4363 Cds, 26. Dezember 2018
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Deutsche Songs ( Nach Titel )
Deutsche Songs ( nach Titel ) 36grad 2raumwohnung '54, '74, '90, 2006 Sportfreunde Stiller '54, '74, '90, 2010 Sportfreunde Stiller 1 2 3 4 Heute Nacht da Feiern wir Anna Maria Zimmermann 1 Tag Seer, Die 1., 2., 3. B., Bela & Roche, Charlotte 10 kleine Jägermeister Toten Hosen, Die 10 Meter geh'n Chris Boettcher 10 Nackte Friseusen Mickie Krause 100 Millionen Volt Bernhard Brink 100.000 Leuchtende Sterne Anna Maria Zimmermann 1000 & 1 Nacht Willi Herren 1000 & 1 Nacht (Zoom) Klaus Lage Band 1000 km bis zum Meer Luxuslärm 1000 Liter Bier Chaos Team 1000 mal Matthias Reim 1000 mal geliebt Roland Kaiser 1000 mal gewogen Andreas Tal 1000 Träume weit (Tornero) Anna Maria Zimmermann 110 Karat Amigos, Die 13 Tage Olaf Henning 13 Tage Zillertaler Schürzenjäger, Die 17 Jahr, blondes Haar Udo Jürgens 18 Lochis, Die 180 grad Michael Wendler 1x Prinzen, Die 20 Zentimeter Möhre 25 Years Fantastischen Vier, Die 30.000 Grad Michelle 300 PS Erste Allgemeine Verunsicherung (E.A.V.) 3000 Jahre Paldauer, Die 32 Grad Gilbert 5 Minuten vor zwölf Udo Jürgens 500 Meilen Santiano 500 Meilen von zu Haus Gunter Gabriel 6 x 6 am Tag Jürgen Drews 60 Jahre und kein bisschen weise Curd Jürgens 60er Hitmedley Fantasy 7 Detektive Michael Wendler 7 Sünden DJ Ötzi 7 Sünden DJ Ötzi & Marc Pircher 7 Tage Lang (Was wollen wir trinken) Bots 7 Wolken Anna Maria Zimmermann 7000 Rinder Troglauer Buam 7000 Rinder Peter Hinnen 70er Kultschlager-Medley Zuckermund 75 D Leo Colonia 80 Millionen Max Giesinger 80 Millionen (EM 2016 Version) Max Giesinger 99 Luftballons Nena 99 Luftballons; -
(Cat Stevens) Will Be Broadcast Exclusively on SIRIUS Satellite Radio
Rare Performance and Interview With Yusuf (Cat Stevens) Will Be Broadcast Exclusively on SIRIUS Satellite Radio SIRIUS Performance is His First in America in Decades Interview With Performance on SIRIUS' Spectrum Channel to Air on December 20 NEW YORK, Dec 14, 2006 /PRNewswire-FirstCall via COMTEX News Network/ -- SIRIUS Satellite Radio (Nasdaq: SIRI) will broadcast a rare, exclusive performance and interview with British singer-songwriter Yusuf, formerly known as Cat Stevens. (Logo: http://www.newscom.com/cgi-bin/prnh/19991118/NYTH125 ) Yusuf will visit SIRIUS for an in-studio performance, his first in America in decades, and to discuss his first album of modern pop songs in 28 years, An Other Cup (Ya/Atlantic). His SIRIUS interview and performance will be broadcast on The Spectrum, channel 18, on Wednesday, December 20 at 12 pm ET. It will be rebroadcast on Thursday, December 21 at 6 pm ET, and on Saturday, December 23 at 10 am ET. As Cat Stevens, Yusuf Islam began recording in 1967, and made his US chart debut in 1971 with the acclaimed album Tea for the Tillerman. Over the next seven years he had seven top 10 albums and became one of the most important figures in the folk-rock movement. His albums as Cat Stevens currently sell more than 1.5 million copies a year, and his many worldwide hits include "Wild World," "Peace Train," "Oh Very Young" and "Morning Has Broken." His song "First Cut is the Deepest" has been covered by Rod Stewart and Sheryl Crow (who earned a 2005 GRAMMY(R) award nomination for her version). -
The Cord Weekly
A WILFRID LAURIER UNIVERSITY STUDENT PUBLICATION THEVOLUME XXXIII ISSUECORD 6 SEPTEMBER 24 1992 Taking back the night CATHY JO NOBLE Students' Union bylaw 13 specifically states The Cord that "the corporation shall not discriminate, nor shall recognize any group, club, or other organiza- Was the recent "Take Back the Night" event tion that discriminates against any member(s) of the — which didn't allow men to participate in the Corporation on the basis of sex, origin, age, place march -- discriminatory? of origin, political belief, religious belief, or physi- Last Thursday's "Take Back the Night" was cal disability." billed as a peace keeping march to protest violence This bylaw caused the Students' Union just last against women and to celebrate women's power. week to cancel self defense classes claiming that Men were not allowed to participate in the they were discriminating against men since men march itself. Flyers supporting the event stated that could not attend the classes. Yet, Students' Union " it was A March for Women Only." did support the "Take Back the Night" event. Caroline White, Public Education Co-ordinator When asked if "Take Back the Night" violated for the K-W Women's Sexual Support Centre ex- the same bylaw, Alexandra Stangret, VP Student plained that the event is not discriminating since Affairs said that "Students' Union supported the "the women only march is symbolic of the fact that event as a whole not specifically the march. Men women should be able to walk where they want and were allowed and did participate in other aspects of how they want without male protection." the event such as the coffee house and speaker's White explained that if men were to participate corner." Stangret said the event was not dis- in the march the symbolism would be lost. -
Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti Pos
Tab.3a - Classifica canzoni Genesis/Ranking Genesis songs Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti 1 Supper's ready 95 25 Fly on a windshield 9 32 Dusk 2 2 The Musical box 92 White mountain 9 Many too many 2 3 Firth of fifth 90 26 Timetable 8 In that quiet earth 2 4 The cinema show 80 27 The chamber of 32 doors 7 Tonight tonight tonight 2 5 The lamia 44 The colony of slippermen 7 A trick of the tail 2 6 Watcher of the skies 42 28 Robbery assault and battery 6 Silver rainbow 2 7 The Carpet crawlers 38 Calling all stations 6 Dreaming while you sleep 2 8 Can Utility and the coastliners 37 Driving the last spike 6 The waiting room 2 9 Dancing with the moonlit Knight 36 Uncertain weather 6 Second home by the sea 2 10 One for the vine 35 All in a mouse's night 6 After the ordeal 2 11 The fountain of Salmacis 32 29 Undertow 5 Horizons 2 12 Mad man moon 30 Abacab 5 33 More fool me 1 13 Entangled 25 Hairless heart 5 It's gonna get better 1 14 Blood on the rooftops 24 Home by the sea 5 Alien afternoon 1 15 The knife 23 Back in NYC 5 Man of our times 1 16 Ripples 22 Visions of angels 5 Land of confusion 1 In the cage 22 Domino 5 Alone tonight 1 17 Seven stones 21 30 I know what I like 4 In the beginning 1 Los endos 21 Duchess 4 Congo 1 18 Dance on a volcano 18 Down and out 4 Shipwrecked 1 Stagnation 18 Squonk 4 The dividing line 1 Duke's travel 18 Turn it on again 4 Your own special way 1 19 Afterglow 17 Me and Sarah Jane 4 If that's what you need 1 20 Looking for someone 15 Evidence of autumn -
Trinity Brass Syllabus 2019-2022
GERSHWIN CLARKE HAYDN BRASS WEDGWOOD SYLLABUS PURCELL Qualification specifications for graded exams 2019–2022 ELVIN GREGSON MOZART NIGHTINGALE SPARKE WILKINSON VIZZUTTI HOWARTH TELEMANN BERNSTEIN DUNCAN HANDEL BOZZA EVANS RAE WHAT’S CHANGED? This syllabus features the following changes from the 2015–2018 syllabus: ◗ Repertoire lists refreshed at all levels, encompassing a wide range of musical styles ◗ New graded repertoire books for trumpet, cornet & flugelhorn, featuring a varied selection of accompanied and unaccompanied pieces ◗ Initial exams now available for trumpet, cornet, flugelhorn, euphonium, baritone and trombone ◗ Duets introduced at Initial to Grade 3 for trumpet, cornet, flugelhorn, euphonium, baritone and trombone ◗ Revised own composition requirements (see pages 17–18) ◗ A number of small changes to scales & arpeggios requirements: at lower grades scales are now played followed immediately by the arpeggio; at higher grades the number of scales has been slightly reduced; there are revised dynamics requirements ◗ An information and regulations section is no longer included in this syllabus — this information can be found at trinitycollege.com/music-regulations KEEP UP TO DATE Please check trinitycollege.com/brass to make sure you are using the latest version of the syllabus and for the latest information about our Brass exams. OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2019. The 2015–2018 syllabus will remain valid until 31 December 2019, giving a one year overlap. During this time, candidates may present pieces and technical work from the 2015–2018 or the 2019–2022 syllabus, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam. -
Sonification As a Means to Generative Music Ian Baxter
Sonification as a means to generative music By: Ian Baxter A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts & Humanities Department of Music January 2020 Abstract This thesis examines the use of sonification (the transformation of non-musical data into sound) as a means of creating generative music (algorithmic music which is evolving in real time and is of potentially infinite length). It consists of a portfolio of ten works where the possibilities of sonification as a strategy for creating generative works is examined. As well as exploring the viability of sonification as a compositional strategy toward infinite work, each work in the portfolio aims to explore the notion of how artistic coherency between