizer, etc.), so those expecting a complete Rock Band-like experience might be disappointed.
So, who is it for, exactly? I’d argue the game is ideal for those who’ve always wanted to learn how to play guitar — and likes rock music — but it’s also a “game,” too, therefore fans of Rock Band and Guitar Hero who want a deeper and more challenging experience will also find this a sound investment. You’ll save a bundle if you already own a guitar, of course, but $200 for an electric guitar, cables and a 50-song game isn’t a bad deal either.
Also, here’s a trailer to the game: | music_and_dance |
https://www.okcasa.net/the-fitness-benefits-of-ballet-dance-classes/ | 2022-08-12T01:55:14 | s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882571538.36/warc/CC-MAIN-20220812014923-20220812044923-00427.warc.gz | 0.949733 | 639 | CC-MAIN-2022-33 | webtext-fineweb__CC-MAIN-2022-33__0__108143365 | en | Adult Ballet Classes Melbourne – Would you like to have longer, leaner muscles and improved coordination? If so, an adult ballet barre classes may be perfect for you and offer a refreshing alternative to the typical gym experience. At Dance Dynamics, you can discover how Ballet fitness in Melbourne can help you reap these benefits and much more.
How Ballet Can Improve Your Fitness Level
There are many reasons to dance, whether as a challenge, to have fun, or as a form of exercise. When considering a new dance class, it may be helpful first to figure out where your interests lie. If you’re looking to improve your overall fitness, you may be surprised at how effective ballet can be.
In recent years, ballet has become a popular fitness trend, yet some misconceptions remain around this classic dance style. For example, many people think you need to have a petite “dancer’s build” to do ballet. This couldn’t be further from the truth! Ballet is a perfect way to get in shape, no matter your body type or whether you are age 15 or 75.
The idea of starting a ballet class may sound intimidating, but you can rest assured that our professional dance instructors will work with you at your level to ensure you are comfortable each step and plié along the way. Our ballet dance classes in Melbourne focus on both the exercise and fun aspects of this dance form. Our group classes can help you tone up and burn fat, all while having a more socially engaging experience than you likely would with your usual workout routine.
If you’ve never considered ballet to be a cardio experience, taking a ballet dance class at one our Melbourne studios may just change your mind. Our ballet barre classes, for example, provide a high-energy workout inspired by the classic movements and forms of ballet for a continuous fat-burning routine. Over time, both traditional ballet and barre workouts have the potential to get you in the best shape of your life. Not only that, you may find that ballet is the best way to de-stress and get some much-needed ‘me’ time, where the rest of your cares can wait while you focus on your moves.
Where to Find a Great Ballet Dance Class in Melbourne
At Dance Dynamics, we offer ballet barre classes for all ages, including adults and kids, as well as nearly 20 other dance styles for dancers and movers of all types. Even seniors and those with special needs can benefit from our dance-based fitness classes. With over 180 classes per week, you are sure to find something to match your interests and requirements. All our classes focus not only on physical fitness but improving mental health as well, helping you to feel great about yourself and your abilities. Each class is also an excellent way to meet new people and make supportive friends along the way who share your interest in dance.
If you’d like to know more about how you can benefit from ballet fitness in Melbourne, be sure to visit one of our studios or check our timetable for upcoming classes before signing up for a membership with Dance Dynamics. | music_and_dance |
http://www.wraithnj.com/music/index.php?q=f&f=%2Faudio | 2023-09-30T18:32:33 | s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510707.90/warc/CC-MAIN-20230930181852-20230930211852-00218.warc.gz | 0.970839 | 169 | CC-MAIN-2023-40 | webtext-fineweb__CC-MAIN-2023-40__0__18544910 | en | |Welcome to the Wraith family music site. I am the author of this site, William Wraith, IV. I love to play classical guitar and have put my recordings on this site. My dad, William Wraith, III sings and plays guitar. I have included some recordings of his, as well. My guitar teacher in Lima, Peru, Humberto Pimentel Fonseca, got me started, and I've played continuously since then. My dad recorded him and a friend of his Fernando Rodriguez playing guitar in 1969 and 1970. Enjoy the content on the site. If you want to get in touch after visiting the site, email me: bwraith (at) wraiths (.) com. The address is garbled to confound email harvesting programs, but you can figure out how to redo that address. | music_and_dance |
https://jasonpdoherty.wordpress.com/my-recordings-music/ | 2020-09-29T13:02:28 | s3://commoncrawl/crawl-data/CC-MAIN-2020-40/segments/1600401643509.96/warc/CC-MAIN-20200929123413-20200929153413-00059.warc.gz | 0.93866 | 148 | CC-MAIN-2020-40 | webtext-fineweb__CC-MAIN-2020-40__0__267948901 | en | I have recorded hundreds of songs and released several albums under the artist name Motherhalo. These are some of my recordings that I would like to share with you here. There are a lot of genres represented, so feel free to browse through my albums.
