7 Results for : unoriginal
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In Defense of Troublemakers: The Power of Dissent in Life and Business , Hörbuch, Digital, ungekürzt, 362min
An eminent psychologist explains why dissent should be cherished, not fearedWe've decided by consensus that consensus is good. In In Defense of Troublemakers, psychologist Charlan Nemeth argues that this principle is completely wrong: left unchallenged, the majority opinion is often biased, unoriginal, or false. It leads planes and markets to crash, causes juries to convict innocent people, and can quite literally make people think blue is green. In the name of comity, we embrace stupidity. We can make better decisions by embracing dissent. Dissent forces us to question the status quo, consider more information, and engage in creative decision-making.From Twelve Angry Men to Edward Snowden, lone objectors who make people question their assumptions bring groups far closer to truth - regardless of whether they are right or wrong. Essential listening for anyone who works in groups, In Defense of Troublemakers will radically change the way you think, listen, and make decisions. ungekürzt. Language: English. Narrator: Joyce Bean. Audio sample: https://samples.audible.de/bk/brll/011169/bk_brll_011169_sample.mp3. Digital audiobook in aax.- Shop: Audible
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A Macat Analysis of Zora Neale Hurston's Characteristics of Negro Expression , Hörbuch, Digital, ungekürzt, 96min
African American novelist, anthropologist, and essayist Zora Neale Hurston explains how expression in African American arts and culture in the early 20th century departed from the art of white America. Using material collected on anthropological expeditions to the South, Hurston describes a creative process that is alive, ever changing, and largely improvisational. At the time African American art was often criticized for being unoriginal and for copying white culture. To Hurston, this criticism misunderstands how African American art works. White European tradition views art as something fixed. By contrast, Hurston maintains that African American art works through a process called "mimicry", where an imitated object or verbal pattern, for example, is reshaped and altered until it becomes something new and novel. Hurston says that black art does not only include traditional styles, like poetry or music. Anything can inspire its artistic creativity. Furthermore, black art is dynamic. It allows its artistic creations to change according to how their creators and performers want to express themselves at any particular moment. ungekürzt. Language: English. Narrator: Macat.com. Audio sample: https://samples.audible.de/bk/acx0/063887/bk_acx0_063887_sample.mp3. Digital audiobook in aax.- Shop: Audible
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A Macat Analysis of G. E. M. Anscombe's "Modern Moral Philosophy" , Hörbuch, Digital, ungekürzt, 96min
In her 1958 article "Modern Moral Philosophy", British philosopher Elizabeth (G. E. M.) Anscombe does nothing less than challenge the very foundations of moral philosophy, the discipline that tries to understand right and wrong action. The article sets out three main ideas. First, that moral philosophy should not be explored until a philosophy of psychology is already in place. Second, that philosophers who do not believe in God should not use ideas about "obligation" and "duty". Why? Because they are a hangover from an earlier, more religious time, when moral philosophy was based on our relation to God. Last, that modern philosophers had been unoriginal and had been united in their belief that only consequences matter to morality. Anscombe's article helped to promote virtue ethics, which considers a person's moral character when evaluating ethical behavior. This provided an important alternative to the dominant schools of thought at the time, schools that focused on judgments about ethics based on set rules (deontology) or on actions that produced the best outcome for the most people (utilitarianism). ungekürzt. Language: English. Narrator: Macat.com. