Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. The discography of the Descendents, a punk rock band formed in Manhattan Beach, California in 1979, consists of six studio albums, three live albums, three compilation album, three EPs, three singles, and four music videos. The Descendents'' initial lineup of Frank Navetta (guitar), Tony Lombardo (bass guitar), and Bill Stevenson (drums) released the band''s first single, "Ride the Wild" / "It''s a Hectic World" in 1979. Adding singer Milo Aukerman, they next released the Fat EP in 1981 and their debut album Milo Goes to College in 1982 through New Alliance Records. The band took a hiatus during Aukerman''s collegiate studies, reconvening in 1985 for I Don''t Want to Grow Up with guitarist Ray Cooper replacing Navetta. That same year New Alliance issued the compilation Bonus Fat, combining the Fat EP with the band''s first single. By 1986''s Enjoy! Doug Carrion had replaced Lombardo on bass guitar, but both he and Cooper soon left the band and were replaced by Karl Alvarez and Stephen Egerton, respectively.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Welford Russell (c. 1901 - 1975) was a Canadian composer who is particularly remembered for his output of choral works.Born in Neepawa, Manitoba, Russell made a living as a surgeon and was notably a medical missionary in India from 1925-1941. He pursued musical activities in his spare time. He studied the organ in Ireland and pursued studies in music composition with Godfrey Ridout and singing with Weldon Kilburn at the Toronto Conservatory of Music. He published a Stabat mater and eight individual choral pieces, of which his part-song Who Is at My Window Who? has been widely performed. The song was also recorded by the Festival Singers of Canada. He also produced a number of anthems and motets which remain unpublished. He wrote a number of art songs, two of which, The Conqueror and Farewell to Arms, were premiered by bass David Mills.
High Quality Content by WIKIPEDIA articles! Double-bassist and composer Sage Reynolds is highly active on the Montréal music scene performing and writing in a variety of musical styles and contexts. Originally from Ottawa, Ontario, he moved to Montréal in the mid nineties to pursue his studies and make a life for himself as a professional musician. The bulk of Sage's musical training occurred while completing his Bachelor of Music Degree, Majoring in Jazz Performance, at McGill University (2000). Other training has included several years of private study (w/ Jordan O'Connor, Michel Donato, Alec Walkington, John Hebert, and others) as well as participation in numerous master classes and seminars, including a bass master class with Mark Dresser and participation in The International Jazz Workshop at The Banff Centre for the Arts (1999), where he played and studied with Dave Holland, Joe Lovano, Dave Douglas, and Kenny Werner.
Contents:+++ Articles* Lonán Ó Briain: Introduction: Sounding and Silencing Ethnicity in the 21st Century* Martin Stokes: Musical Ethnicity: Affective, Material and Vocal Turns* Rachel Harris: The New Battleground: Song-and-dance in China’s Muslim Borderlands* Lijuan Qian: Which Identity Matters? Competing Ethnicities in Chinese TV Music Contests* Thomas Solomon: Who Are the Laz? Cultural Identity and the Musical Public Sphere on the Turkish Black Sea Coast* Nomi Dave: Music, Multipartyism and the “Guinean Family”+++ Book Reviews (Eva-Maria Alexandra van Straaten, ed.)