- Peripheral Hallucinations II LP (Electronic, 2017)
- Illuminator (Instrumental Piano, 2009)
- Motherhalo LIvE + (Singer-songwriter, 2012)
- 23 Plus Signs (Experimental-industrial, 2012)
If you would like to hear even more of my music, visit my Bandcamp Artist Page HERE.
Updates and recent recordings can be found on my Soundcloud page HERE. | music_and_dance |
http://thebagpiper.org/ | 2018-10-23T06:27:05 | s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583516071.83/warc/CC-MAIN-20181023044407-20181023065907-00461.warc.gz | 0.933017 | 323 | CC-MAIN-2018-43 | webtext-fineweb__CC-MAIN-2018-43__0__57774701 | en | With my 40+ years of performing experience, my professional musicianship will provide you with top-quality music for your special event. Whether it be a funeral, wedding, birthday party, graduation, corporate event, or golf tournament, my bagpiping will be a memorable experience for you and your guests. Serving the greater San Francisco Bay Area, I offer Irish and Scottish, patriotic, and hymnal music for your selection and perform in full highland dress with Campbell tartan.
I’ve performed at over 350 weddings and 700 funerals. Some of my past performances include playing with six-time Grammy-winners The Chieftains, leading the Oscar award for “Brave” into the Pixar studio headquarters, performing for the cast and crew of “Star Trek Into Darkness”, playing for the Mayor of San Francisco, and being part of a group that played for the Queen of England on her visit to San Francisco. In addition, I have been featured on Live 105 radio station, a TV commercial for Tennent's Scottish beer, Channel 11 KNTV morning news, and the Raiders playoff half time show.
I studied under World Champion Pipe Major Donald Shaw Ramsay, B.E.M. I have played in numerous pipe bands, including The San Francisco Irish, Alameda County Sheriffs, Dunvegan, The Seattle Clansmen and The Diablo Highlanders.
If interested, I can supplement my performance with drummers, Scottish Highland dancers, and Irish step dancers for added entertainment value. I’ll be happy to discuss your needs and make arrangements. | music_and_dance |
https://composer.ucoz.ua/load/naukovi_statti/naukovi_statti_zarubizhnikh_avtoriv/marta_mateo_music_and_translations/66-1-0-466 | 2022-06-25T04:46:32 | s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103034170.1/warc/CC-MAIN-20220625034751-20220625064751-00341.warc.gz | 0.920595 | 254 | CC-MAIN-2022-27 | webtext-fineweb__CC-MAIN-2022-27__0__223404344 | en | Marta Mateo Music and Translations
The translation of musical texts – or music-linked translation, in Harai Golomb's terms (2005: 121-162) – has only recently started to receive attention from translation researchers. One reason for this may be the methodological challenges that its study entails, for it redraws traditional boundaries such as those between 'translation'*, 'adaptation'*or 'rewriting', it questions essential concepts such as 'authorship' or 'source-text' and it clearly calls for a multidisciplinary approach (Susam-Sarajeva 2008: 188-9). Two monographic publications have now joined the small group of articles so far devoted to Music and Translation: Gorlée 2005 and Susam-Sarajeva 2008, which show that the translation of musical texts goes well beyond opera,takingmultiple forms – from the (literal) translations of CD inserts or printed libretti to sung translation, the rewriting of song lyrics, surtitling, subtitling* or dubbing*. This entry will present an overview of the field, focusing mainly on the translation of opera in its various forms – as it has attracted most attention–, and that of songs and musicals. | music_and_dance |
http://smithsrestaurant.net/Jazz%20at%20Smiths.htm | 2017-09-26T09:10:57 | s3://commoncrawl/crawl-data/CC-MAIN-2017-39/segments/1505818695375.98/warc/CC-MAIN-20170926085159-20170926105159-00025.warc.gz | 0.920521 | 133 | CC-MAIN-2017-39 | webtext-fineweb__CC-MAIN-2017-39__0__244621624 | en | LIVE MUSIC AT SMITHS
with Jeremy Sassoon and Guests
Hear some of the region's finest musicians play jazz and lots more !
