DOCSLIB.ORG

Kulturmagazin // Kulturagenda.Ch

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kulturmagazin // Kulturagenda.Ch 33 ensuite mai 05 34 - 55 kulturagenda bern 56 - 57 museen & galerien 59 - 62 biel-bienne/ seeland-teil agenda ■ Urs - P. Twellmann Skulpturen, Objekte und Installationen Ausstellung im Schloss Kiesen vom 1. Mai bis 5. Juni 2005 34 MAI 1-4 SONNTAG 01.05.2005 milton nascimento rio den schmerz verdreht. frühlingsputz ist geschichte von einem könig und einer kö- einziges clubkonzert angesagt. endgültig raus mit dem fummel nigin, deren tochter ihr lächeln verloren BÜHNE / THEATER mühle hunziken, rubigen / 20:00 von letzter weihnacht und dem schrott vom hat. um die prinzessin wieder zum lachen «ritratto» mit dem «clown dimitri» letzten fl ohmarkt. ganz locker lässt sich zu bringen, werden komödianten an den als fahrender sänger erzählt dimitri die JAZZ auch der boyfriend in den ollen teppich hof bestellt.. geschichte von einem könig und einer kö- martin streule jazz orchestra einwickeln und lässt sich so elegant ver- käfi gturm, marktgasse 67, bern / 20:00 nigin, deren tochter ihr lächeln verloren mahogany hall, klösterlistutz 18, bern ramschen ohne dass es einer merkt. dazwi- hat. um die prinzessin wieder zum lachen / 20:00 schen mal vergnüglich kaffee schlürfen in das vergnügen, verrückt zu sein zu bringen, werden komödianten an den der beiz und stöbern ohne ende. fl ohmarkt schauspiel: die zutaten zu dieser echt ita- hof bestellt.. KLASSIK idylle wie sie nur in paris schöner ist. lienischen komödie: eine mittelmässige käfi gturm, spitalgasse 4, bern / 20:00 camerata bern: «saxes and strings» reitschule, neubrückstrasse 8, bern schauspiel-truppe, die auf die schnelle ein die camerata bern geht neue wege. das von / 09:00 neues stück probt; eine schwangere schau- SOUNDS ihr in auftrag gegebene werk von barbara spielerin, die nicht mehr ins korsett passt; ds vrenli ab em guggisberg thompson wurde letztes jahr beim inter- SPORT und die ehefrau eines grafen, schwanger arion trio bern: volkslieder aus dem rö- nationalen jazzfestival in stuttgart urauf- disc golf: world‘s biggest von einem liebhaber, der ihre identität nicht seligarten; dora luginbühl, gesang, georg geführt und erklingt nun, mit spannung gurten, bern / 22:00 kennt. kleine verwechslungen führen zum schneeberger, blockfl öten katharina zahn, erwartet, erstmals in bern. den modernen totalen chaos, und um seine haut zu retten, blockfl öten, traversfl öte, karl rechsteiner, werken von thompson, stucky und scelsi DANCEFLOOR spielt jeder verrückt Ð nach dem betroge- hackbrett. cd taufe.die spezielle zusam- stehen als kontrapunkt barocke werke ge- rnb & urban sound afterhours nen ehe-brecher der ehebrechende gatte mensetzung des arion trio bern entstand genüber. h.i.f. biber: «batztaglia», barbara djs d., devil , nick.. und schliesslich auch der zahlungsunfähige aus dem wunsch, gesang ohne begleitung thompson: «from darkness to light» for guayas, parkterrasse 16, bern / 05:00 schauspielchef. eines tasteninstrumentes zu interpretieren. saxophonquartett; s. stucky: music for sa- stadttheater, kornhausplatz 14, bern der besondere reiz der singstimme in ver- xophones and strings; f. geminiani: la folia; sunday night clubbing - djs d., mastra / 19:30 bindung mit blockfl öten und traversfl öte er- giacinto scelsi: «natura