Gloria Estefan: the Standards VÖ: 06. September 2013
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Gloria Estefan the Standards Mp3, Flac, Wma
Gloria Estefan The Standards mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: The Standards Country: Canada Released: 2013 Style: Vocal, Easy Listening MP3 version RAR size: 1279 mb FLAC version RAR size: 1579 mb WMA version RAR size: 1927 mb Rating: 4.8 Votes: 266 Other Formats: VQF MP2 AA MIDI AC3 DTS MPC Tracklist Hide Credits Good Morning Heartache 1 4:22 Music By, Lyrics By – Dan Fisher, Erwin Drake*, Irene Higginbotham They Can't Take That Away From Me 2 4:04 Music By, Lyrics By – Ira Gershwin And George Gershwin* What A Difference A Day Makes 3 3:42 Music By, Lyrics By – Maria Grever, Stanley Adams I've Grown Accustomed To His Face 4 4:11 Music By, Lyrics By – Frederick Loewe And Adam Jay Lerner* Eu Sei Que Vou Te Amar 5 3:37 Music By, Lyrics By – Antonio Carlos Jobim, Vinicius De Moraes The Day You Say You Love Me 6 Music By, Lyrics By – Alfredo Le Pera, Carlos GardelTranslated By [English Lyrics] – Gloria 4:55 Estefan Embraceable You 7 3:59 Music By, Lyrics By – Ira Gershwin And George Gershwin* What A Wonderful World 8 4:10 Music By, Lyrics By – Bob Thiele, George David Weiss How Long Has This Been Going On 9 4:15 Music By, Lyrics By – Ira Gershwin And George Gershwin* Sonríe (Duet With Laura Pausini) 10 Adapted By [Spanish Lyrics] – Gloria EstefanLyrics By – Geoffrey Parsons, John Turner 3:56 Music By – Charles Chaplin*Vocals [Duet With] – Laura Pausini The Way You Look Tonight 11 4:10 Lyrics By – Dorothy FieldsMusic By – Jerome Kern You Made Me Love You 12 4:02 Music By, Lyrics By – James V. -
Gloria Estefan: the Standards When to Watch from a to Z Listings for Channel 3-1 Channel 3-2 – August 2013 Are on Pages 18 & 19 All Aboard – Sundays, 1:00 P.M
Q2 • 3 Program Guide KENW-TV/FM Eastern New Mexico University August 2013 Gloria Estefan: The Standards When to watch from A to Z listings for Channel 3-1 Channel 3-2 – August 2013 are on pages 18 & 19 All Aboard – Sundays, 1:00 p.m. (18th, 25th only); P. Allen Smith’s Garden to Table – Saturdays, 10:00 a.m. Mondays, 10:00 p.m. (except 5th, 19th) Paint This with Jerry Yarnell – Saturdays, 11:00 a.m. American Woodshop – Saturdays, 6:30 a.m. PBS NewsHour – Monday–Friday, 6:00 p.m./12:00 midnight America’s Heartland – Saturdays, 6:30 p.m. (except 3rd); Quilt in a Day – Saturdays, 12:30 p.m. Sundays, 12:30 p.m. (18th, 25th only) Quilting Arts – Saturdays, 1:00 p.m. America’s Test Kitchen – Saturdays, 8:00 a.m. Red Green Show – Thursdays, 9:30 p.m. (except 8th) Antiques Roadshow – Religion/Ethics – Sundays, 3:30 p.m. (except 4th, 11th); Mondays, 7:00 p.m./8:00 p.m. (except 5th)/11:00 p.m.; Wednesdays, 5:00 p.m. Sundays, 7:00 a.m. Report from Santa Fe – Saturdays, 6:00 p.m. Are You Being Served? – Saturdays, 8:30 p.m. (except 3rd, 10th) Scrapbook Soup – Wednesdays, 12:30 p.m. Ask This Old House – Saturdays, 4:00 p.m. (except 3rd) Scully/The World Show – Tuesdays, 5:00 p.m. Austin City Limits – Saturdays, 9:00 p.m. (except 3rd, 10th)/12:00 Second Opinion – Sundays, 6:30 a.m. midnight Sewing with Nancy – Saturdays, 5:00 p.m. -
Musicmetadatastyleguide V2.1.Pdf
This publication is a work product of the Music Business Association’s Digital Operations & Metadata Workgroup co-chaired by INgrooves’s Chris Read and Amazon’s Jill Chapman. Representatives from the following companies contributed to the project: 7digital, Amazon, Apple, BandPage, Beggars Group, BMI, Compass Records, Concord Music Group, Consolidated Independent, County Analytics, CV America, Dart Music, DDEX, Disney Music Group, Dubset Media, Entertainment Intelligence, Epitaph, Google, Harry Fox, IFPI, IMMF, Indie Squared Entertainment, IndieHitMaker, Isolation Network, Kindred, Kobalt Music, La Cupula Music, Loudr, LyricFind, MediaNet, Microsoft, Neurotic Media, NueMeta, ole - International / Majorly Indie, OpenAura, The Orchard, Ranger Computers, Rdio, The Recording Academy, Redeye Distribution, Revelator, Rhapsody, RIAA, Rightscom, SESAC, Songspace, Songtrust, Sony DADC, Sony Music Entertainment, SoundExchange, Spotify, SSA Music, TouchTunes, TropiSounds, Universal Music Group, University of Miami, Vara Entertainment Group, Warner Music Group, West10 Entertainment, Wind-up Records, Xbox Music PROJECT MANAGER: Robby Towns, Director of Digital Strategy & Community for Music Biz and Founder of NestaMusic. KEY CONTRIBUTORS: Chris McMurtry, Jake Handy (Dart Music), Paul Jessop (County Analytics) GRAPHIC DESIGN: AudienceNet Share your feedback as well as recommendations for this and future versions of the guide at the following link: https://docs.google.com/document/d/1wCPZdYAdRvijiVrxuejTetX4LJ750ekWH 30AyRqotrM/edit?usp=sharing User -