data and resulting sound is achieved – rejecting the notion that sonification for artistic means leads to the arbitrary linking of data and sound. In the accompanying written commentary the definitions of sonification and generative music are considered, as both are somewhat contested terms requiring operationalisation to correctly contextualise my own work. Having arrived at these definitions each work in the portfolio is documented. For each work, the genesis of the work is considered, the technical composition and operation of the piece (a series of tutorial videos showing each work in operation supplements this section) and finally its position in the portfolio as a whole and relation to the research question is evaluated. The body of work is considered as a whole in relation to the notion of artistic coherency. This is separated into two main themes: the relationship between the underlying nature of the data and the compositional scheme and the coherency between the data and the soundworld generated by each piece. -
Darryl Way – Vivaldi's Four Seasons in Rock
Darryl Way – Vivaldi’s Four Seasons In Rock (41:20, CD, Cherry Red Records- The Right Honourable Recording Company, 2018) Darryl Way dürfte den meisten Lesern durch sein Mitwirken bei Curved Air bekannt sein, oder auch durch seine Band Darryl Way’s Wolf (u.a. mit Ian Mosley. Auf dem Debütalbum von 1970 war er ebenso vertreten, wie auf den meisten Alben bis 1976 (auf dem 73er Album „Air Cut“ war an seiner Stelle ein gewisser Eddie Jobson aktiv). Bei „Alive 1990“ ist er noch einmal dabei, doch an der neuen Reinkarnation hat er nicht mehr teilgenommen. Zwar sind Curved Air nicht unbedingt in der allerersten Reihe der 70er Prog Dinos einzuordnen, doch sie konnten sich einen treuen Fankreis erarbeiten und erreichten durchaus einen gewissen Bekanntheitsgrad. Zu einem Herausstellungsmerkmal gehörte neben Frontfrau Sonja Kristina auch das prägnante Geigenspiel. Gleich auf dem Debütalbum „Air Conditioning“ ist ein Klassiker der Band zu finden, der seinerzeit auch zu den Höhepunkten ihrer Konzerte gehörte, nämlich der, logischerweise von Way arrangierte Titel ‚Vivaldi‘. He did it his way, sozusagen. Anscheinend stammt sein Arrangement aus dem Jahr 1968, denn im Booklet der vorliegenden CD steht geschrieben, dass sich Way pünktlich zum 50. Geburtstag seiner Klassik-Rock-Hymne an eine komplette Neueinspielung von Vivaldis „Die vier Jahreszeiten“ gewagt hat. Mit viel Respekt vor dem Original, das er für ein Beispiel musikalischer Perfektion hält, hat er sich vorgenommen, daraus eine Rock-Variante zu kreieren. Dabei hat er sich ganz bewusst sehr nah an der Vorlage bewegt, lediglich in langsameren Passagen hat er leichte Veränderungen zugelassen. Zum Schutz Ihrer persönlichen Daten ist die Verbindung zu YouTube blockiert worden. -
AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s. -
Music & Entertainment Auction
Hugo Marsh Neil Thomas Forrester (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction Tuesday 19th February 2019 at 10.00 Viewing: For enquiries relating to the auction Monday 18th February 2019 10:00 - 16:00 please contact: 09:00 morning of auction Otherwise by Appointment Saleroom One 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: [email protected] Mechanical Entertainment Entertainment Music www.specialauctionservices.com As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to auction; the purchase will be made at their own risk. Special Auction Services will give indications of the provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. ORDER OF AUCTION Music Hall & other Disc Records 1-68 Cylinder Records 69-108 Phonographs & Gramophones 109-149 Technical Apparatus 150-155 Musical Boxes 156-171 Jazz/ other 78s 172-184 Vinyl Records 185-549 Reel to Reel Tapes 550-556 CDs/ CD Box Sets 557-604 DVDs 605-612 Music Memorabilia 613-658 Music Posters 659-666 Film & Entertainment Memorabilia Including items from the Estate of John Inman 667-718 Film Posters 719-743 Musical Instruments 744-759 Hi-Fi 760-786 2 www.specialauctionservices.com MUSIC HALL & OTHER DISC RECORDS 18. Music hall and similar records, 10 inch, 67, by Geo Robey (G & T 2-2721 & 18 1. -
An Anthropological Study of Iraqis in the UK Zainab Saleh Submitted in Partial Fulfillment of the Requireme