renovatur»; barba- guayas, parkterrasse 16, bern / 22:00 gibt sich einerseits aus der nähe der timbres ra thompson: «mirages», concerto for saxo- ritratto und den parallelen in der klangerzeugung, phone quartet and string-ensemble. pasion latina - djs devil & alegria clown dimitri andererseits aus dem gegensätzlichen der kornhausforum, kornhausplatz 18, bern guayas, parkterrasse 16, bern / 23:00 theater am käfi gturm, spitalgasse 4, bern vokalen und instrumentalen komponente. / 17:00 / 20:00 das repertoire umfasst musik vom mittel- fremdgehen - dj ramax alter bis zur moderne. viel originalliteratur poststrings isc club, neubrückstrasse 10, bern / 22:00 JAZZ bietet die epoche der renaissance. geeigne- leitung: rené pignolo. konzertmeisterin: swing jazz orchestra - swing & the city te stücke aus dem 20. jahrhundert hat das charlotte papritz. solisten: beam-morning! bierhübeli, neubrückstrasse 43, bern trio für die besetzung wenn nötig adaptiert. jadwiga okon halicka, harfe. rené pignolo, djs dex, lukas kleesattel, a.d.i.,... / 19:30 ebenso gerne befassen sich die drei pro- fl öte, spielen georg friedrich händel, joseph liquid, genfergasse 10, bern / 05:00 fessionellen musikerinnen und musiker mit haydn, wolfgang amadeus mozart und felix KLASSIK dem volksliedgut. mendelssohn bartholdy. jubiläumsschlossfest casalquartet la cappella, allmendstrasse 24, bern reformierte kirche bümpliz / 17:00 die vier epochen. commemorating «60 years end of world / 18:00 hereinspaziert und treten sie ein in die 500- war II». j.s.bach, chorales/ k.a.hartmann, wiener blut jährige schlossgeschichte: die «compagnie quartet nr. 1 «carillon»/ b.bartok, from beefl at presents: operette: amouröse verwirrspiele im alt- des tours» wird das zeitrad in mittelalterli- quartet nr. 6/ v.ullmann, quartet nr. 3 op. world women voices wiener diplomaten- und künstlermilieu che athmosphären zurückdrehen. schauen 46/ d.shostakovich, quartet nr. 8 c minor silvana deluigi: neuer tango aus frauen- rund um den wiener kongress werden von sie dem töpfer, dem kalligraphen zu, die op. 110. moderation - wolfgang beuschel. sicht aufgewachsen in buenos aires im johann strauss im schwungvollen dreivier- musik zaubert bilder aus alten zeiten und französische kirche, bern / 20:00 umfeld des klassischen tangos, hat sich die teltakt serviert. der liebestolle graf zedlau sie lassen ihre kinder auf dem schlossesel sängerin silvana deluigi bald einmal vorge- und sein vorgesetzter fürst ypsheim sind eine runde drehen, oder probieren spicher nommen, der traditionsreichen musik ihren dem wiener treiben in keiner weise gewach- housis rösti vom feuer, chäs, anke und ho- LITERATUR / VORTRÄGE eigenen, femininen stempel aufzudrücken. sen und fallen beim liebestanz regelmässig nig vom dorf. feuer, farbe,werk und freude, nestor sie entdeckte den jazz und die musik des auf die nase. der original-wiener heinz ma- das geschenk des ueberstorfer feuerwerk- library science talk «nestor : long-term grossen maestros des tango nuevo, astor recek («lindenstrasse») inszeniert die wie- zauberers willi schmutz an die stiftung und digital archiving in germany / hans lieg- piazzolla. daneben sang sie an der seite nerischste aller operetten in bern. die seminar + kultur ag schloss ueberstorf. mann die deutsche bibliothek (dürrenmatt- von stars wie sting und caetano veloso, die stadttheater, kornhausplatz 14, bern schloss ueberstorf, schlossstr. 