The Classical Music

This book provides the first comprehensive study of narco cinema, a cross-border exploitation cinema that, for over forty years, has been instrumental in shaping narco-culture in Mexico and the US borderlands. Identifying classics in its mammoth catalogue and analyzing select films at length, Rashotte outlines the genre's history and aesthetic criteria.

208p vimeyers 29-05-2024 7 4   Download

Transcribing musical works is a very popular form of artistic creativity in musical life, playing an important role in the field of performance and enriching the basic technical foundations for the training of musical instrument performance. In this paper, we presents some thoughts about transcribing musical works for classical guitar in current teaching and performance in Vietnam.

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This book tackles tricky topics and themes in a simple and easy to follow format. Learn about Classic Music in this overview guide to the subject, great for novices looking to find out more and experts wishing to refresh their knowledge alike! The Classical Music Book brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. This captivating book will broaden your understanding of Classical Music, with: More than 90 pieces of world-famous music; packed with facts, charts, timelines and graphs to help explain core concepts.

203p haojiubujain03 09-08-2023 11 5   Download

The Classical Music Book is a captivating introduction to music theory, crucial composers and the impact of seminal pieces, aimed at adults with an interest in the subject and students wanting to gain more of an overview. Here you’ll discover more than 90 works by famous composers from the early period to the modern day, through exciting text and bold graphics. Please refer to Ebook The Classical Music Book: Big ideas simply explained - Part 2 for more details.

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The aim of this research is to deepen insight into the social-psychological factors that influence the formation of a desire to attend classical music concerts and to better predict people’s positive behavioural responses towards live classical music performances.

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Multiple definitions are used to investigate injuries in musicians, resulting in a wide range of prevalence rates. The aim of this study is to establish the impact of different injury definitions on the prevalence of injuries and disability in classical music students.

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Lecture "Unit 12: Music" designed professional PowerPoint to enhance skills and knowledge in the development of electronic lectures teaching and learning.

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Đảo ngữ đề cập tới hiện tượng động từ không theo qui tắc trong câu. Trong trường hợp này, dạng thức nghi vấn (có cấu trúc: trợ động từ + chủ ngữ + động từ chính) nằm ngay trong cấu trúc câu khẳng định (ví dụ: He goes to work every day). Dưới đây là một vài ví dụ về câu đảo ngữ: Not only do I enjoy classical music, but I also enjoy Pop music. (Tôi không chỉ thích nhạc cổ điển mà tôi còn thích nhạc Pop)....

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Scott was born in Texas in 1886 into a poor but musical black family. He started learning music when he was very young. Scott learned to play works of composers like Bach, Beethoven and Mozart as well as to compose music. His first song, the Maple Leaf Rag, was written in 1899 and then he quickly became famous. His tunes were wonderful mixture of classical European and African beats which were called Ragtime. Scott Joplin died in 1917. All in all, he wrote 50 piano rags, and he was known as the King of Ragtime....

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We consider a model with two competing private TV-channels producing each, at a fixed cost F, a separate program which consists of a mixof entertain- ment (sports, varieties, ...) and culture (classic music, theater, movies, a.s.o.). The two companies also sell advertising time to announcers to promote their products or the products of their customers. For each channel, the total broad- casting time, programs plus advertising, is equal to T. TV-viewers have varying tastes for the “program-mixes” offered by the channels.

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I. Choose the correct answers (A, B, C or D) to complete the following passage. (1.75 ms) People all (1) the world listen to classical music. Classical music is difficult (2) It means different things to different people. Some (3) classical composers were Bach, Vivaldi, Haydn, and Mozart. In their music, they did not (4) a story or show strong emotion. They wanted to make a beautiful, interesting design. They wanted to write lovely sounds

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While this book was being written, digital sound synthesis reached something of a milestone—its 50th birthday. Set against the leisurely pace of the development and evolution of acoustic musical instruments in previous years, a half century is not a long time. But given the rate at which computational power has increased in the past decades, it is fair to say that digital sound is, if not old, at least enjoying a robust middle age.

449p nguyenthai_thinh 16-03-2013 72 10   Download

I’ve noticed over the years that many guitarists simply do not know anything about music theory, namely the theory based in the “western” classical tradition. Well, to say they do not know anything about it is a bit of an exaggeration; many know a decent amount about theory, they just do not know how to apply it to the guitar. It is almost as if there are two separate languages being spoken these days: “real” music and “guitar” music. Hence the popularity of tablature and it being the sole method for song learning many guitarists (right along with playing by...

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Apple’s iPods continue to set the bar for media players, with bold new features like the Touch’s supersized screen and Siri voice control. But iPods still lack a guide to all their features. That’s where this full-color book comes in. It shows you how to play music, movies, and slideshows; shoot photos and videos; and navigate Apple’s redesigned iTunes media-management program.

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From 1915 onwards, Villa-Lobos began to present compositions to the Rio de Janeiro public in chamber music recitals. Only the fifth recital of his works, in 1918, included symphonic works, explained by the difficulty faced by the author in organizing a concert with so many members. Despite the financial failure and the small audiences attending this presentation, Villa-Lobos’s works were highly praised, helping him to become more widely known. His efforts to establish himself as a big name in classical music in Rio de Janeiro had yielded their first results.

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This examination of some of the compositions produced by Villa-Lobos over the 1910s reveals his desire to take a stance in relation to Rio de Janeiro’s classical musicians. To be accepted by his peers, he had to abide by the aesthetic rules of the classical music scene in the city. This included moving away from popular music: it is striking that, in the body of work composed by Villa-Lobos during the 1910s, there is an almost complete absence of aesthetic elements linked to popular music, despite the composer’s contact with the chorões.

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Villa-Lobos’s contact with classical music began at home. His father Raul, the son of Spanish immigrants, was not born to a family from the local elite. However, he was sponsored by Alberto Brandão, then leader of the majority group in the Fluminense Provincial Assembly and founder of a well-respected secondary college in the town of Vassouras. As a result, Raul managed to complete his secondary school studies, which amounted to a rare privilege in the Second Empire (1840-1889) and even during the First Republic (1889-1930).

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Raul’s investment in his son’s musical training went much further, though. Villa-Lobos recounted that his father adapted a small cello for him, placing a support on a viola, and obliged him to “discern the genre, style, nature and origin of the musical works to which he made [him] listen.” Since he had neither built up a wide circle of relations, nor invested in a career yielding higher financial returns, this precocious initiation in classical music was practically the only legacy that Raul left to Heitor; in 1899, when he was 37 years old, he died after contracting smallpox.

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Heitor Villa-Lobos did not conclude his secondary studies. In 1904, however, he enrolled at the National Institute of Music to take cello lessons on an evening course, at the same time as playing in the orchestra of a symphonic society, the Francisco Manuel Club. The evening courses comprised part of the project of teachers from the Institute to maintain and expand the public profile of classical music in Rio de Janeiro soon after the proclamation of the Republic.

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On the day after his nomination as director of the Institute, Miguéz abolished the Chair of Singing “due to a lack of teachers,” despite the large number of teachers in Italian bel canto working there. Qualified piano teachers who belonged to the same aesthetic were replaced or downgraded to lower posts, such as that of accompanist.

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