* Peter Kvetko: Jayson Beaster-Jones, Music Commodities, Markets, and Values: Music as Merchandise (2016)* Barbara Alge: Javier F. León and Helena Simonett (eds.), A Latin American Music Reader. Views from the South (2016) * Tony Perman Jennifer Kyker, Oliver Mtukudzi: Living Tuku Music in Zimbabwe (2016)* Kacey Link: Morgan James Luker, The Tango Machine: Musical Culture in the Age of Expediency (2016)* Yair Hashachar: Moshe Morad, Fiesta de Diez Pesos: Music and Gay Identity in Special Period Cuba (2014)* Stephen Wilford: Regine Allgayer-Kaufmann (ed.), World Music Studies (2016) * Aaron S. Allen: Mark Pedelty, A Song to Save the Salish Sea: Musical Performance as Environmental Activism(2016)* Inna Naroditskaya: Aida Huseynova, Music of Azerbaijan: From Mugham to Opera (2016)* Leah Kardos: Mark J. Butler, Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance (2014)* Allan F. Moore: Per Elias Drabløs, The Quest for the Melodic Electric Bass: from Jamerson to Spenner (2015)* Niko Higgins: Nina Sun Eidsheim, Sensing Sound: Singing & Listening as Vibrational Practice (2015)+++ Recording Reviews (Rehanna L. Kheshgi, ed.)* Alisha Lola Jones: Fannie Lou Hamer: Songs My Mother Taught Me. Smithsonian Folkways Recordings. (2015)* Alexander Marković: Playing ’Til Your Soul Comes Out: Music of Macedonia. Produced by Martin Koenig, recorded by David Jones. Smithsonian Folkways Recordings. (2015)* Lauren Eldridge: Lakou Mizik. Wa Di Yo (You Tell Them). Stewart Cumbancha. (2016)+++ About the Contributors+++ the world of music (new series)
Studienarbeit aus dem Jahr 2012 im Fachbereich Soziologie - Medien, Kunst, Musik, Note: 1,3, Leuphana Universität Lüneburg (ICAM), Veranstaltung: Independent Studies, Sprache: Deutsch, Abstract: Kaum etwas hat den Charakter von Klang in der letzten Dekade so stark geprägt wie der Einsatz elektronischer Produktionsmittel: die elektronische Produktion von Musik mit Hilfe von Synthesizern oder digitalem Sampling eröffnete neue Möglichkeiten der klanglichen Gestaltung, aus der sich neue Musikstile mit einer speziellen Rhythmusstruktur entwickelt haben. Rhythmus bestimmt die Struktur von kontemporärer Musik wie dem Techno und bewirkt eine aktive Rezeption, die mit dem ganzen Körper wahrgenommen werden kann: 'The reason why rhythm is particularly significant for popular music its steady tempo and an interesting patterned beat offer the easiest ways into a musical event; they enable listeners without instrumental expertise to respond 'actively', to experience music as a bodily as well as a mental matter.' Mit der Wahrnehmung von Klängen und Rhythmen in elektronischer Musik durch den Körper, wie insbesondere Dubstep und Techno haben sich in der Vergangenheit diverse Forschungsarbeiten beschäftigt. Dies ist nicht verwunderlich, da gerade diese Musikstile Bässe in Frequenzbereichen beinhalten, die ausserhalb des vom Menschen hörbaren Frequenzspektrums liegen, wie der Infraschall und nur durch den Körper wahrnehmbar sind. Durch die entstehenden Vibrationen im Körper sind sie daher in der Lage eine affekthafte Verbindung zur Musik herstellen. Gerade durch die Verwendung von Infraschall unterscheiden sich elektronische Musikstile wie Techno, House, Dubstep, etc. von anderen Musikrichtung. Sie bilden nicht nur einen Musikstil, sondern stellen bei ganzheitlicher Betrachtung ein eigenes kulturelles Phänomen dar; eine Musikkultur, die als konstitutives Element durch den Bass, bzw. dessen affekthafte, körperliche Wahrnehmung, verbunden wird: 'Mit Techno beginnt ein komplett anderes Körperbewusstsein beim Tanzen, diesem Tanzen als Ritual, stundenlang, weit über den Punkt hinaus, wo der Körper beginnt, die körpereigenen Drogen auszuschütten, und du deinen Körper nicht mehr spürst (...).' Diese Hausarbeit möchte Techno als kulturelles Phänomen oder in Anlehnung an Brunner (2013) als 'affective sonic sociality' begreifen, das in seinem spezifischen Kontexten der Urbanität bzw. ebenso sozialen und politischen Dimensionen gesehen werden muss. Die Affektivität von Technomusik mit ihrem repetitiven, niederfrequenten Bassrhythmus löst Momente der Immersion und synästhetischen Erfahrungen aus. [...]