14, ueber- saal m021) von ihrer stimme hell begeistert waren. in / 16:00 storf / 10:00 landesbibliothek, hallwylstr. 15, bern einer hinsicht blieb silvana deluigi dem al- / 15:30 ten tango aber treu: der tiefen leidenschaft. LITERATUR / VORTRÄGE schuetzenhouse hits - dj rené silvana deluigi (voc), oscaldo calo (p), victor ist geiz wirklich geil? schuetzenhouse, wangen a.d.a / 20:00 DANCEFLOOR hugo villena (bandoneon), roberto tormo bedeuten tiefere preise auch geringere löh- fu**ing monday (b) ne?‘ mainacht: debatte, apéro, kultur raphael bolliger vs. jared muralt progr, waisenhausplatz 30, bern / 21:00 ono, kramgasse 6, bern / 19:00 MONTAG 02.05.2005 bierhübeli lounge, neubrückstrasse 43, bern / 21:00 the red krayola FESTE / MÄRKTE BÜHNE / THEATER reitschule, neubrückstrasse 8, bern reitschule fl ohmarkt «ritratto» mit dem «clown dimitri» bloody monday - dj max & friends / 21:00 alles was das herz begehrt und alles was als fahrender sänger erzählt dimitri die eclipse, gurtengasse 6, bern / 22:00 4.5. bohren und der club of gore , bad bonn, bonnstrasse 2, düdingen / 21:00 ■ Events können über die Webseite www.ensuite.ch, Menü «Veranstal- ter», eingegeben und angemeldet werden. Das kostet nichts. Bilder senden sie uns bitte per Post oder in einer guten Aufl ösung und Grösse auf [email protected]. Wir überneh- men keine Haftung, senden kein Materi- al zurück und sind auch für Fehler nicht zu belangen. Vielen Dank... Post: ensuite - kulturmagazin Sandrainstrasse 3; 3007 Bern MAI 1-4 35 mäntig nacht - dj shark gesetz die privatisierung öffentlicher spitä- JAZZ DANCEFLOOR pery bar, schmiedenplatz 3, bern / 21:00 ler zulässt. auch die qualität der pfl ege ist kenny barron quintet feat. bobby academic fever unter druck, da die anstellungsbedingun- hutcher djs danny da vingee & tom larson rock box - dj dänu gen des personals nicht mit einem gesamt- kenny barron, p / bobby hutcherson, vib/ art café, gurtengasse 6, bern / 21:00 schuetzenhouse, wangen a.d.a / 19:00 arbeitsvertrag abgesichert sind. picken anne drummond, fl / kiyoshi kitagawa, b/ künftig privatkliniken die rosinen aus dem kim thompson, dr 2. konzert um: 22:00 14. schülerbandfestival gesundheitskuchen? verkauft die öffentli- marians jazzroom, engestrasse 54, bern bierhübeli, neubrückstrasse 43, bern DIENSTAG 03.05.2005 che hand die gesundheitsversorgung an die / 19:30 / 15:00 «spital ag»? muss das personal die zeche BÜHNE / THEATER für die schleichende privatisierung bezah- bohren und der club of gore electro shock - djs bloom & tele «ritratto» mit dem «clown dimitri» len? diese und weitere fragen diskutieren: bad bonn, bonnstrasse 2, düdingen bierhübeli, neubrückstrasse 43, bern käfi gturm, spitalgasse 4, bern / 20:00 samuel bhend, regierungsrat und gesund- / 21:00 / 23:00 heitsdirektor; christoph erb, grossrat fdp; SOUNDS markus meyer, grossrat sp; franziska wid- george gruntz octet black music supreme - dj jimmy jackson phill niblock & thomas ankersmit mer, grossrätin
Load more

Recommended publications
  • Popular Music As Entertainment Communication: How Perceived Semantic Expression Explains Liking Previously Unknown Music