Meals and drinks at menu prices - the music comes free !!
7.15pm ….. Music from 7.30pm
LIVE MUSIC AT SMITHS IN SEPTEMBER
Tuesday 5th Zoe Kyoti ( vocals / guitar )
Tuesday 12th Ellis Davies ( vocals / guitar )
Tuesday 19th Jeremy Sassoon ( vocals / piano )
Tuesday 26th Paul Bytheway ( vocals / guitar )
US ON 0161 788 7343 to book your table !! | music_and_dance |
https://www.dolomitisuperski.com/en/Dolomiti-Super-Stories/alpe-di-siusi/Swing-on-Snow | 2024-02-21T18:04:27 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473524.88/warc/CC-MAIN-20240221170215-20240221200215-00235.warc.gz | 0.898915 | 261 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__34735055 | en | Alpe Di Siusi
Jazz in the mountain huts, soul on the slopes and traditional tunes in the restaurants in the evenings: From 13.03.-15.03.2024 and from 20.03.-22.03.2024, musicians from all over the Alpine region will be bringing musical cheer to the Dolomites Region Seiser Alm at the Swing on Snow festival from morning to night. Bands and singers will be getting old and young, winter sports visitors and music lovers alike, into the party mood. The modern interpretation of traditional folk music with jazz, soul and pop reflects the musical culture of the Alps; listeners can swerve in time to the beats and rhythms, and weave their way downhill to the sounds of the tuba, bass, dulcimer and accordion. Renowned musicians such as the exceptional South Tyrolean guitarist Manuel Randi or the renowned wind ensemble Federspiel await you.
Concerts will be played at the valley station of the cable way Seiser Alm and the slopes of the Seiser Alm in the mornings and afternoons in the huts and evenings in the villages of Kastelruth, Seis am Schlern, Völs am Schlern and Tiers am Rosengarten. | music_and_dance |
https://nycago.org/people/janet-yieh/ | 2024-02-21T18:47:27 | s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473524.88/warc/CC-MAIN-20240221170215-20240221200215-00585.warc.gz | 0.936192 | 363 | CC-MAIN-2024-10 | webtext-fineweb__CC-MAIN-2024-10__0__117723696 | en | Janet Yieh serves as Associate Organist at Trinity Church, Wall Street in New York City. An innovative concert recitalist and sacred music specialist, Janet was named one of ’20 under 30’ to watch by The Diapason magazine in 2017. She has performed concert tours throughout the United States and across the globe, with highlights including New York’s Alice Tully Hall, Washington’s National Cathedral, Yale University’s Woolsey Hall, Taipei’s St. John’s Cathedral and Japan’s Momoyama St. Andrew’s University Chapel. She has collaborated with the Paul Winter Consort, the Washington Chorus at the Kennedy Center, and Trinity’s NOVUS NY orchestra at Carnegie Hall. She regularly premieres new works for the organ, and has been featured on the national radio show Pipedreams, New York’s WQXR, New Jersey’s WWFM, Connecticut’s WMNR, and two CD recordings. A native of Alexandria, Virginia, Janet’s former teachers include Thomas Murray, Paul Jacobs, John Walker, Wayne Earnest and Victoria Shields. She holds a Master’s of Musical Arts Degree and Master’s Degree in Organ Performance from the Yale School of Music and Yale Institute of Sacred Music and a Bachelor of Music from the Juilliard School. Janet has served as Organ Scholar at Christ Church and Trinity Church on the Green in New Haven, and Director of Music for Berkeley Divinity School at Yale. She is a Colleague of the AGO, co-chair of the Northeast AGO Young Organists Board and a member of the Association of Anglican Musicians.
Categories: Class of 2022, Current Board Members | music_and_dance |
https://kinderchor.berlinerkonzert.org/en/the-childrens-choirs/ | 2019-09-23T16:21:23 | s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514577363.98/warc/CC-MAIN-20190923150847-20190923172847-00186.warc.gz | 0.908369 | 355 | CC-MAIN-2019-39 | webtext-fineweb__CC-MAIN-2019-39__0__109566672 | en | The Children's Choirs
of the Berliner Konzert Chor
The encouragement and promotion of singing from an early age is one of our fundamental goals. For more than forty years the Berliner Konzert children’s choirs have been providing children from five to fourteen years of age the opportunity to participate not only in their own concerts but also in those of the main choir.
The regular rehearsals take place once a week under the direction of Olga Kisseleva and also include voice training. Additional choir activities take place on the outskirts of Berlin, including the occasional mini-concert tour. Information about the concert dates of our young “Spatzen” (“sparrows”) is included below.
For children ages fourteen and older there is our youth choir, the Berliner Konzert Jugendchor. The training and experience received in the children's choirs makes for an easy transition to the youth choir.
Give us a call for more information, if your child would like to sing with our “Spatzen”.
Sunday, 2 December 2018
THE FIRST NÖEL - Christmas concert in the Fellowship Hall of the Evangelical Church Alt-Schmargendorf, Kirchstraße 15, 14199 Berlin | 4:00 p.m.
Sunday, 9 December 2018
Christmas Concert of the Potsdam Men's Choir, Potsdam Nikolaisaal, Wilhelm-Staab-Str. 11 | 3:00, 6:30 p.m.(Große Spatzen)
Sunday, 16 December 2018
At the Christmas Market at Gendarmenmarkt | 1:00 p.m. | music_and_dance |
https://www.themackerelmakery.net/product-page/dipsticks-music | 2021-06-15T03:20:38 | s3://commoncrawl/crawl-data/CC-MAIN-2021-25/segments/1623487616657.20/warc/CC-MAIN-20210615022806-20210615052806-00405.warc.gz | 0.826893 | 103 | CC-MAIN-2021-25 | webtext-fineweb__CC-MAIN-2021-25__0__200583517 | en | Dipsticks Music by Talking Tables, Sing the first line of a song for your friends and family to sing the next line.
Bonus points for guessing the song title and artist.
Contains 80 double sided sticks.
Recommended for ages 7+.
Suitable for 2+ players.
- Packaged height: 18.0cm;
- Packaged width: 5.5cm;
- Packaged depth: 5.5cm;
- Packaged weight: 0.133kg. | music_and_dance |
https://veronikanyssa.wordpress.com/2011/07/08/sabaton-rock-am-hartsfeldsee-dischingen-germany-25-06-2011-r/ | 2020-11-25T08:16:14 | s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141181482.18/warc/CC-MAIN-20201125071137-20201125101137-00609.warc.gz | 0.68392 | 173 | CC-MAIN-2020-50 | webtext-fineweb__CC-MAIN-2020-50__0__71387984 | en | SABATON @ Rock Am Härtsfeldsee – Dischingen, Germany – 25. 06. 2011 *R
SABATON official website: http://www.sabaton.net/
This entry was posted on July 8, 2011 by Veronika Nyssa. It was filed under Rock am Härtsfeldsee 2011, Sabaton and was tagged with 2011, am, band, Brodén, Daniel, dischingen, Falun, Festival, germany, haertsfeldsee, Härtsfeldsee, Joakim, June, metal, Montelius, Mullback, music, Musik, Myhr, Oskar, Pär, power, RAH, Rikard, rock, Sabaton, Sundén, Sundström, Sweden. | music_and_dance |
https://vikosan.vn/doja-cat-diversity-and-innovation-in-music/ | 2024-04-23T21:27:50 | s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818740.13/warc/CC-MAIN-20240423192952-20240423222952-00320.warc.gz | 0.906186 | 734 | CC-MAIN-2024-18 | webtext-fineweb__CC-MAIN-2024-18__0__99346590 | en | Doja Cat, a true musical maverick, has etched her name in the annals of the music industry by seamlessly blending diversity and innovation into her craft. This article delves into the multifaceted dimensions of Doja Cat’s musical prowess, exploring the diverse genres she effortlessly traverses and the innovative approaches that define her unique sound.