&#8220;Recuerdo de una Jornada&#8221; was composed for, and dedicated to, the Cuban saxophonist Jorge Luis Almeida and the Havana-based saxophone quartet &#8220;Habana Sax&#8221;. Jorge L. Almeida graduated from Cuba&#8217;s National School of Arts in 1975 and from the Instituto Superior de Arte in Havana in 1987; under the tutelage of professor Daniel Deffayet, he completed two courses of studies at the Conservatoire National Supérieur de Musique et de Danse de Paris in France &#8220;with distinction&#8221; in the years 1987 and 1990. In 1987, Almeida founded the saxophone quartet &#8220;Cuarteto de Saxofones de La Habana&#8221; and later on, in 1991, &#8220;Habana Sax&#8221;. The repertoire of the latter, which is one of the most important ensembles of its kind in Cuba, ranges from classical to contemporary music. Infl uences of Cuban popular music as well as jazz can be felt in many of the ensemble&#8217;s works, and often a percussionist is added to the group&#8217;s lineup. Throughout the years, the quartet has presented itself at festivals and in the most famous concert halls all over the world. Various technical particularities that represent quite a challenge in the execution of Cuban music manifest themselves in this composition, such as syncopations, off-beats, the &#8220;cinquillo cubano&#8221; and, as its most prominent aspect, the &#8220;clave&#8221;. It is the &#8220;son clave&#8221; (2-3) that marks the beginning of the piece and is, for instance, picked up by the four saxophones in measures 30 and 31. The part played by the baritone sax should especially be pointed out: One the one hand, it assumes the role of the bass building the rhythmic and harmonic basis; on the other hand, it provides further rhythmical support when executing the &#8220;tumbaos&#8221; in case an additional percussionist is added to the quartet (which, of course, is optional since the piece can be performed without any percussion instruments). In measure 32, the tempo changes and the piece switches over to a Latin jazz feel making use of a phrasing typical of this style. This feeling is maintained up to measure 54, where the tenor sax starts playing a &#8220;tumbao&#8221;, developing into a so-called &#8220;champola&#8221; (a term that refers to the layering of different &#8220;tumbaos&#8221; which, when played in conjunction, result in a &#8220;contagious&#8221; rhythmic pattern) in measure 58. Finally, in measure 72, the composition returns to tempo primo, being performed in the style of a &#8220;son&#8221;, and ends with the execution of the &#8220;son clave&#8221;. Instrumentation: 4 saxophones (SATBar) + Drum Set (opt.)
With this sheet music edition of easy difficulty, pupils - young and old - will learn how to play the piano step by step. No less than 100 exercises in total await you, all sorted into groups with different learning targets such as 'Preliminary studies for the knowledge of the notes', 'The first exercises for the thumb', 'Exercises with the bass-notes' and many more. Until now, Czerny's exercises have been and still are being used successfully in piano lessons. Instrumentation: for piano op. 599
In 'Professional Orchestration: A Practical Handbook - From Piano to Strings,' conductor/composer Joseph Wagner, Founder of the Boston Civic Symphony and former Composer-in-Residence at Pepperdine University, teaches you applied orchestration by demonstrating 30 different techniques within 'The Reference Chart of Keyboard Idioms' for transcribing piano parts and piano devices to the string section. Techniques covered include Broken Intervals, Broken Chords, Melodic Lines and Figurations, Implied Bass Parts, Single Note Interval and Chord Repetitions, 2-3 Part Homophonic Music, Spacing Problems, Contrast Problems, Voice Leading, Obbligato, Antiphonal Effects, Tremolo Types, and Dance Forms. Designed for either personal or classroom use. Included in 'From Piano to Strings' is the complete piano solo and separate string ensemble adaption of Grieg's 'Holberg Suite' demonstrating how these techniques are applied and work in real practice. The Appendix contains a bonus String Ensemble template for you to copy and do your studies with and the 'Chart of String Unisons' to help you work out common string combinations. Available for separate purchase is the 'Workbook' with audio files that gives you dozens of homework examples to orchestrate. The 'Workbook' is used with all three handbooks in the series - starting with 'From Piano to Strings,' then 'From Piano to Woodwinds,' and finally 'From Piano to Orchestra.' 'From Piano to Strings' builds both orchestration and composition skills for live performance, but also develops MIDI mockup and recording skills. Companion titles for this series available for separate purchase are Alexander Publishing's 'Professional Orchestration Volume 1: Solo Instruments and Instrumentation Notes' and 'Volume 2A: Orchestrating the Melody Within the String Section.'
The most widely used beginning bass method available! Presents note reading, solo playing, and chord arpeggio studies. Included are handy charts of arpeggios featuring major, minor, augmented, diminished, seventh chords, and even upper harmonic extensions. Applicable to any style of music, this method has gained acceptance as the foundational text for electric bass study.