116 Results for : commonalities
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Worldwide Commonalities and Challenges in Information Literacy Research and Practice
Worldwide Commonalities and Challenges in Information Literacy Research and Practice - European Conference ECIL 2013 Istanbul Turkey October 22-25 2013. Revised Selected Papers: ab 96.49 €- Shop: ebook.de
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Comparative Cognition
Comparative Cognition - Commonalities and Diversity: ab 138.99 €- Shop: ebook.de
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Summer Long (10")
Neue Band von Laetitia Sadier (Stereolab) zusammen mit der Brasilianischen Band MOMBOJÓ. 10 MAXI-SINGLE, klares Vinyl, nummeriert und limitiert auf 1000 weltweit.Neue Band von Laetitia Sadier (Stereolab) zusammen mit der Brasilianischen Band MOMBOJÓ. 10 MAXI-SINGLE, klares Vinyl, nummeriert und limitiert auf 1000 weltweit. Our beloved Laetitia Sadier is still making great collaborations all over the world, broadening a songbook that is more and more complex but always highly beautiful. Here at Elefant Records we have been lucky to be witnesses to such work, like those with Giorgio Tuma, which were absolutely exquisite, or with Iko Chérie, and which were preceded long before that with appearances with MOUSE ON MARS, THE HIGH LLAMAS, FUGU, COMMON, LUNA, BLUR, ATLAS SOUND and TYLER, THE CREATOR, among many others, in addition to the long list of projects she was fundamental in (STEREOLAB, MONADE, MCCARTHY, UILAB, LAETITIA SADIER SOURCE ENSEMBLE, LITTLE TORNADOS... ). But this collaboration with the Brazilian group MOMBOJÓ, which is what finally brought about this new group called MODERN COSMOLOGY, is different than the rest of the collaborations in a lot of ways. And in order to tell you how this 1000-copy numbered-limited-edition 10 vinyl EP called Summer Long came about requires putting several things into context. MOMBOJÓ started in 2001, in Recife (Pernambuco, Brazil). In 2002, they were already one of the big names on the line-up of the 10th edition of Abril Pro Rock. In 2004 they released their first album, Nadadenovo, which garnered attention for its influence from the mangue bit movement that started 10 years earlier. In 2006, after signing with the Trama label, they released Homem-Espuma . The band won two APCA (Asociación Paulista de Críticos de Arte) awards - in 2004, as the best band in Brazil, and in 2006 as the best album of the year ( Homem-Espuma ). Four years later, they returned to the indie world and released Amigo Do Tempo , and then the following year they released a commemorative album for the group s 10th anniversary called, 11º Aniversário , in which the band re-recorded some of their work and had Nação Zumbi as guests playing Justamente . They collaborated with people like Tom Zé, Fernando Catatau and Andreas Kisser, among others. But it didn t stop there. There is a special connection between them and a two-week artistic residence in a small house at the Aldeia borough of Recife, was proposed. They took Laetitia there to submerge her in a Brazilian musical environment. Avoiding the cold studio environment, they spend two weeks interacting and communicating and this brought about, almost three years later, the appearance of Summer Long , the EP. The album opens with C'est Le Vent , a psychedelic and dreamlike journey that shows clearly the STEREOLAB influence on MOMBOJÓ s music, but with that elegant, syncopated touch of new-wave Brazilian music. The Source is disturbing, perturbing, driven continuously by Laetitia s brilliant voice and a dirty guitar, and a pop bridge that breaks the song in two is a straight-up wonder, pushing the song toward that chaotic end. Power Of Touch dives head first into bossa-nova territory, where you can see a special connection between the two parts, with their obvious commonalities, though it was a territory that MOMBOJÓ hadn t entered since their first album, Nadadenovo . Excitement, melancholy, and feelings of weightlessness arise on this cosmic bossa-nova close to the early duos of Gal Costa and Caetano Veloso at the end of the 60s. TRACKS: 01 C'est Le Vent 02 The Source 03 Power Of Touch 04 The Berlin Friend- Shop: odax
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La Sinfona Del Golf