**Eclectic Soundscapes: A Genre-Defying Journey**
One of the standout features of Doja Cat’s music is its genre-fluid nature. From the hip-hop-infused beats of “Juicy” to the disco-inspired rhythms of “Say So” and the R&B sensibilities in “Streets,” Doja Cat defies categorization. Her ability to fluidly move between genres showcases a true mastery of sound and an openness to experimentation that captivates audiences across the musical spectrum.
**Lyrical Wit and Versatility: Crafting Sonic Narratives**
Doja Cat’s lyrical prowess is equally diverse, with each song telling a unique story. Whether delivering playful and catchy verses or delving into more introspective themes, her lyrics resonate with authenticity. This versatility in storytelling contributes to the relatability of her music, connecting with listeners on a personal level.
**Innovative Production Techniques: Pushing Sonic Boundaries**
At the heart of Doja Cat’s innovation lies her approach to production. Her tracks often feature unconventional beats, unexpected instrumentals, and intricate arrangements that challenge traditional norms. This commitment to pushing sonic boundaries results in music that feels both fresh and unpredictable, creating an immersive experience for the listener.
**The TikTok Phenomenon: Social Media as a Catalyst**
Doja Cat’s awareness of digital trends and her embrace of platforms like TikTok have played a pivotal role in propelling her music to viral success. Songs like “Say So” became anthems for dance challenges, showcasing the symbiotic relationship between her innovative sound and the ever-evolving landscape of social media.
**Visual Storytelling: Music Videos as Artistic Canvases**
In addition to her sonic creativity, Doja Cat’s music videos serve as visual masterpieces that complement and enhance the narrative of her songs. Each video is a carefully crafted piece of visual storytelling, featuring bold aesthetics, imaginative concepts, and an undeniable flair for artistic expression.
**Fashion Forwardness: A Visual Extension of Creativity**
Doja Cat’s innovation extends beyond music and visuals to the realm of fashion. Her bold and eclectic fashion choices not only contribute to her overall persona but also serve as an extension of her creative expression. From red carpet appearances to music video ensembles, she consistently showcases a fearless and trendsetting approach to style.
**Global Collaborations: Bridging Cultures and Sounds**
The diversity in Doja Cat’s music is further enriched by her collaborations with artists from around the world. Engaging with diverse voices and styles, she transcends geographical boundaries, creating a global fusion of sounds that resonates with audiences internationally.
