Codona Codona 3 Mp3, Flac, Wma

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Codona Codona 3 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Folk, World, & Country Album: Codona 3 Country: Spain Released: 1984 Style: Contemporary Jazz, Free Improvisation MP3 version RAR size: 1764 mb FLAC version RAR size: 1891 mb WMA version RAR size: 1173 mb Rating: 4.2 Votes: 660 Other Formats: MP4 ASF DXD RA VOC MOD MP3 Tracklist Hide Credits Goshakabuchi A1 10:52 Arranged By – CodonaComposed By [Japanese] – Traditional A2 Hey Da Ba Doom 7:11 A3 Travel By Night 5:47 B1 Lullaby 3:30 Trayra Boia B2 5:17 Composed By – Denise Milan, Nana Vasconcelos* B3 Clicky Clacky 4:16 B4 Inner Organs 9:18 Companies, etc. Recorded At – Tonstudio Bauer Phonographic Copyright (p) – ECM Records GMBH Made By – Polygram Servicios, S.A. Printed By – Indugraf Madrid, S.A. Credits Berimbau, Percussion, Voice – Nana Vasconcelos* Composed By – Collin Walcott (tracks: A2, A3, B1), Don Cherry (tracks: B3, B4) Design [Cover] – Moki Cherry Engineer – Martin Wieland Layout – Barbara Wojirsch Photography By – Ralph Quinke Producer – Manfred Eicher Sitar, Dulcimer [Hammered], Idiophone [Sanza], Tabla, Voice – Collin Walcott Trumpet, Organ, Guitar [Doussn'gouni], Voice – Don Cherry Notes Digital recording, September 1982, Tonstudio Bauer, Ludwigsburg. *Made In Germany On Labels Barcode and Other Identifiers Rights Society: S.G.A.E. Depósito Legal: M-29152-1984 Other versions Category Artist Title (Format) Label Category Country Year ECM-1-1243, Codona 3 (LP, ECM Records, ECM-1-1243, Codona US 1983 1-23785 Album) ECM Records 1-23785 ECM 1243, 827 Codona 3 (CD, ECM Records, ECM 1243, 827 Codona Germany Unknown 420-2 Album, RE) ECM Records 420-2 ECM 1243, 827 Codona 3 (CD, ECM Records, ECM 1243, 827 Codona Germany 1989 420-2 Album, RE) ECM Records 420-2 ECM 1243, 2301 Codona 3 (LP, ECM Records, ECM 1243, 2301 Codona Germany 1983 243 Album) ECM Records 243 Related Music albums to Codona 3 by Codona 1. Oregon - Distant Hills 2. Naná Vasconcelos / Antonello Salis - Lester 3. Naná Vasconcelos - Bush Dance 4. Meredith Monk - Dolmen Music 5. Jim Pepper - Comin' And Goin' 6. Collin Walcott - Cloud Dance 7. Naná Vasconcelos - 4 Elementos 8. Oregon - The Essential Oregon 9. Oregon - Music Of Another Present Era 10. Meredith Monk - Turtle Dreams.

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The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
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Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
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Cherry’S Career
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“NÃO É a ANTIMÚSICA, É a MÚSICA EM MOVIMENTO!”: Uma História Do Grupo Jaguaribe Carne De Estudos (Paraíba, 1974-2004)
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Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Simón Calle All rights reserved ABSTRACT Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called “nueva música Colombiana” (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music.
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Of Music. •,..,....SPECIAUSTS • RECORDED MUSIC • PAGE 10 the PENNY PITCH
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Codona Codona 3 Mp3, Flac, Wma
Codona Codona 3 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Folk, World, & Country Album: Codona 3 Country: Germany Style: Free Jazz, Contemporary Jazz MP3 version RAR size: 1710 mb FLAC version RAR size: 1428 mb WMA version RAR size: 1930 mb Rating: 4.2 Votes: 319 Other Formats: VOX TTA DTS VOC AU AAC VQF Tracklist Hide Credits Goshakabuchi 1 10:53 Arranged By – CodonaComposed By – Japanese Traditional* 2 Hey Da Ba Doom 7:11 3 Travel By Night 5:47 4 Lullaby 3:32 Trayra Boia 5 5:17 Composed By – Denise Milan, Vasconcelos* 6 Clicky Clacky 4:07 7 Inner Organs 9:17 Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Manufactured By – Polygram, Hanover, West Germany Made By – PMDC, Germany Recorded At – Tonstudio Bauer Credits Berimbau, Percussion, Voice – Nana Vasconcelos* Composed By – Walcott* (tracks: 2 to 4), Cherry* (tracks: 6, 7) Design [Cover Design] – Moki Cherry Engineer – Martin Wieland Layout – Barbara Wojirsch Photography By [Liner Photo] – Ralph Quinke Producer – Manfred Eicher Sitar, Dulcimer [Hammered Dulcimer], Mbira [Sanza], Tabla, Voice – Collin Walcott Trumpet, Organ, Xalam [Doussn'Gouni], Voice – Don Cherry Notes Digital Recording, September 1982 Tonstudio Bauer, Ludwigsburg An ECM Production ℗ 1983 ECM Records GmbH Barcode and Other Identifiers Barcode: 0 42282 74202 5 Matrix / Runout (Variant 1 & 2): 827 420-2 02 + Matrix / Runout (On mould - Variant 1): MADE IN GERMANY BY PMDC Matrix / Runout (On mould - Variant 2): MADE IN GERMANY BY PMDC YH Mould SID Code (Variant 1): IFPI 01C3 Mould SID Code
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