    This is a repository copy of Popular Music as Entertainment Communication: How Perceived Semantic Expression Explains Liking Previously Unknown Music. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/163797/ Version: Published Version Article: Lepa, Steffen, Steffens, Jochen, Herzog, Martin et al. (1 more author) (2020) Popular Music as Entertainment Communication: How Perceived Semantic Expression Explains Liking Previously Unknown Music. Media and Communication. ISSN 2183-2439 10.17645/mac.v8i3.3153 Reuse This article is distributed under the terms of the Creative Commons Attribution (CC BY) licence. This licence allows you to distribute, remix, tweak, and build upon the work, even commercially, as long as you credit the authors for the original work. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Media and Communication (ISSN: 2183–2439) 2020, Volume 8, Issue 3, Pages 191–204 DOI: 10.17645/mac.v8i3.3153 Article Popular Music as Entertainment Communication: How Perceived Semantic Expression Explains Liking of Previously Unknown Music Steffen Lepa 1,*, Jochen Steffens 2, Martin Herzog 1 and Hauke Egermann 3 1 Audio Communication Group, TU Berlin, 10587 Berlin, Germany; E-Mail: [email protected] (S.L.), [email protected] (M.H.) 2 Media Department, University of Applied Sciences Düsseldorf, 40476 Düsseldorf, Germany; E-Mail: [email protected] 3 York Music Psychology Group, University of York, York, YO10 5DD, UK; E-Mail: [email protected] * Corresponding author Submitted: 14 April 2020 | Accepted: 26 June 2020 | Published: 13 August 2020 Abstract Our contribution addresses popular music as essential part of media entertainment offerings.
    [Show full text]
  • As Ondas Musicais Do Pós-Manguebit
    UNIVERSIDADE FEDERAL DO PERNAMBUCO CENTRO DE ARTES E COMUNICAÇÃO DEPARTAMENTO DE COMUNICAÇÃO SOCIAL PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO RICARDO CÉSAR CAMPOS MAIA JÚNIOR AS ONDAS MUSICAIS DO PÓS-MANGUEBIT RECIFE 2016 RICARDO CÉSAR CAMPOS MAIA JÚNIOR AS ONDAS MUSICAIS DO PÓS-MANGUEBIT Tese apresentada à Coordenação do Programa de Pós Graduação em Comunicação, da Universidade Federal de Pernambuco, como requisito para a obtenção do grau de Doutor em Comunicação, sob orientação do Prof. Dr. Jeder Silveira Janotti Junior. RECIFE 2016 Catalogação na fonte Bibliotecária Maria Valéria Baltar de Abreu Vasconcelos, CRB4-439 M217o Maia Júnior, Ricardo César Campos As ondas musicais do Pós - Manguebit / Ricardo César Campos Maia Júnior. – Recife, 2016. 231 f.: il. Orientador: Jeder Silveira Janotti Junior. Tese (Doutorado) – Universidade Federal de Pernambuco, CAC. Comunicação, 2016. Inclui referências e apêndices. 1. Comunicação. 2. Música - Pernambuco - Sec. XX. 3. Comunicação e cultura. 4. Música - Pernambuco - Movimento. 5. Músicos - Pernambuco. 6. Mangue (Música). I. Janotti Junior, Jeder Silveira (Orientador). II. Titulo. 302.23 CDD (22.ed.) UFPE (CAC 2016-191) AGRADECIMENTOS Obrigado aos que contribuíram para a realização intelectual desse texto: principalmente ao meu orientador, Jeder Silveira Janotti Junior por toda a dedicação, suporte e força nessa caminhada; aos membros da minha banca examinadora, além dos professores do Programa de Pós-Graduação em Comunicação da UFPE. Agradeço também por todo o suporte emocional dado nessa longa caminhada pela minha família, principalmente: minha avó, Mabel Morais, minha mãe, Eliane Pires de Morais Maia, minha esposa, Raquel Valentim e minha filha Nina Mabel. Para finalizar, dedico essa tese à memória do meu pai, Ricardo Maia.