The Best-Sounding Jazz Lps
TAS journal The Best-Sounding Jazz LPs Fred Kaplan wenty years into the CD revolution, we find ourselves—at least those Pops and his sextet of Basie’s touch—the among us with a passion for such things—in the midst of an LP renais- blazing through the full percussive snap and sance. Thanks to Classic Records, Analogue Productions, Speakers likes of “St. James harmonic bloom; the sax Corner, and a few other audiophile labels, golden-age jazz albums are Infirmary,” “Frankie & section swoons; the T being reissued on gloriously thick slabs of virgin vinyl. Meanwhile, due Johnny,” and “Jelly horns scream; the to sonic improvements in digital reproduction, prices for original vinyl pressings are Roll Blues” picked up dynamics whisper and plunging. The time seems ripe, then, for a list of the best-sounding jazz LPs. by Telefunken micro- swell. (There’s also a very I stress the phrase “best-sounding.” To make the list, an album must bear phones arrayed in an good digital disc from music that’s at least very good (no Finnish Dixieland here). But the premium is M-S pattern. Satch’s JVC’s XRCD series.) on sonics, and all the choices meet demanding audiophile standards (hence, no brass-blare trumpet, Charlie Parker either). I should also make clear—as Wayne Garcia and Bob Peanuts Hucko’s Bill Berry: For Duke Gendron did a few issues back in their similar “Great and Great-Sounding Rock licorice clarinet, and [M&K RealTime RT-101 LPs” piece—that this is not meant as a comprehensive catalog. -
For Early Learning and Development
ALABAMA’S STANDARDS for Early Learning and Development ALABAMA’S STANDARDS for Early Learning and Development iv ALABAMA’S STANDARDS FOR EARLY LEARNING AND DEVELOPMENT Introduction Introduction To all Alabama early childhood education professionals: Alabama is nationally recognized as a leader in early childhood education and remains committed to utilizing an equity lens in providing high-quality learning experiences and expanding access to early care and education programs for all children. We know that high quality early care and education is the cornerstone for a child’s later development. For twenty years, the Alabama Department of Early Childhood Education has been committed to developing a cohesive and comprehensive system of high- quality early learning and care. In partnership with the Alabama State Department of Education and the Department of Human Resources, and early childhood education experts from across the State we have built upon the previous edition that unified the Alabama Early Learning Guidelines and the Alabama Developmental Standards into single cohesive resource for early educators guiding the instruction of young children. Alabama’s Standards for Early Learning and Development (ASELDs) have been designed to reinforce the developmental continuum and to complement and coordinate with the Head Start Child Development and Learning Framework, Special Education, Part B and C, Home Visiting guidelines and the Alabama Courses of Study, Kindergarten through Second Grade. The standards offer adults who work with children a shared knowledge and understanding of children’s development along a continuum, enabling them to create culturally appropriate, individualized goals and work plans that support each child’s individual learning styles and abilities. -
Appendix B: Text Exemplars and Sample Performance Tasks
