Zabierz FMF Ze Sobą Do Domu Spis Utworów

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Zabierz FMF Ze Sobą Do Domu Spis Utworów

Zabierz FMF ze sobą do domu 2017-05-05 Do rąk słuchaczy trafia właśnie płyta z najlepszą muzyką znaną z dużego ekranu, sygnowana marką FMF. Wśród kompozytorów, których utwory znajdziemy na albumie, znalazły się największe gwiazdy m.in: Giorgio Moroder, Abel Korzeniowski, John Williams, Jan A. P. Kaczmarek czy Howard Shore. Płyta powstała we współpracy z największą wytwórnią muzyki filmowej na świecie – Varèse Sarabande Records i największą firmą fonograficzną na polskim rynku – Universal Music Polska. Producentem krążka jest doskonale znany bywalcom Festiwalu Muzyki Filmowej Robert Townson. Płyta zapowiada tegoroczną, jubileuszową 10. edycję największego święta muzyki filmowej na świecie – Festiwalu Muzyki Filmowej w Krakowie. Znalazły się na niej suity z kultowych produkcji, takich jak: „Midnight Express ”, „Emerald City”, „Fargo”, „Penny Dreadful ” czy „Escape From Tomorrow”. Na krążku nie zabraknie utworów z topowych filmów fantasy, jak: „The Lord of The Rings ”, „Star Wars” czy „The NeverEnding Story”. Nie zabraknie także tematu muzycznego z „Titanica”. Płyta powstała we współpracy Krakowskiego Biura Festiwalowego, Varѐse Sarabande Records oraz Universal Music Polska. Będzie ją można kupić od 12 maja w dobrych sklepach muzycznych oraz salonach Empik w całej Polsce, a także podczas 10. Festiwalu Muzyki Filmowej w Krakowie w Centrum Festiwalowym (Pałac Krzysztofory) na stoisku Music Corner. Spis utworów: 1. The NeverEnding Story Never Ending Story Performed by Limahl 2. The NeverEnding Story Bastian’s Happy Flight (Klaus Doldinger) 3. Midnight Express Chase (Giorgio Moroder) 4. The Fast And The Furious: Tokyo Drift Symphonic Touge (Brian Tyler) 5. 24 Theme (Sean Callery) 6. Fargo Bemidji, MN (Jeff Russo) 7. Emerald City The Beast Forever Approaches (Trevor Morris) 8. Penny Dreadful Be True (Abel Korzeniowski) 9. Escape From Tomorrow The Grand Finale (Abel Korzeniowski) 10. Legends Of The Fall (James Horner) 11. Finding Neverland Neverland Piano Variation In Blue (Jan A.P. Kaczmarek) Leszek Możdżer, piano 12. The Science of Sleep Golden The Pony Boy (Jean-Michel Bernard) 13. The Lord of The Rings One Ring To Rule Them All (Howard Shore) 14. Star Wars Star Wars Main Title (John Williams) Performed by Varujan Kojian, Utah Symphony Orchestra 15. Titanic - Distant Memories / Southampton / Rose / Take Her To Sea, Mr. Murdoch (James Horner) Performed by John Debney, Royal Scottish National Orchestra & Chorus 10. Festiwal Muzyki Filmowej w Krakowie odbędzie się w dniach 17-23 maja. Bilety na festiwalowe koncerty można kupić za pośrednictwem portalu www.eventim.pl oraz w punktach sieci informacji miejskiej InfoKraków (z wyjątkiem InfoKraków w Balicach). Pełny program festiwalu jest dostępny na stronie internetowej: www.fmf.fm. Powered by TCPDF (www.tcpdf.org).

