From the golden-haired, curly-headed half of Simon & Garfunkel - a memoir (of sorts): artful, moving, lyrical; the making of a musician; the evolution of a man, a portrait of a lifelong friendship and collaboration that became one of the most successful singing duos of their time. Art Garfunkel writes about his life before, during, and after Simon & Garfunkel...about their folk-rock music in the roiling age that embraced and was defined by their path-breaking sound. He writes about growing up in the 1940s and '50s (son of a traveling salesman), a middle class Jewish boy, living in a red brick semi-attached house in Kew Gardens, Queens, a kid who was different - from the age of five feeling his vocal cords "vibrating with the love of sound"...meeting Paul Simon in school, the funny guy who made Art laugh; their going on to junior high school together, of being 12 at the birth of rock 'n' roll, both of them "captured" by it; going to a recording studio in Manhattan to make a demo of their song "Hey Schoolgirl" (for $7!) and the actual record (with Paul's father on bass) going to number 40 on the national charts, selling 150,000 copies.... He writes about their becoming Simon & Garfunkel, taking the world by storm, ruling the pop charts from the time he was 16, about not being a natural performer but more a thinker...touring; sex-for-thrills on the road, reading or walking to calm down (walking across two continents - the USA and Europe). He writes of being an actor working with directors Nicolas Roeg (Bad Timing) and Mike Nichols ("the greatest of them all")...getting his master's in mathematics at Columbia; choosing music over a PhD; his slow, unfolding split with Paul and its aftermath; learning to perform on his own, giving a thousand concerts worldwide, his voice going south (a stiffening of one vocal cord) and working to get it back...about being a husband, a father, and much more. 1. Language: English. Narrator: Art Garfunkel. Audio sample: http://samples.audible.de/bk/rand/005245/bk_rand_005245_sample.mp3. Digital audiobook in aax.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Chad Channing is an American musician who is best known for being the drummer of the band Nirvana from 1988 until 1990, during which time they recorded and released their debut album Bleach. He currently sings and plays bass in the band Before Cars.Chad Channing was born on January 31, 1967, in Santa Rosa, California, to Burnyce and Wayne Channing. Wayne was a radio disc jockey and the family was constantly moving all over the country due to different jobs being offered to him. At the age of thirteen Chad shattered his thigh bone in an accident during gym class. Over the years of rehabilitation and surgeries he discovered music, beginning with a bass guitar which his parents bought him. The bass filled Chad''s time as he was unable to go to school. When he was out of his leg casts, his parents bought him a drum set to help build strength in his legs. Chad was a natural at the drums and began jamming with friends.
Richard Melville Hall (born September 11, 1965), better known by his stage name Moby, is an American DJ, singer-songwriter, and musician. He sings and plays keyboard, guitar, bass guitar and drums. Moby became a successful artist on the ambient electronica scene, and achieved eight top 40 singles in the UK during the 1990s. In 1999 he released the album Play, a mix of melancholic chill-out, ambient music, and upbeat electronica, that was critically acclaimed and produced an impressive eight hit singles (including his most popular songs "Porcelain", "Natural Blues" and "Why Does My Heart Feel So Bad?"). Play became a commercial and cultural phenomenon, selling over 10 million copies worldwide (the biggest-selling electronica album ever) and with its eighteen songs receiving an unprecedented licensing in films, television and commercial advertisements.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Natural Ingredients, released in 1994 (see 1994 in music), was the first full-length album by Luscious Jackson. It features early classics such as "Citysong", "Deep Shag" and "Here". Luscious Jackson are an Alternative rock group formed in 1991. The band's name was inspired by now-retired American basketball player Lucious Jackson. The original band consisted of Jill Cunniff (vocals, bass), Gabby Glaser (vocals, guitar), and Vivian Trimble (keyboards, vocals). Drummer Kate Schellenbach joined the band midway through recording of their debut EP In Search of Manny. With the exception of a few non-LP cover songs, the band wrote all of their own material, the majority penned by vocalists Cunniff and/or Glaser.
- The Riot headset from Skullcandy features a Supreme Sound technology which produces attacking, powerful bass with warm, natural vocals that takes your music experience to new heights.- This headset comes with an ultra-durable flat cable which decreases any nasty tangles that you may encounter. It also gives the headset a refined and unique look.- The Skullcandy Riot headset comes with a single button in-line remote with mic which lets you answer and end calls, play/pause music and cycle through your playlist.
