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Ketron A4 Fronte OOKK 2Biss
KETRON STYLES PACKAGE 2016 SD7 SD80 Midjpro For SD7 - SD80 • SD Styles / VOL.1 cod.9PDKP1 BALLAD COUNTRY DANCE 8Beat Ballad-R Piano Ballad Country Ballad On The Road 60's Revival Disco Highlife 70's Ballad Pop Ballad 6-8 Country Beat PianoMan Waltz Club Dance 1 Disco Pop Ballad 12-8 Smooth Ballad Dixie Band Scand Fox Club Dance 2 Euro Club 1 Blues Ballad-R Soft Ballad Dolly Pop Stand By Yours Club Dance 3 Euro Club 2 Folk Singer Sweet 16 Beat Fox Beat Club USA Full House Gentle 16 Beat Uptown 16 More Country Disco Beat Noche Mix Lonely Ballad Nashville Disco Funk For Midjpro • SD Styles / VOL.1 cod.9PDKP5 BALLAD COUNTRY DANCE 8Beat Ballad Lonely Ballad Country Ballad Nashville 60's Revival Disco Highlife 8Beat Ballad-R Piano Ballad Country Beat On The Road Club Dance 1 Euro Club 1 70's Ballad Pop Ballad 6-8 Dixie Band PianoMan Waltz Club Dance 2 Euro Club 2 Ballad 12-8 Smooth Ballad Dolly Pop Scand Fox Club Dance 3 Full House Blues Ballad-R Soft Ballad Fox Beat Stand By Yours Club USA Noche Mix Folk Singer Sweet 16 Beat Francaise Disco Beat Gentle 16 Beat Uptown 16 More Country Disco Funk For SD7 - SD80 • SD Styles / VOL.2 cod.9PDKP2 LATIN PARTY Batucada Gentle Bolero Normal Samba Rumba Flam Boogie Woogie1 Meneito Beguine Les Antilles North Bachata Salsita Boogie Woogie2 Schlager Bossa Argentin Mambo Hit-R Rapido Samba Brazilia Can Can Shue Fox Bossa Brazil Mambo Reggae Drop South Bachata Elvis Boogie Caliente Merenguito-R Reggae Shine Sunny Bossano Flip Beat Cha Cha-R Modern Balada Reggaeton-R Vallenato Flip Fox Cumbia-R Modern Cumbion -
Brazilian Nationalistic Elements in the Brasilianas of Osvaldo Lacerda
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda Maria Jose Bernardes Di Cavalcanti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Di Cavalcanti, Maria Jose Bernardes, "Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda" (2006). LSU Major Papers. 39. https://digitalcommons.lsu.edu/gradschool_majorpapers/39 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRAZILIAN NATIONALISTIC ELEMENTS IN THE BRASILIANAS OF OSVALDO LACERDA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the Degree of Doctor of Musical Arts in The School of Music by Maria José Bernardes Di Cavalcanti B.M., Universidade Estadual do Ceará (Brazil), 1987 M.M., Louisiana State University, 2002 December 2006 © Copyright 2006 Maria José Bernardes Di Cavalcanti All Rights Reserved ii DEDICATION This monograph is dedicated to my husband Liduino José Pitombeira de Oliveira, for being my inspiration and for encouraging me during these years -
September-October 2018 from the Editor: Welcome to the September/October Edition of the 2018 AAA Newsletter
AMERICAN ACCORDIONISTS’ ASSOCIATION A bi-monthly publication of the AmericanNewsletter Accordionists’ Association September-October 2018 From the Editor: Welcome to the September/October edition of the 2018 AAA Newsletter. As we reflect on the outstanding success of the 80th Anniversary Festival in Alexandria, VA, the summer draws to a close bringing with it a sense of great pride and accomplishment. The array of talent fea- tured during our gala Anniversary festival showcased the accordion at its finest, in a variety of genres and settings. A wonderful review with pictures and videos can be found online at www.ameraccord.com and serves as a lasting souvenir of the spectacular gathering. As always, I would like to offer my sincere thanks to the AAA Past- President, Linda Reed and Board of Director, Rita Davidson for their kind assistance with the AAA Newsletter. We invite you to submit your news items for publication so that your fellow members can see the incredible array of accordion activities happening throughout the country. Items for the 2018 November/December Newsletter can be sent to me at [email protected] or to the official AAA e-mail address at: [email protected]. Please include ‘AAA Newsletter’ in the subject box, so that we don’t miss any items that come in. Text should be sent within the e-mail or as a Word attach- ment. Pictures should be sent as a high quality .jpg file, and the larger the file size the better. We can always reduce/crop the picture if necessary, however we are unable to increase the quality from smaller pictures. -