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Music Quiz Questions
Music Quiz Questions Check the box for all answers or click on each question for its answer. New! is an addition in the last month. 157. Though denied by its author as the source of his inspiration, what musical work has strong resemblance to the story of a mythical village called Germelshausen that fell under a curse and appears for only one day every century? Brigadoon by Alan Jay Lerner and music by Frederick Loewe The story involves two American tourists who stumble upon Brigadoon, a mysterious Scottish village that appears for only one day every hundred years. Tommy, one of the tourists, falls in love with Fiona, a young woman from Brigadoon. Lerner, however, denied that he had based the book on an older story and stated that he didn't learn of the existence of the Germelshausen story until after he had completed the first draft of Brigadoon. 156. In December 1971, Frank Zappa and The Mothers of Invention were playing in a concert when the casino venue they were in caught fire due to an over-zealous member of the audience firing a a flare gun into the rattan covered ceiling. This is the true origin story of what rock classic? "Smoke on the Water" by Deep Purple The resulting fire destroyed the entire casino complex, along with all the Mothers' equipment. The "smoke on the water" that became the title of the song (credited to bass guitarist Roger Glover, who related how the title occurred to him when he suddenly woke from a dream a few days later) referred to the smoke from the fire spreading over Lake Geneva from the burning casino as the members of Deep Purple watched the fire from their hotel.
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Donna Summer, Giorgio Moroder, and “I Feel Love”
Thamyris/Intersecting No. 26 (2013) 43–54 Turning the Machine into a Slovenly Machine: Donna Summer, Giorgio Moroder, and “I Feel Love” Tilman Baumgärtel The track “I Feel Love” by Donna Summer still seems to come out of another world. Even though the song was produced three decades ago, it still sounds alien and futurist. And the world, out of which “I Feel Love” came, has been built out of loops, nothing but loops. The song rattles on and on like a machine gun. The loops appear deceptively simple at first. “I Feel Love” is based on the electronic throb of a pattern out of a few synthesizer notes the sequencer repeats over and over and occasionally transposes. But in the framework of these minimalist preconditions the track develops a field of rhythmic differences, deviations, and shifts. The blunt, mechanical thumping of a machine turns into complex polyrhythms, strict rule turns into confusing diversity, and eventually becomes an organism out of repetitions. Even Donna Summer herself eventually got lost in the confusing labyrinth of rhythms in “I Feel Love.” In this essay I want to show how producer Giorgio Moroder succeeded in trans- forming the clatter of the synthesizer loops of “I Feel Love” into an organic pulse with the help of a relatively simple production trick. Then, I want to discuss how “I Feel Love” systematically dissolves and collapses antithetical oppositions. This pro- duction trick not only lends an organic quality to the mechanical loops, but, in the process, amalgamates nature and technology on a musical level.
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Retrospective Analysis of Plagiaristic Practices Within a Cinematic Industry in India – a Tip in the Ocean of Icebergs
Retrospective analysis of plagiaristic practices within a cinematic industry in india – a tip in the ocean of icebergs Item Type Article Authors Sivasubramaniam, Shiva D; Paneerselvam, Umamaheswaran; Ramachandran, Sharavan Citation Umamaheswaran, P., Ramachandran, S. and Sivasubramaniam, S.D., (2020). 'Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India–a Tip in the Ocean of Icebergs'. Journal of Academic Ethics, pp.1-11. DOI: 10.1007/ s10805-020-09360-7 DOI 10.1007/s10805-020-09360-7 Publisher Springer Journal Journal of Academic Ethics Download date 27/09/2021 02:43:07 Link to Item http://hdl.handle.net/10545/624527 Journal of Academic Ethics https://doi.org/10.1007/s10805-020-09360-7 Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India – aTip in the Ocean of Icebergs Paneerselvam Umamaheswaran1 & Sharavan Ramachandran2 & Shivadas D. Sivasubramaniam3 # The Author(s) 2020 Abstract Music plagiarism is defined as using tune, or melody that would closely imitate with another author’s music without proper attributions. It may occur either by stealing a musical idea (a melody or motif) or sampling (a portion of one sound, or tune is copied into a different song). Unlike the traditional music, the Indian cinematic music is extremely popular amongst the public. Since the expectations of the public for songs that are enjoyable are high, many music directors are seeking elsewhere to “borrow” tunes. Whilst a vast majority of Indian cinemagoers may not have noticed these plagiarised tunes, some journalists and vigilant music lovers have noticed these activities. This study has taken the initiative to investigate the extent of plagiaristic activities within one Indian cinematic music industry.