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Columbia University Academic Commons Diminishing Returns: An Anthropological Study of Iraqis in the UK Zainab Saleh Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Zainab Saleh All rights reserved ABSTRACT Diminishing Returns: An Anthropological Study of Iraqis in the UK Zainab Saleh This dissertation is an ethnographic study of the Iraqi diasporic community in the UK. It is based on two years of fieldwork research I conducted there between 2006-2008. I approach the formation of the diasporic community in light of utopian visions of a past colored by colonial struggle and high national aspirations, and in light of subsequent political developments that resulted in oppression, exile, and even occupation after 2003. I read the displacement of Iraqis as an example of the failure of the postcolonial state, represented by the emergence of the Baath regime in the 1960s and Saddam Hussein’s rise to power in 1979. Throughout, I examine the heightened salience of sectarianism among Iraqis in exile and in Iraq since the 1990s. Instead of understanding sectarianism as a return to traditional loyalties, I argue that it is deeply linked to the issue of power and identity politics, which the Iraqi opposition to Saddam Hussein’s regime in the UK employed while in exile and institutionalized after the fall of the regime in 2003 with the support of the US Administration. This dissertation is, also, an ethnographic study of Iraq, and aims to make up for the dearth in anthropological studies on Iraq during the last four decades. -
November 1983
VOL. 7, NO. 11 CONTENTS Cover Photo by Lewis Lee FEATURES PHIL COLLINS Don't let Phil Collins' recent success as a singer fool you—he wants everyone to know that he's still as interested as ever in being a drummer. Here, he discusses the percussive side of his life, including his involvement with Genesis, his work with Robert Plant, and his dual drumming with Chester Thompson. by Susan Alexander 8 NDUGU LEON CHANCLER As a drummer, Ndugu has worked with such artists and groups as Herbie Hancock, Michael Jackson, and Weather Report. As a producer, his credits include Santana, Flora Purim, and George Duke. As articulate as he is talented, Ndugu describes his life, his drumming, and his musical philosophies. 14 by Robin Tolleson INSIDE SABIAN by Chip Stern 18 JOE LABARBERA Joe LaBarbera is a versatile drummer whose career spans a broad spectrum of experience ranging from performing with pianist Bill Evans to most recently appearing with Tony Bennett. In this interview, LaBarbera discusses his early life as a member of a musical family and the influences that have made him a "lyrical" drummer. This accomplished musician also describes the personal standards that have allowed him to maintain a stable life-style while pursuing a career as a jazz musician. 24 by Katherine Alleyne & Judith Sullivan Mclntosh STRICTLY TECHNIQUE UP AND COMING COLUMNS Double Paradiddles Around the Def Leppard's Rick Allen Drumset 56 EDUCATION by Philip Bashe by Stanley Ellis 102 ON THE MOVE ROCK PERSPECTIVES LISTENER'S GUIDE Thunder Child 60 A Beat Study by Paul T. -
Fowler Escalates Attack on Broadcast Regulation WAAF Pulls of Stones
THE INDUSTRY'S NE WSPAPER SE P T E M B E R 25, 1981 ISSUE NUMBER 401 NE W OWNERSHIP RULES, NO MORE "FEDERAL PLY'S" MEMBRADO TAKES INSIDE R&R: Fowler Escalates Attack NE W POSITION Arbitron Limits Sports Aurichio Heads Credit Outside Metro: On Broadcast Regulation Radio & TV In Diaries outside a metro which list Blasting the "Big Brother" con- than a regulatory trend, Fowler sports teams but no call letters cept of broadcast regulation, FCC called regulation based on will no longer be assigned to Arbitron Changes Chairman Mark Fowler told marketplace forces a social, com- stations, and broadcasters are Rick Aurichio. longtime broadcast executives attending mercial, and Constitutional im- less than thrilled 3 VP/GM of Arbitron's radio divi- perative. the International Radio & TV sion who became 'VP/G M of the "From here onward," Fowler Society's luncheon, Wednesday company's TV division 18 months (9-23), that dictating how licen- stressed, "the public interest ago, will now head both areas as Rick Aurichio Elektra/Asylum Distributes sees serve their com mittees must must determine the public in- Executive VP/GM for Radio & tion as "creating an ombudsman, • Gospel Label: &A's deal with cease. terest." Noting that the FCC's TV. The move comes as part of a someone who will not be trying to Light Records signals a significant Nor will the Com mission con- seven Com missioners are "ill- significant realignment of the sell anything but who will be push in Christian music 3 tinue a policy of "protected pro- suited" to be "Federal program ratings firm's executive struc- responsive to station concerns and tectionism," Fowler said.