Representative List of the Intangible Cultural Heritage of Humanity As Heritage Fund
ElemeNts iNsCriBed iN 2012 oN the UrGeNt saFeguarding List, the represeNtatiVe List iNTANGiBLe CULtURAL HERITAGe aNd the reGister oF Best saFeguarding praCtiCes What is it? UNESCo’s ROLe iNTANGiBLe CULtURAL SECRETARIAT Intangible cultural heritage includes practices, representations, Since its adoption by the 32nd session of the General Conference in HERITAGe FUNd oF THE CoNVeNTION expressions, knowledge and know-how that communities recognize 2003, the Convention for the Safeguarding of the Intangible Cultural The Fund for the Safeguarding of the The List of elements of intangible cultural as part of their cultural heritage. Passed down from generation to Heritage has experienced an extremely rapid ratification, with over Intangible Cultural Heritage can contribute heritage is updated every year by the generation, it is constantly recreated by communities in response to 150 States Parties in the less than 10 years of its existence. In line with financially and technically to State Intangible Cultural Heritage Section. their environment, their interaction with nature and their history, the Convention’s primary objective – to safeguard intangible cultural safeguarding measures. If you would like If you would like to receive more information to participate, please send a contribution. about the 2003 Convention for the providing them with a sense of identity and continuity. heritage – the UNESCO Secretariat has devised a global capacity- Safeguarding of the Intangible Cultural building strategy that helps states worldwide, first, to create -
"Music in Human Life: the Individual, the Community, and the Planet" Proposed As Upper Division Or Lower Division: Upper Division Faculty Name: Daniel Ferguson
SEMESTER AT SEA COURSE SYLLABUS ""MMUUSSIICC IINN HHUUMMAANN LLIIFFEE:: TTHHEE IINNDDIIVVIIDDUUAALL,,, TTHHEE CCOOMMMMUUNNIITTYY,,, AANNDD TTHHEE PPLLAANNEETT"" Spring 2013 Discipline: Music Course Title: "Music in Human Life: The Individual, the Community, and the Planet" Proposed as Upper Division or Lower Division: Upper Division Faculty Name: Daniel Ferguson Pre-requisites: none COURSE DESCRIPTION: Music in Human Life: The Individual, the Community, and the Planet Music is more fundamental to human life and to our identity as a species than most of us realize. Yet music is often treated as trivial, as non-essential, as mere 'entertainment', and countless musical traditions in our world - and the cultures of which they are a part - are endangered and dying. The global discourse on 'sustainability' rarely involves discussion of culture and the arts. But, the long-term 'health' of a community, a society, a nation involves much more than just ecological or economic concerns. In this course we will explore a number of issues and topics that highlight: (1) music's centrality and indispensability to human existence; (2) the relationship of music and the arts to the physical, spiritual, intellectual, social, cultural, economic, and organizational health of humans and human societies; (3) music's embattled and endangered status and the urgency of the work of preservation and/or revitalization of musical traditions, practices, and communities; (4) the interrelatedness of various music-related practices and the health of our earth; and (5) the place of music in the diverse and constantly morphing "soundscapes" in which we find ourselves in our day-to-day lives. TOPICS: DEFINITIONS What is 'Music'?; What is 'Sustainability'?; etc. -
The Cante Alentejano – Traditional Singing from the Alentejo, Portugal