The composer, Rafael Mazas was born in the province of Zamora, Spain in 1935. He studied philosophy, theology and music and had composed more than 60 choral and classical organ pieces before he was 20. When he was 23 he moved to France to live the Bohemian life of Paris, and formed the musical (guitar and vocals) trio 'Les Bimbos'. For over a decade, this group performed in most of the major casinos and theatres throughout France and in the main 'salles de fêtes' of Paris, toured in Switzerland, Italy, Belgium, Holland, Sweden, Portugal, Senegal, Cameroon, Ivory Coast and Israel, and also recorded several albums. He then reluctantly abandoned his music for 33 years while living the corporate life, and only took it up again after retiring. La Sinfonía del Golf (The Golf Symphony) is a labour of love born from two great passions: classical music and the game of golf. Inspired by the feelings of freedom, peace, nostalgia and frustration of the sport, the artist has put together a collection of his own compositions, carefully orchestrated with a unique personal style, and marked by a distinctly Spanish intrepidness. Meditative, melodic themes of humility, fortitude, and hope, speak to the commonalities between life and golf. Some pieces will lead listeners to introspection and clarity under the influence of polyphonic religious compositions. Golf aficionados will appreciate others as the sound track to that best round yet to come.- Shop: odax
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Felt Hammer Improvisations, Vol. 1
Liner Notes: Felt Hammer Improvisations, Vol. 1 Music by Paul Astin (piano) and Peyman Hedarian (santur) Today I flew in from Greece to London. As we taxied to a standstill the musics on the inflight stereo were well-known songs by the famous Rebetiko composer Vassilis Tsitsanis. Delightfully attractive music, enough to lift the heart after a tiring journey. But problematic. It was played on a piano. The piano plays on tempered scales. On a piano you cannot play the microtonal intervals that originally sat at the heart of Tsitsanis' music. Myself, I play the diminutive Greek baglama, and my instrument (with tempered-scale frets) has exactly the same problem. This tension between the microtonal intervals of Anatolian music and the do-re-mi of the Western scales is the salt and pepper of Rebetiko. It happens that Peyman Heydarian and Paul Astin are good friends of mine. We share a fascination with modal music, and it is the research and practice of Greek Rebetiko that originally brought us together. So when I arrived home in the early hours with a head full of microtonal questions (I was reading al-Farabi and Safi al-Din al-Urmawi and their reworkings of the Pythagorean scale en route) it was a shock both delirious and delicious to find the 18 files of this improvisatory adventure sitting in my in-box. Not Rebetiko, not Anatolian, not Western, rather something new. Recorded in Los Angeles. Two musicians - an American and an Iranian. That in itself symbolic in our troubled times. But doubly symbolic in the meeting of their two musical cultures. Actually, no, it is more than that. The musical cultures of these two men extend through time and across spaces to a diversity of inspiration. My idea of heaven includes two special corners - Astin pumping out the angular rhythms of black bebop when he played Thelonious Monk tunes on a grand piano that I procured for him when we met in Greece... and Heydarian when we sit in a corner of a London venue on a dark November evening and rattle through the pulsing rhythms of Irish reels and jigs on both fiddle and santur. There is a sympathetic rapport between the musicians, both dynamically and rhythmically. Heydarian plays the 9-bridge (salari) and 11-bridge (baziar) santur, tuned closely to the Western keys of F and D respectively, while Astin plays a Yamaha C7 acoustic grand piano. Many of the tracks stay within the parameters of the santurs' tunings, though a few move beyond these confines, resulting in a mix of tonal and atonal improvisations. Astin, having a jazz background, uses bass tones such as the fa, creating a harmonic framework with a raised 11th (the Lydian scale). Heydarian is not generally put out by such explorations, which differ sharply from traditional Persian or maqam (modal) music. In addition to performing, Heydarian develops computer algorithms to identify musical modes in recorded music. Not surprisingly, many of his melodic ideas blend phrases from Persian, Kurdish, Greek, and Celtic songs. To preserve the integrity of this session, the pieces are presented in the order in which they were recorded. No tracks have been deleted and there were no second takes. This is the complete session. Towards the end of the recording, Astin reaches inside the piano, using his hands to strum, dampen, and strike the strings, while Heydarian uses the tail of his hammer and also plays sequences in the untuned fourth region of the Santur. In addition, Heydarian