Mit Kerri Chandler ist eine der Galionsfiguren der Szene dran. Der MadHouse- und MadTech-Gründer spannt seine Vision von zeitgemäßem House über 18 Neuerscheinungen, Klassiker, Evergreens und zwei exklusive Eigenproduktionen.nnNachdem sich Mathias Kaden als letzter Mischmeister der Watergate-Compilations behaupten konnte, ist mit Kerri Chandler nun eine der Galionsfiguren der Szene an der Reihe. Zum elfjährigen Bestehen des Clubs erreichen die Mix-CDs bereits Nummer 15 - in Anbetracht der langen Beziehung die Kerri mit dem Watergate pflegt, scheint das der perfekte Zeitpunkt für dessen Einschreibung in das Tonarchiv ihres hausinternen Labels zu sein. Der MadHouse- und MadTech-Gründer spannt seine Vision von zeitgemäßem House über ein Gerüst aus 18 Tracks. Dazu greift er auf Neuerscheinungen, Klassikern, Evergreens und zwei exklusiven Eigenproduktionen zurück. Der Anspruch eine Live-Aufnahme abzuliefern ist in Zeiten der digitalen Manipulierbarkeit kein Selbstverständnis mehr. Salopp formuliert - es fühlt sich echt an. Der Mix rollt zunächst mit Diva-House à la Detroit Swindle los, handwerklich meisterhaft übergeleitet in das bassgeschwängerte Basic Fire von Headless Ghost. Nach einem Ausflug in die akustische Welt von MadTech-Records erwartet uns mit Think of Something Kerris erste exklusive Produktion für diese Compilation. Kerri Chandler hat in den letzten 12 Monaten bleibende Eindrücke in der House-Szene hinterlassen, aber diese zeitlose Watergate-Compilation beweist, dass er stetig neue Wege erkundet und Mut zur Veränderung hat. Watergate 15 erscheint am 14.02.2014. TRACKS: 01. Detroit Swindle - Guess What (Dirt Crew Recordings) 02. Headless Ghost - Basic Fire (Clone Royal Oak) 03. Huxley - Like One (Chris Lattner Remix) (Act Natural Records) 04. No Artificial Colors feat. Alex Mills - Crying Wolf (Champion Records Ltd / Madtech Records) 05. Kerri Chandler - Think of Something (Watergate Records) 06. Alix Alvarez - Fayall (Nathan Barato Edit) (These Days Records) 07. Clé - Feel It (Don't Cha Know) (Poker Flat Recordings) 08. Italoboyz Vs Blind Minded - Sti Drumsy (Superfiction Recordings) 09. Johnny D - Point Of No Return (Oslo Records) 10. Nu feat. Jo Ke - Who Loves The Sun (Bar25) 11. D'Julz - Madness (The Martinez Brothers Feat. Phil Weeks Edit) (Bass Culture Records) 12. Kerri Chandler feat. Jerome Sydenham - Mama (Watergate Records) 13. Renato Figoli - Underpool (Losoul Remix) (Amam / Renovatio Music) 14. Subb-an - This Place (Nick Fanciulli Remix) (Saved Records) 15. Real Cool - U Know, U Know (Geogra hy Records) 16. Tom Demac - Crewcuts And Curls (Jamie Jones' Water Cooler Remix) (Murmur Records) 17. DJ W!ld - Gorilla (One Records) 18. Shonky - Le Velour (Real Tone Records)
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Daniel Schnyder's 'Music for Four Guitars' reflects on various aspects of guitar music. The composition superimposes modern rhythms of South American provenience with European forms and compositional techniques. The fusion of these elements creates new music which at the same time sounds familiar. The combining of the two different worlds of music illuminates the diversity of today's music and it's beautiful possibilities on infinite new combinations. 'Unveiling of a Canon' is build on a canon, hidden behind rich ornamentations and melodic embellishments. The canon gradually unfolds as the piece develops. At the end of the movement the canon presents itself in its original form. The canon is the strictest musical form. The art of embellishments over a canon is rarely heard today. Jazz and jazz related music concentrate on improvising over chord structures - vertical structures - rather than improvsing over polyphonic patterns which by definition develop horizontally in a musical texture. Switching from the strict canon to embellishments creates tension between freedom and the strict hidden order. We know that very well from the music of J.S. Bach or Bela Bartok. 'Fairytale' is the pragmatic juxtaposition of a completely different way of musical thinking. The movement is based on harmonic and rhythmic fundamentals derived from Brazilian music. Basically the four guitars play on three different layers which rhythmically interact with each other: bass melody, rhythm with complimentary rhythm, and melody. For classically trained musicians the hidden African color of the music may be unusual, new and sophisticated. The accents are delayed to the off-beats. 'Fairytale' combines classical and non-European musical influences in a natural and sophisticated way. In spite of the unusual rhythmic approach, the audience will find this dance-like movement very accessible. 'Coding Against Memory' transforms the musical material from the canon, unweiled in the first movement, in a different way. Single elements of the canon have been isolated and consequently alongated, turned upside down, etc. These techniques are very fundamental and essential in the tradition of European art music but not really common in jazz and other non-written music. The third movement relates to movement one and reflects on the European roots and tradition. 'Dancing With My Lady' corresponds with the dance-like African quality of the second movement but with an emphasis on the inexaustible rhythmic vocabulary of South America, especially the energy-giving, high-spirited Samba. The whole piece therefore is written in a loose thematic ABAB form. This work was originally commissioned by the EOS Guitar Quartet and performed in numerous concerts. Instrumentation: 4 guitars
Carl Orff devoted much of his life to the development of a philosophy of 'Music for Children', based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fourth volume: Songs and pieces using the full range of the aeolian, dorian and phrygian modes. Accompaniements are founded on drone bass with the later addition of simple chords. Instrumentation: voice, recorder and percussion