Cooperativa Cultural C.R.L. The Cante Alentejano – Traditional singing from the Alentejo, Portugal Filomena Sousa 1 MI/IELT [email protected] www.memoriamedia.net Sousa, Filomena (2011), “The Cante Alentejano – Traditional singing from the Alentejo, Portugal ”, in Projeto Memóriamedia , Memória Imaterial/IELT, pp. 1-10. Consulted in http://www.memoriamedia.net/bd_docs/trancricao_cuba/aboutcantealentejano Abstract The cante alentejano (singing), polyphonic, executed in a group and without instruments is originally typical from the Alentejo, a Portuguese region that establishes the Northern frontier with the river Tejo, and the Southern frontier with the Algarve. With a repertoire composed by modas , the cante alentejano is sung by groups which are formed by three base voices: the Point, the High and the Second Voices. After the ratification of the UNESCO Convention for the safeguard of the intangible cultural heritage in 2008 and the recognition of fado as cultural heritage of in Humanity in 2011, several groups of cante alentejano , local authorities and cultural associations have united efforts to set a candidature of the cante alentejano to intangible cultural heritage of Humanity. This article intends to synthesize the main features of this cultural expression, enumerate the theories that exist about its origin and expose some data about its evolution. Key words: Cante Alentejano , Alentejo, polyphonic cante , modas , intangible cultural heritage. 1 Responsible Investigator in the Immaterial Memory Cultural C., CRL – Memorimedia Project; Member of the Institute of Studies of Traditional Literature (IELT) - FCSH – UNL; University teacher (2002-2010) in ISSS and ESE-IPP. Guest Investigator – INED – Paris (2006/2007). PhD in Sociology ISCTE-IUL. -
Lisbon City Guide 2019.Pdf
Headline Verdana Bold Make the most out of your stay Lisbon City Guide What you should know about Portugal • Portugal is the oldest country in Europe: has had the same defined borders since 1297, making it the oldest nation-state in Europe; • Lisbon is one of the oldest cities in Europe; • Fado and Cante Alentejano are recognized as world’s intangible cultural heritage – UNESCO • Lisbon is home to the oldest bookshop in Europe. (Bertrand 1732); • Portugal is the largest cork exporter in the world; • Portugal hosts one of the oldest universities in Europe (1290 – Universidade de Coimbra); • Portuguese is one of the most spoken languages in the world; • Portuguese shoes are popular all over the world; • Port wine is named after the city of Porto, not Portugal; • The national dish of Portugal is bacalhau (over 365 different recipies in Portugal); • Portugal has some of the most beautiful award-winning beaches in Europe; • And of course, Portuguese people are cheerful and nice. They will most surely love to meet you. Enjoy your stay! © 2019. For information, please contact Deloitte Consultores SA Lisbon City Guide 2 What to do Places to visit © 2019. For information, please contact Deloitte Consultores SA Lisbon City Guide 3 Discovering Lisbon Belém Portugal's caravels sailed off to conquer the great unknown from Belém, and today this leafy riverside precinct is a giant monument to the nation's Age of Discoveries. First stop should be the Mosteiro dos Jerónimos, a Manueline masterpiece whose intricate decoration and peaceful spaces will leave you inspired. A short walk away is the Torre de Belém, the much- photographed symbol of Portugal's maritime glory. -
Our Fado at Your Event O Nosso Our Fado Fado No Seu at Your Evento / Event