    [Show full text]
  • Contemporary Carioca: Technologies of Mixing in A
    Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos
    [Show full text]
  • Elvis Costello's Original Spin Telling the Assembled How Much Last Month, Commanded a Pain He Wants Them to Feel
    By Jeff Salamon he dreams of performing a few songs in front of the entire world and then OU RKKI) CAMK. TO NEW YORK Elvis Costello's original spin telling the assembled how much last month, commanded a pain he wants them to feel. Broadway stage and played How strange—the only commu- L the song "Rock and Roll" for nity he can imagine is based on the umpteenth time. The rendition mutual hostility. But then, Newman was passable—springy, lively, the doesn't write songs to establish a audience was up and dancing—but common ground between him and for a song about somebody whose his audience; he'd rather justify his life was saved by music, there was own alienation. The songs work be- little at stake. cause he's talented enough to dig Odd, but not surprising. Safe at the same hole for the rest of his life last in his middle years, Reed is and find art sticking to the end of struggling to defy Neil Young's fa- his shovel every time. mous dictim about burning out or Costello finds himself in a similar fading away. The solution Reed's situation. Politics for him has long most recent album offers—politi- been not an opportunity for solidar- cal commitment—is as noble as it ity but an affirmation of his essential is intermittently successful (see In aloneness. And there are many who These Times, Feb. 22). Not all of would be happy to see Costello do Reed's topical verses succeed, but nothing but crank up that o!' per- on his best new songs (the Andy petual anger machine once a year Warhol eulogy, the AIDS song), he's for the rest of his life.
    [Show full text]
  • 2016/17 Artist Roster Lemonskine
    2016/17 Artist Roster Lemonskine Lemoskine stands for music producer Rodrigo Lemos' solo work, after featuring as member/composer in bands like Poléxia and A Banda Mais Bonita da Cidade (known for the 2011's viral hit "Oração"). The project was nominated by the 2012's MTV Brasil Video Music Awards. Jota Erre An artist from Abreu e Lima, Pernambuco, 32 years old, he started in the world of music at a very young age, accompanying his relatives who were professional musicians in concerts of his father Miudinho and his aunt Val Andrade in Recife and other Pernambuco cities. In touch with true Brazilian Popular Music, he grew up listening to albums of great Brazilian artists such as Joao Bosco, Caetano Veloso, Gilberto Gil, among others. Frederico7 Frederico7 (F7) composes, produces & performs magnetic music with a modern Brazilian flavor. His effervescent charisma, powerful voice & prolific musical curiosity can be heard on the fresh recordings & vivacious shows of his 3 distinct acts: (Click) Suns of Orpheus, Os Alquimistas& Macaxeira Funk Tita Lima Born into a family of musicians, music came to Tita Lima naturally. She learned to play the piano with her grandmother and later the bass with her father, the bass player for the 70s rock band "Os Mutantes" and has paid her dues in Sao Paulo's musical scene playing bass, singing and sharing the stage with widely-recognized artists such as Bocato (Metalurgia, Elis Regina, Gal Costa, Maria Rita), Joao Donato, Luz de Caroline, Locosapiens, Luizao Tiu e Juneca, Nucleo and Dori Caymmi, among many others. Suns of Orpheus An exotic swirl of sensuous world beat grooves, rock and psychedelic sounds that are influenced by funk, reggae and world music of the early 70s.
    [Show full text]
  • Tradition and Innovation in Brazilian Popular Music: Keyboard Percussion Instruments in Choro
    Tradition and Innovation in Brazilian Popular Music: Keyboard Percussion Instruments in Choro by Mark James Duggan A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Mark James Duggan 2011 Tradition and Innovation in Brazilian Popular Music: Keyboard Percussion Instruments in Choro Mark James Duggan Doctor of Musical Arts Faculty of Music University of Toronto 2011 Abstract The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a ii consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments.