**Conclusion: A Sonic Visionary**
In conclusion, Doja Cat’s music is a testament to her status as a sonic visionary. Her ability to seamlessly blend diverse genres, coupled with innovative production techniques and a keen understanding of digital trends, places her at the forefront of modern music. As she continues to evolve and experiment, Doja Cat’s impact on the musical landscape will undoubtedly continue to shape and redefine the industry. | music_and_dance |
http://mindhealthfortune.com/2016/12/19/celebrities-who-talked-about-their-death-before-it-happened/ | 2017-04-26T21:20:03 | s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121665.69/warc/CC-MAIN-20170423031201-00347-ip-10-145-167-34.ec2.internal.warc.gz | 0.984381 | 212 | CC-MAIN-2017-17 | webtext-fineweb__CC-MAIN-2017-17__0__10452278 | en | 1. Jimi Hendrix
Even though Jimi Hendrix’s mainstream career only lated four years, it was enough to make him arguably the greatest guitarist of all time and one of the greatest musicians ever. He was the recipient of several music awards during his lifetime and after his death. But before achieving enormous success with his critically acclaimed debut album, Are You Experience?, he recored “The Ballad of Jimi,” a haunting tune that many fans suggest Jimi Hendrix was portraying his own death. He sings, “Many things he would try/For he knew soon he’d die,” “Now Jimi’s gone, he’s not alone/His memory still lives on” and “Five years, this he said/He’s not gone, he’s just dead.” Five years after the recording of the song, on September 18, 1970, Jimi Hendrix died accidentally from barbiturate-related asphyxia. | music_and_dance |
http://salikon.dk/loom_tchaikovsky_swan_lake.html | 2019-02-18T09:31:29 | s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247484772.43/warc/CC-MAIN-20190218074121-20190218100121-00577.warc.gz | 0.985015 | 545 | CC-MAIN-2019-09 | webtext-fineweb__CC-MAIN-2019-09__0__151736414 | en | Pyotr Il'ich Tchaikovsky (1840-1893)
Ballet in the Letters of Tchaikovsky
In the summer of 1871, Tchaikovsky went to stay with his sister Alexandra Davydova on her estate at Kamenka, in the Ukraine. For her children he wrote a little domestic ballet which he called "Swan Lake". Everybody was involved, including his brother Modest as the Prince, and the entertainment was long remembered with pleasure by the family.
By the end of May 1875, Tchaikovsky had for unknown reasons received the commission for a full-length ballet on "Swan Lake". He accepted and told Rimsky-Korsakov that he accepted:
"Partly because I want the money, but also because I have long had the wish to try my hand at this kind of music."
Lacking a proper musical tradition to give expressive substance to its ballet tradition, which had hitherto depended largely upon the purely decorative and virtuoso, the Russian theatre was not ready for so ambitious a score as "Swan Lake", and innovations were regarded as suspect. The first to rebel were the orchestral players. Bemused by the unprecedented difficulty of the score, they found little help from their conductor. The dancers, required to act out a dance drama rather than merely show their paces in a set of pretty numbers or exhibitionist turns, were at a loss. On top of that the décor was feeble, as contemporary drawings show, and was prevented from achieving any kind of expressive unity by being parcelled out between three different designers. The ballet became a complete fiasko and on the 7th of December 1877, Tchaikovsky wrote to the composer Sergei Taneyev:
"Listened to the Leo Delibes's ballet "Sylvia". In fact, I actually listened, because it is the first ballet, where the music constitutes not only the main, but the only interest. What charm, what elegance, what richness of melody, rhythm, harmony. I was ashamed. If I had known this music early then, of course, I would not have written "Swan Lake"".
The history of "Swan Lake" as a successful ballet really dates from the 1895 revival of the complete work with choreography by Marius Petipa and Lev Ivanov, at the Maryinsky Theatre in St. Petersburg. Unfortunately Tchaikovsky did not live to see it. He died in 1893 convinced of Swan Lake's failure.
Research: John Warrack and Thomas Kohlhase
Translation of Tchaikovsky letters: Olga Gerdt | music_and_dance |
http://digitalcommons.georgiasouthern.edu/music/ | 2017-06-26T19:10:51 | s3://commoncrawl/crawl-data/CC-MAIN-2017-26/segments/1498128320863.60/warc/CC-MAIN-20170626184725-20170626204725-00508.warc.gz | 0.898013 | 126 | CC-MAIN-2017-26 | webtext-fineweb__CC-MAIN-2017-26__0__262884503 | en | Department Chair: Steven A. Harper
The Department of Music endeavors to be everything that great music itself is: inspiring, engaging, and profoundly affecting.The Department’s 33 faculty members exemplify the University’s long-standing commitment to first-rate teaching and professional excellence. Offering richly diverse and intriguing experiences on the stage and in the classroom that are hallmarks of a Georgia Southern education, the Department of Music fosters an environment where majors and non-majors can participate in meaningful music-making.
Browse the Department of Music Collections:
Music Faculty Bookshelf
Music Faculty Publications | music_and_dance |
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