O NOSSO FADO NO SEU EVENTO / OUR FADO AT YOUR EVENT O NOSSO OUR FADO FADO NO SEU AT YOUR EVENTO / EVENT / PORQUE O FADO NÃO SE ENCERRA DENTRO DAS CASA TÍPICAS, LEVAMOS AS VOZES QUE MATERIALIZAM A NOSSA TRADIÇÃO ATÉ À SUA CASA, À SUA EMPRESA OU A QUALQUER OUTRO ESPAÇO ONDE QUEIRA TER UM APONTAMENTO DE FADO. NO ESTILAR FADISTA OU NO TRINAR DAS GUITARRAS, LEVAMOS O LADO MAIS AUTÊNTICO DO FADO ATÉ SI. BECAUSE FADO DOES NOT END WITHIN THE TYPICAL HOUSES, WE TAKE THE VOICES THAT MATERIALIZE OUR TRADITION TO YOUR HOME, YOUR COMPANY OR ANY OTHER SPACE WHERE YOU WANT TO HAVE A FADO PERFORMANCE. IN THE FADO SINGER STYLE OR IN THE TRILLING OF THE GUITARS, WE BRING THE MOST AUTHENTIC SIDE OF FADO TO YOU. FADO Actuação de Fado : [1 ou mais vozes + guitarra portuguesa As suas vozes cantam a lírica portuguesa + viola de fado] e as melodias populares do Fado. Convidamos a uma experiencia autêntica Fado Performance de Fado com a voz, a guitarra portuguesa [1 or more voices + portuguese guitar e a viola de fado. + fado guitar] Poderá igualmente desfrutar de um apontamento de Fado a duas vozes, com duetos e muita interação entre Casa de Fados os fadistas e os convidados. Encenação do ambiente intimo e acolhedor de uma casa de fados com recurso a elementos de cenário (mesa, cadeiras, jarro de vinho, toalha FADO de mesa, velas), com intepretação de fados : tradicionais por duas vozes (masculina e feminina). Their voices sing the Portuguese poems Alguns elementos da audiência são convidados and the popular melodies of Fado. -
The Dick Crum Collection, Date (Inclusive): 1950-1985 Collection Number: 2007.01 Extent: 42 Boxes Repository: University of California, Los Angeles
http://oac.cdlib.org/findaid/ark:/13030/kt2r29q890 No online items Finding Aid for the The Dick Crum Collection 1950-1985 Processed by Ethnomusicology Archive Staff. Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the The Dick Crum 2007.01 1 Collection 1950-1985 Descriptive Summary Title: The Dick Crum Collection, Date (inclusive): 1950-1985 Collection number: 2007.01 Extent: 42 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Dick Crum (1928-2005) was a teacher, dancer, and choreographer of European folk music and dance, but his expertise was in Balkan folk culture. Over the course of his lifetime, Crum amassed thousands of European folk music records. The UCLA Ethnomusicology Archive received part of Dick Crum's personal phonograph collection in 2007. This collection consists of more than 1,300 commercially-produced phonograph recordings (LPs, 78s, 45s) primarily from Eastern Europe. Many of these albums are no longer in print, or, are difficult to purchase. More information on Dick Crum can be found in the Winter 2007 edition of the EAR (Ethnomusicology Archive Report), found here: http://www.ethnomusic.ucla.edu/archive/EARvol7no2.html#deposit. Language of Material: Collection materials in English, Croatian, Bulgarian, Serbian, Greek Access Collection is open for research. Publication Rights Some materials in these collections may be protected by the U.S. -
Xango Music Distribution Release #7 – 2017 Pagina | 1
Xango Music local music from all over the world Office: Singelstraat 1, 3513 BL Utrecht, NL www.xmd.nl - [email protected] - +31 6 50 999 123 Warehouse: Berenkoog 53 C, 1822 BN, Alkmaar (NL) e: [email protected] t: +31 (0)72 - 567 3030 NEW RELEASES NO. 7-2017 Glitterbeat Records is started a new label. It is called - tak:til tak:til will be a Glitterbeat imprint that specializes in contemporary (mostly) instrumental music. Albums that loosely navigate Jon Hassell's idea of "Fourth World" musics, musics bravely and playfully blurring the divide between (so- called) futurists and (so-called) traditionalists OUT ON FRIDAY April 14th: Joshua Abrams & Natural Information Society: Simultonality GBCD 48 / 4030433604823 / label: tak:til / format: CD / USA – Popular GBLP 48 / 4030433604816 / label: tak:til / format: LP / USA – Popular The follow-up to Joshua Abrams's critically acclaimed 2015 album Magnetoception is here. Simultonality, credited to Joshua Abrams & Natural Information Society (NIS), is the first recording in the project’s nine year, four album history made by a regularly gigging manifestation rather than a special assembly of friends. Recorded in 2014 & 2015 in single takes by the full ensemble during & after tours of the U.S. & Canada, Simultonality sets out new pathways for Abrams & the NIS to reach the next summit, and once more affirms the project's unique approach to joining traditional musics, American minimalism and jazz with the Gnawa ceremonial instrument the guimbri. Listen to a track here. 75 Dollar Bill: Wood/Metal/Plastic/Pattern/ Rhythm/ Rock GBCD 47/ 4030433604724 / label: tak:til / format: CD / USA – Popular GBLP 47/ 4030433604717 / label: tak:til / format: LP / USA – Popular At last the European release of one of 2016’s most acclaimed albums. -