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Giorgio Moroder Premieres Preludio Remix, the Sound of the Future Created for Fpt Industrial
GIORGIO MORODER PREMIERES PRELUDIO REMIX, THE SOUND OF THE FUTURE CREATED FOR FPT INDUSTRIAL Turin, 11 February 2021 “Preludio Remix by Giorgio Moroder” is now available on all FPT Industrial digital channels. The internationally renowned artist, a three-time Academy Award winner, has conceived a new musical creation for FPT Industrial which reinterprets the melodies and harmonies of “Preludio” the sound of the future created to be the soundtrack for FPT Industrial engines. Compared to the original version, presented at CES in Las Vegas in January 2020, this remix reinterprets some of the iconic atmosphere of the ’80s with a more modern dance style and with the essential, simple but ingenious Moroder touch. It also introduces a special effect that immediately brings to mind the sound of the new engines of the future. With “Preludio Remix”, Giorgio Moroder, in partnership with FPT Industrial, shows us not only how to move on the dance floor but also how to move on the road in a way that is cleaner and more sustainable, but still electrifying. The new track has its global premiere, presented by Moroder himself, on 11 February at 1 pm during the fourth day of Electric Days, the first entirely digital event dedicated to vehicle electrification. The event is scheduled to be held from 8 through 12 February 2021 with the organization of Motorsport Network in collaboration with Condé Nast (Wired/GQ/Vanity Fair). FPT Industrial is the only industrial engine manufacturer on a prestigious list of partners that includes a full house of all the elite global car manufacturers, as well as important energy and technology companies.
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"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
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John Barry Aaron Copland Mark Snow, John Ottman & Harry Gregson
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Tim Rice, Howard Ashman Alfie Burt Bacharach Song
Airport Alfred Newman Song: Winds of Chance Aladdis(1992) Alan Menken T: Tim Rice, Howard Ashman Alfie Burt Bacharach Song : Alfie An American Dream (1966) Johnny Mandel T: Paul Francis Webster Aristocats (1968) Al Rinker,Terry Gilkyson,Richard M. u. Robert B. Sherman T: Floyd Huddleston Around the World in Eighty Days (1956) Victor Young T: Harold Adamson Song: Around the World Artists and Models (1937) Frederick Hollander T: Leo Robin Song: Whispers in the Dark The Band Wagon(1931) Arthur Schwartz T: Howard Dietz Song: Dancing in the Dark The Beauty and the Beast Alan Menken The Bells of St. Mary(1945) Jimmy Van Heusen T:Johnny Burke Song: Aren`t You Glad You’re You Der blaue Engel Friedrich Hollander Song: Ich bin von Kopf bis Fuß auf Liebe eingestellt Ins blaue Leben Franz Grothe Song: Guten Tag , liebes Glück Bodyguard Dolly Parton Songs: I Will Always Love You Bonjour, Kathrin Heinz Gietz T: Kurt Feltz Breakfast at Tiffany Henry Mancini Song: Moon River Burgtheater Peter Kreuder nach Johann Strauß Butch Cassidy and the Sundance Kid Burt Bacharach Songs: Raindrops Keep Fallin' on My Head Casablanca Herman Hupfeld Song: As Time Goes By Casino Royale Burt Bacharach Song: The Look of Love Chaplin Charles Chaplin Song: Smile Charade Henry Mancini Song: Charade Check and Double Check (1930) Harry Ruby T: Bert Kalmar Songs: Three Little Words A Countess from Hong Kong Charles Chaplin Song: This is My Song A Damsel in Distress (1937) George Gershwin T.Ira Gershwin Song: A Foggy Day Dear Heart Henry Mancini Song: Dear Heart Dirty Dancing
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Giorgio Moroder Interview
This interview with GIORGIO MORODER, writer/producer of “I Feel Love,” was conducted by the Library of Congress on October 14, 2015. LOC: “I Feel Love” makes up the “future” section of Donna Summer’s 1977 album “I Remember Yesterday,” that you produced. Did you, from the beginning, aspire to create something “futuristic” sounding? Yes, I definitely wanted to explore it as a whole concept and come up with a sound that was of the future. I did it by only using synthesizers, because I thought it was the instrument that would be used in the future--be the instrument of the future. We used it, and only it, to create all the sounds. I wanted to try to imitate what people would do in 20 or 30 years. I used all digital sounds for the song, all of them coming from the computer. Everything except the voice was created by the Moog. The problem was I always composed at piano, with the chords. This time [with the Moog], I had to start with the tracks not the melody. So, I started with a bass line. It was a big, big job. First, I recorded a click, the tempo, about four notes in: dong dong dong dong. I just looped them. I got the sound I wanted by holding one note—let’s say C—and holding it then moving it to F and G…. The problem then is I had to stop and restart after every seven to eight seconds to retune the synth. But, once I had the chord structure, I then used a white noise generator and put it in the envelope [?] to make it sound like a high hat, a snare and many other instruments.