common core state STANDARDs FOR english Language arts & Literacy in History/social studies, science, and technical subjects appendix B: text exemplars and sample Performance tasks Common Core State StandardS for engliSh language artS & literaCy in hiStory/SoCial StudieS, SCienCe, and teChniCal SubjeCtS exemplars of reading text complexity, Quality, and range & sample Performance tasks related to core standards Selecting Text Exemplars The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that stu- dents should encounter in the text types required by the Standards. The choices should serve as useful guideposts in helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do not represent a partial or complete reading list. The process of text selection was guided by the following criteria: • Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on quali- tative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group began by soliciting contributions from teachers, educational leaders, and researchers who have experience working with students in the grades for which the texts have been selected. These contributors were asked to recommend texts that they or their colleagues have used successfully with students in a given grade band. The work group made final selections based in part on whether qualitative and quantitative measures indicated that the recommended texts were of sufficient complexity for the grade band. -
Great Performances Music of the Americas Jazz and Beyond Creative American Music
OCTOBER 1 – NOVEMBER 1 years GREAT PERFORMANCES MUSIC OF THE AMERICAS JAZZ AND BEYOND CREATIVE AMERICAN MUSIC 305.284.4940 festivalmiami.com FESTIVAL MIAMI 2013 | 1 2OI3 FlORIDA’S PREMIER LIVE MUSIC FESTIVAL WELCOME TO THE 30TH ANNUAL FESTIVAL MIAMI! Shelton G. Berg Festival Miami—Florida’s Premier Live Music Festival—is weaving a striking tapestry of world-class music this month with a special lineup of 25 concerts presented under four themes: Great Performances, Music of the Americas, Jazz and Beyond, and Creative American Music. Now celebrating its 30th anniversary season, Festival Miami is the largest and most diverse music festival in the region. With more than 12,000 loyal patrons SunTrust proudly supports who attend each season, our unique artistic programming is a catalyst to enhance community life, building bridges to lively cultural interchange. Festival Miami 2013. We are glad you are with us! An incredible roster of guest artists, faculty masters, and 400 students from the Frost School of Music have been preparing all year to bring you an exclusive array of concerts you will not find elsewhere. Festival Miami is a true treasure and is made possible by generous support from our steadfast sponsors. I know you will join me in thanking them, and I encourage you to patronize them as often as possible. I also want to acknowledge the extraordinary dedication of the Frost School’s professional staff from the Music Operations, Recording Services, Communications, and Events offices for their dedicated preparation and production of this momentous enterprise. Music is a powerful force in the world. -
Gloria Estefan Have Become Classics? Realizing a Longtime Dream with Her Take on Timeless Tunes Yes, It’S Daunting—But Taking Risks, It’S What We Do in Our Career
ISSUE #29 MMUSICMAG.COM ISSUE #29 MMUSICMAG.COM Q&A Why this album, and why now? What’s your approach to songs in not choke it off. And to really emote, you This genre is my heart. This is what I listened different languages? want to be in control of your instrument. to growing up. This is what I played on my In Spanish, for example, there is no way of guitar for my mom and dad, from Johnny being overly romantic or passionate. Even Are you touring behind this record? Mathis to Dean Martin and Frank Sinatra. in the melodies you need more space to I did my last major tour in 2004, and now I do When I grew up, I always planned to do get an idea across. In English you have to one-offs and things. I’m going to do the Royal something like this, but I was waiting for use more restraint, because it becomes Albert Hall in England, and I’m doing a concert the right moment and the right idea. Two saccharine. You have to be more concise in Basel, Switzerland. I would love to do that years ago I was at a trustee dinner for the in the meaning. When I’m writing in each kind of thing, maybe eventually in the States, University of Miami, and Shelly Berg sat language, I can approach it directly from that like maybe Carnegie Hall or Radio City. at the piano and said, “Come on, Gloria, language, because I’m bilingual. Because I let’s do a song together!” I rarely do that, sing in Spanish, I have different phrasings But not a daily grind? but I wasn’t going to be a stick-in-the-mud.