    [Show full text]
  • Apuntes Sobre El Rock
    Apuntes sobre el Rock Trabajo de investigación realizado por los alumnos de la materia Apreciación auditiva 1 dictada en Emu-Educación Dirección y Coordinación: Luis Aceto. Fuentes: http://es.wikipedia.org http://int.soyrock.com http://www.rock.com http://www.magicasruinas.com.ar/rock/revrock244.htm http://www.rincondelvago.com/ LA HISTORIA DEL ROCK ENCICLOPEDIA DIARIO LA NACION Publicada por el Diario La Nacion en 1993 Discografía existente de Las Bandas Definición: La Palabra rock se refiere a un lenguaje musical contemporáneo que engloba a diversos géneros musicales derivados del rock and roll, que a su vez proviene de una gran cantidad de fuentes, principalmente blues, rythm and blues y country, pero también del gospel y jazz INDICE Orígenes: 50´s pag.3 60´s, / 70´s pag.8 70´s / 80´s pag.10 80´s / 90´s pag.13 90´s pag.18 2000´s pag.19 géneros de música derivados del Rock & Roll pag.20 En la versión de Word presione Control + B para buscar el nombre de una banda Orígenes: Bluegrass Estractado De Wikipedia, la enciclopedia libre El bluegrass (literalmente, "hierba azul") es un estilo musical incluido en el country que, en la primera mitad del siglo XX, se conoció como Hillbilly. Tiene sus raíces en la música tradicional de Inglaterra, Irlanda y Escocia, llevada por los inmigrantes de las Islas Británicas a la región de los Apalaches Denominación El nombre bluegrass procede del nombre del área en que se originó, llamada "región Bluegrass" (Bluegrass region), que incluye el norte del estado de Kentucky y una pequeña parte del sur del estado de Ohio.
    [Show full text]
  • Tropicália Y Post- Tropicalismo En Brasil (1967-1976) No Pais Do Futuro
    Specials > OBJETO SEMI-IDENTIFICADO NO OBJETO SEMI-IDENTIFICADO PAIS DO FUTURO: TROPICÁLIA Y POST- TROPICALISMO EN BRASIL (1967-1976) NO PAIS DO FUTURO: The Specials programs focus on projects by artists and curators who have some kind of connection to the Museum's TROPICÁLIA AND POST- programming and the MACBA Collection. On the occasion of the Cildo Meireles exhibition and with the idea of TROPICALISMO IN BRASIL complementing the concert series The Tropicália Effect and the concert and lecture by Arto Lindsay Tropicália: Movement and Moment , we recover the sounds that revolutionised (1967-1976) Brazil from 1967-1976 through the erudite vision of Raül G. Pratginestós (aka DJ Zero), DJ and compulsive collector. Curated by Raül G. Pratginestós 01. Summary In the late 1960s, the movement known as Tropicaliá revolutionised Brazil’s cultural scene. In spite of being open to all kinds of artistic expressions (theatre, PDF Contents: film, plastic arts), Tropicália had its greatest impact in the field of music, due to the personality of its leading players (some of the most promising, edgy artists of 01. Summary the time) and also to the high quality of its artistic output. Often reduced to a 02. Playlist kind of “psychedelia Made in Brazil", Tropicália was actually a reinvention of Brazilian popular music, which was able to encompass elements from the local 03. Listener's guide scene and beyond, modern styles and traditional music, with all the 05. Acknowledgments contradictions that this implies. 06. Copyright note From a record collector's perspective, Objeto Semi-Identificado No Pais Do Futuro. Tropicália and post-Tropicalismo in Brasil (1967-1976) is an overview of the musical side of Tropicalismo that offers an introduction to the movement and helps to explain some of its key aspects.