introduces novel tunings on his instrument. This collaboration is a daring step. The music made by our two musicians is not pre-notated. It is improvised. It is dangerous. It is a conversation between musical languages in which commonalities and differences are explored - sometimes tentatively, sometimes boldly - and a discourse is produced in which you and I can share. While the musicians possess a deep understanding of their unique genres, together they create something quite unlike what one usually hears from the santur or piano. Pythagoras and Euclid theorised their scales on the single string of a monochord. The ratios that they established were conceived as a harmony of the spheres, the elements, the humours and all things divine and mundane. The simple monochord then took a notion to elaborate itself. One string became two, and then four, and eventually multiplied to the point that gave us the santur in the East and the piano in the West. An astonishing world of art music was created through hitting these strings with small felt hammers. And that is the world that is explored in this collection of tunes. Ed Emery Institute of Rebetology London, England.- Shop: odax
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Schubert Piano Sonatas
Piano Sonatas D.664 D.784 Generally famous as a prolific composer of Lieder, Schubert is a relative latecomer to the piano sonata. It was only in 1817, at the age of 20, that he seriously branched out into the genre, and by that time he already had composed hundreds of songs, numerous symphonies and string quartets. Schubert's Piano Sonatas were not well received during his lifetime and were often neglected for a 'lack of organic development and loose structural plan', when compared to the works of his predecessors like Mozart or Beethoven. Nonetheless, the seemingly simple structure of Schubert's piano sonatas conceals the resonance of emotional depth, flowing melodies, and constant provocative key changes, which came to be praised and cherished by future generations. Schubert's twenty complete piano sonatas are often grouped into three periods. More than half of his sonatas were written between 1815 and 1819. After a four-year hiatus, Schubert revisited the genre in the years 1823-1826. The last three great sonatas mark the final bow of the composer in 1828, the year of his death. The two sonatas presented in this recording are of significance within this output: the Sonata in A Major, D. 664 written in 1819 concludes the first group, and the Sonata in a minor, D. 784 of 1823 opens the middle group series. Although four years of compositional progress and development lie between the conception of these works, the two sonatas still share a few commonalities: both are written in three movements, omitting the scherzo/minuet, both first movements feature bravura out-bursting development sections, each slow movement has but one theme, and both last movements employ very idiomatically virtuosic writing for the piano. . Published after the composer's death in 1829, the cheerful A major Sonata was composed in the summer of 1819, while Schubert was vacationing with a close friend Johann Michael Vogl in Vogl's hometown Steyr, a town in Upper Austria located in a mountainous area. The A major Sonata is believed to be inspired by Josephine Koller, a daughter of a friend, whom he described in his letter to his brother as "... extremely pretty, plays the piano well, and is going to sing some of my songs." Like most of his earlier charming small-scale works, the primary attribute in the A major sonata is lyricism, hence asking a great deal of sophisticated phrasing and delicate sound-production from performers. The melodious opening movement Allegro moderato is in sonata form, built around two surprisingly similar themes of tender and song-like characteristics. The coda brings out the reminiscence of the opening melody, and the movement comes to an end in a mix of calmness and nostalgia. The last two notes of the movement give unity to the entire work: these are the very first two notes of both the slow movement and the Finale. The Andante, a perfectly proportioned A-B-A structure, has an almost obsessive character with it's melodic and rhythmic pattern presented throughout the piece. It is an example of one of Schubert's finest lyrical inspirations, with the insistent yearning melody, and the multiple colors achieved through the use of a single idea. The light-hearted, joyful Allegro is a brilliant movement in sonata form. Constant running scales and embellished arpeggios of the first theme and the dance-like rhythmic second theme represent youthful