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4-Year Song History
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Film Music: History and Function from 1930 to Present
Film Music: History and Function from 1930 to Present Units: 4 Term—Day—Time: Fall 2020—Tuesdays and Thursdays—4:00–5:50pm (Pacific Time) Location: ONLINE Instructor: Tim Greiving Office: Virtual Office Hours: Virtually anytime Contact Info: [email protected] Course Description Music is the soul of film. Film scores can animate, enhance, pump blood into, subvert, and often transcend their movie. This underlooked, underappreciated art form is almost 100 years old—still an infant compared to its predecessors like opera, ballet, and theatre music, but old enough to have a rich, fascinating history worth exploring. In this course we’ll take a trip through that history, at times skimming along the surface, at times diving deep. With the aid of film clips, live watch parties, and the occasional special guest, you’ll gain a solid knowledge of and appreciation for the most-heard, least-noticed art form of the past century. (Because we’re cramming one hundred years of history into a single—shortened!—semester, we’ll primarily focus on Hollywood film music, although a few classes will be devoted to international films and composers. We’ll also limit our study to feature films, without spending time on television or videogame music.) Recommended Reading • King Kong chapter from Music by Max Steiner, by Steven. C. Smith (Blackboard / Content) • “The sound of movie music,” New York Times, March 28, 1976 • “Underscoring Richard Wagner's influence on film music,” L.A. Times, June 17, 2010 • “John Williams’ early life: How a NoHo kid and UCLA Bruin became the movie music man” L.A.
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Summer Starters Yabba Dabba Crew Reviews Redux
v6n4cov 5/24/01 5:12 PM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV VOLUME 6, NUMBER 4 NO MENTION OF PEARL HARBOR IN THIS ISSUE! OF KING THE WORLDThe James Horner Buyer’s Guide, Part 1 SUMMER STARTERS The Mummy Returns, Swordfish and Atlantis YABBA DABBA CREW A Salute to Hoyt Curtin REVIEWS REDUX The latest CDs and DVDs 04> 7225274 93704 $4.95 U.S. • $5.95 Canada v6n4cov 5/24/01 5:15 PM Page c2 FILM & TV MUSIC SERIES 2001 If you contribute in any way to the film music process, CONTACT: our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service Los Angeles throughout the year. Judi Pulver [email protected] (323) 525-2026 Film & TV Music Special Issue August 21, 2001 New York Features Calling Emmy,® a complete round-up of music nominations, John Troyan Who Scores PrimeTime and upcoming fall films by distributor, [email protected] director and music credits. (646) 654-5624 Space Deadline: August 1 Materials Deadline: August 8 United Kingdom John Kania Film & TV Music Update: [email protected] November 6, 2001 (44-207) 822-8353 Our year-end wrap on the state of the industry featuring upcoming holiday blockbusters by distributor, director and music credits. director and music credits. Space Deadline: October 19 Materials Deadline: October 25 Dates subject to change. www.hollywoodreporter.com CONTENTS APRIL/MAY 2001 cover story departments 24 King of the World 2 Editorial They said it would never happen—but here it is! Backstage With Six FSM begins another massive Buyers Guide series, Groovy Guys.
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