    [Show full text]
  • CHAPTER 6 the Innovative Music Scene of Recife
    CHAPTER 6 The Innovative Music Scene of Recife Throughout Chapter 6, the author describes the mangue genre of Brazilian music and several ways in which this music has evolved. As students read this chapter, have them to create a reference guide for this style. Handout 6.1 in the Supplementary Materials section may be used for this assignment. The sample guide below contains examples of information students may glean from the text and enter into the Style/Genre Reference Guide Handout 6.1 Chapter 6 Style/Genre Reference Chart Origins Purpose Description/Characteristics /Function Mangue Early 1990s Creating music Creative combinations of varied non-Brazilian Recife. combining elements and Brazilian styles. Lyrics often contain social Founders were of non-Brazilian and political commentary musicians styles such as punk, sharing funk, hip-hop and interests in Brazilian genres such non-Brazilian as maracatu and coco pop styles and performers The Mangue Movement AA (1-4) S/CU (5-6) Since the mid-1980s, young musicians, journalists, and artists had been finding each other and discovering shared interests: in punk, funk, and hip-hop as well as maracatu and coco, and in James Brown and Afrika Bambaataa as well as Luiz Gonzaga and Jorge Ben Jor. In the early 1990s, an idea grew out of this circle of friends for a movement called mangue.(Pages 133-138) 1. For which area of Recife is mangue named? 2. Identify and briefly discuss the two bands Chico Science & Nação Zumbi and Mundo Livre S/A and their significance in the development of the mangue style.
    [Show full text]
  • Kalbod Goshaie Janrhae Mosighi(Pdf)
    2 ﮐﺎﻟﺒﺪﮔﺸﺎﻳﯽ ژاﻧﺮﻫﺎی ﻣﻮﺳﻴﻘﯽ ﭘﻮرﻳﺎ ﻣﻔﺘﻮن [email protected] 3 ژاھی ه : ر ن :ن ، ر ان وم آور: " ژاھی $#":ل،راک ، ھ$.-پ ، ,+ز،پ و )$ه ه:رن 12ت :/-ان: آ,4$3 ران 1387 12ت ظھی : 184 ص. 978 - 964 - 9353 68- :5- 8, و;9$ :9- ": :$. >ع: $#" ھ= – /ر? و # رده ,ی 4ه : 1387 2 ک 7 مML 3470 A رده ,ی د" : /63 781 =ره ," +" : 1152015 ژاھی ر ن [email protected] ﺷ : آ,4$3 ران ل پ : 1388 پ : اول طا : آرش B زاده و()' و %$#" آرا : E +خ ﺷ+رن : 2000 2 F$=9 : 3200 /ن =ره ,8: 5- 8- 93536 - 964 - 978 [email protected] " آ,4$3 ران: /-ان - I$,ن /92 طووس - I$,ن $=د - K زدھL - Jک 12 - واM 4 . 4 =ره /=س: 09126051710 – 88739148 4 , ) 9 9 ---------------------- ------ ----- ---------------------- # /رN2 اي ا,اO از ھ ------------------------ -- -------- -14 -14 دوران رو -------------------------------------------- 21 21 دوران ر$Qم --------------------------------------------- 22 22 :$QKم ------------------------ -------------------------- 22 22 رR $ر در اان ------- --- ----- - 23------------------------ $#S $ Oر Popular ------------- --- --- ------ - 24-------- $#O پ Pop -------------- ------------- --- ---- --------- 28 28 30------------- --- ------- --- ------------------- Trance T/ 31--- --- ------------- -- ------------------------- Techno U/ ,+ز Blues ------------------------------ - -------- ---- ------ 36 36 QWَ ,+ز Jazz blues -------- -------- ------ ---- 37------------- $#Jazz QWَ O ------------------ ---- --- --- ------------- 37-- و$ Progressive Jazz QWَ - ---- -- -- --------- ------- 41 41 Xل Soul --------------------------- --- -- -----
    [Show full text]
  • 26 Bathed in the Glow of the Rotating Light Displays and the Merciful