vigor. A darker and more heated development section recalls the character of the first movement, leading into a surprising return of the exposition in the subdominant key of D. The first theme is restated in the tonic only in the coda, full of delightful pastoral feeling. The period following the completion of the A major Sonata generated a compositional frenzy in Schubert's output, producing the 'Unfinished' Symphony, the C minor String Quartet, the Wanderer Fantasy and the A flat major Mass. The year 1822 is pivotal in Schubert's life for important events took place: he met Beethoven, and tragically, he discovered that he had contracted syphilis. Forced to return to his father's house due to his health, Schubert was too weak to leave until the late spring of 1823. This frightening collapse produced severe depression in the composer, but did not prevent him from working. Schubert composed constantly through this dark period of suffering, completing the Sonata in A minor D. 784. This work can be seen as Schubert's response to his terrible illness with it's inevitable death sentence. The A minor sonata is in three movements, which share recurring thematic material. The first movement Allegro giusto, with it's sorrowful undertones, while in a typical sonata form, is very special for many reasons. First, it asks of the performer to produce varied color levels, from a soliloquy of the first theme, choral-like hymn for the second theme to orchestral sound effects in the development section. The atmosphere of the first movement is possibly the eeriest of Schubert's music up to this point: a pianissimo monologue followed by a stormy fortissimo are clearly an image of Schubert's own destabilized feelings at the time. This Beethoven-like sudden change of ff and pp is heard frequently throughout the first and the last movements, inducing a mysterious mood of unpredictability. The simple thematic and rhythmic motives of the opening four measures are constantly transformed and featured in the transition, the second theme and the recapitulation, positioning this movement as one of the most compact and organic among Schubert's works. The second theme in the recapitulation is presented in A major, leading to a warmer and tranquil ending. An air of reminiscence and remembrance of better times defines the slow movement, Andante in F major. The engaging arch-shaped melody is immediately followed by muted mysterious figurations. Same as the A major Sonata's slow movement, the single melody presented in the beginning is the single thematic idea throughout the movement. Nowhere it is more obvious than here the influence of composing Lieder, with their ability to describe even the tiniest nuance of the text. Schubert showcases his skill in maneuvering a single idea with subtlety, while creating a beautiful storyline within a short piece. One can hear Schubert's approach to dark fate in the last movement. In a rondo form, the Allegro vivace starts with the running triplets in imitation between the two hands in A minor giving certain intensity and furiousness. A melodious and rather pensive second theme soothes the nervousness. In compliance with the formal design, the second theme revisits different key areas,-F major, C major and A major-that were presented in the earlier movements. The work ends with racing A minor octaves, that storm into darkness. 12 Ländler, D. 790 Written around the same time as the rather dark A minor Sonata, the 12 Ländler, D. 790 are quite opposite in mood. Filled with charming and earthy dances, the 12 Länlder are arguably the most intimate and personal music that Schubert wrote, showing the mature creativity of the composer, and cleverly disguising the personal suffering of the composer. Schubert wrote more than 400 dances. Most of them are believed to be composed rather casually, created spontaneously for multiple evening events with friends. However, the D. 790 dances show a departure from such occasional compositional practices. They are of much more sober conception, not only because of personal illness (Schubert was admitted to a hospital in May 1823), but also when looking at organic tonal and motivic coherences between the dances, carefully planned and executed. Schubert's dances can normally be categorized into three types: Waltzes, Deutsche, and Ländler. The Ländler is a country-dance from Landl, a region in Austria, and it is the most rustic among the three. Of the 12, no. 6 stands out in particular, for it was later recycled as the scherzo movement of one of Schubert's crowning masterpieces: the Dea- Shop: odax
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