– Cante Alentejano – a Identidade Social Alentejana Estudada Através
Instituto Superior de Psicologia Aplicada – Cante Alentejano – A Identidade Social Alentejana Estudada Através do Cante Alentejano Lígia Tatiana Rosado Ventura Nº 14786 Orientador de Dissertação: Professor Doutor Virgílio Amaral Coordenador de Seminário de Dissertação: Professor Doutor Virgílio Amaral Tese submetida como requisito parcial para a obtenção do grau de: MESTRE EM PSICOLOGIA SOCIAL E ORGANIZACIONAL 2009 Dissertação de Mestrado realizada sob a orientação de Prof. Doutor Virgílio Amaral, apresentada no Instituto Superior de Psicologia Aplicada para obtenção de grau de Mestre na especialidade de Psicologia Social e das Organizações conforme o despacho da DGES, nº 19673/2006 publicado em Diário da República 2ª série de 26 de Setembro, 2006. II Agradecimentos Gostava de começar por fazer um especial agradecimento ao Professor Doutor Virgílio Amaral, orientador de tese, por todo o apoio, paciência, incentivo, disponibilidade, pelo seu interesse e pela sua amizade, durante todo o desenvolvimento deste trabalho. A todos os que contribuíram para que fosse possível fazer este trabalho, um muito obrigada. Sem a sua disponibilidade e boa vontade em partilhar comigo as suas histórias pessoais, não seria possível fazer a recolha de tão preciosos conhecimentos. À minha família, agradeço com especial carinho. Obrigada pelo apoio, pela preocupação e paciência, e obrigada pela compreensão pelo tempo ausente necessário para a realização deste trabalho. Ao João agradeço, a sua ajuda, disponibilidade, preocupação, e acima de tudo o seu carinho. Por partilhar comigo o mesmo desejo de crescimento pessoal e profissional, e nunca ter deixado de me dar o seu apoio. A todos presto os meus mais sinceros agradecimentos. III Resumo Este trabalho teve como objectivo conhecer a história do cante alentejano desde há cinquenta/sessenta anos a esta parte. -
EASA Media Anthropology Network E-Seminar Series
EASA Media Anthropology Network e-Seminar Series http://www.media-anthropology.net/workingpapers.htm E-Seminar on Carsten Wergin's working paper “World Music: A medium for unity and difference?” (22 – 29 May 2007) Abstract: The aim of my paper is to discuss the existence of World Music within and beyond its economic dimension. It focuses on the question of how a musical space, in which various actors intonate their visions of transcultural unity and difference, can be analysed ethnographically. The paper is meant to give a written ethnographic account of such a space, referring to a specific version of a popular song that probably none of my readers have ever listened to. In this sense, I present an actual working paper, as this constitutes an experi- ment, in which I herewith invite you to take part. Central to my argument is the fact that World Musicians mediate local images of authenticity for global audiences. They invent traditions to signify unique forms of identities and cultures. Simultaneously, they draw on musical refer- ences from different parts of the world. On Réunion Island, an Overseas-De- partment of France in the Indian Ocean, this process becomes even more ap- parent. Before its colonisation the island was uninhabited. Traditions here are not original or rooted, but are indicators of cultural transition and routedness. Réunionese Musicians use traditions to (re)territorialise themselves within a translocal soundscape, a World Music scene where Réunion Island becomes one of many points of reference. This is exemplified in a version of Bob Mar- ley’s “Redemption Song” played by a Réunionese band called Bastèr.