    Bio Ritmo Nick Walker Bathed in the glow of the At first, the effect was subtle. Bio Ritmo’s show sounded classic 60s and 70s salsa, but then rotating light displays there were elements of other genres gently emerging from deep within the music. Sometimes, it was almost subliminal, and the and the merciful breeze of original rhythm would return later on. Other times, the music would change suddenly, with new melodies jumping out and several wall fans, hundreds forcing the dancers to adapt. “It all comes down to the core passion in our music,” says Rei of salseros and salseras filed Alvarez, wearing his signature fedora atop his shaved head and sporting a full beard and mustache. Alvarez is Bio Ritmo’s into The Salsa Room on a hot lead vocalist and percussionist who also writes all of the lyrics. “The melodic progression, the set of chords that establish fall night to hear Bio Ritmo, the melody… that’s what matters to me. A good melodic progression can evoke emotions,” he says. the Virginia band that likes Based in Richmond, VA, Bio Ritmo is known for its creativity, originality and experimentation. But, they say, they never lose to put their own twist on track of their traditional salsa roots. “We’re always looking for the roots of the music, because you need to know the rules Nuyorican salsa . before you break them,” says Alvarez. “The inspiration to be creative comes from that confidence. Our music has evolved, but we’re still a salsa band.” THE SCENE 26 HOLIDAY 2009 Photos: Jon Trevino TheSceneMag_Holiday09.indd 26 12/8/09 10:19:29 AM Alvarez takes pride in Bio Ritmo’s unique blend of salsa Bio Ritmo returned to their Nuyorican roots, releasing a with musical styles from around the world, including self-titled album on their own label, “Locutor,” in 2003.
    [Show full text]
  • A Computational Approach to Rhythm Description Audio
    A COMPUTATIONAL APPROACH TO RHYTHM DESCRIPTION AUDIO FEATURES FOR THE COMPUTATION OF RHYTHM PERIODICITY FUNCTIONS AND THEIR USE IN TEMPO INDUCTION AND MUSIC CONTENT PROCESSING A DISSERTATION SUBMITTED TO THE DEPARTMENT OF TECHNOLOGY OF THE UNIVERSITY POMPEU FABRA FOR THE PROGRAM IN COMPUTER SCIENCE AND DIGITAL COMMUNICATION IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR PER LA UNIVERSITAT POMPEU FABRA WITH THE MENTION OF EUROPEAN DOCTOR Fabien Gouyon 2005 Dipòsit legal: B.10835-2006 ISBN: 84-689-7256-8 c Copyright by Fabien Gouyon 2005 All Rights Reserved ii DOCTORAL DISSERTATION DIRECTION Co-Advisor Dr. Xavier Serra Department of Technology Pompeu Fabra University, Barcelona Co-Advisor Dr. Gerhard Widmer Department of Computational Perception Johannes Kepler University, Linz iii iv Abstract This dissertation is about musical rhythm. More precisely, it is concerned with computer programs that automatically extract rhythmic descriptions from musical audio signals. New algorithms are presented for tempo induction, tatum estimation, time signature determi- nation, swing estimation, swing transformations and classification of ballroom dance music styles. These algorithms directly process digitized recordings of acoustic musical signals. The backbones of these algorithms are rhythm periodicity functions: functions measuring the salience of a rhythmic pulse as a function of the period (or frequency) of the pulse, calculated from selected instantaneous physical attributes (henceforth features) emphasizing rhythmic aspects of sound. These features are computed at a constant time rate on small chunks (frames) of audio signal waveforms. Our algorithms determine tempo and tatum of different genres of music, with almost constant tempo, with over 80% accuracy if we do not insist on finding a specific metrical level.
    [Show full text]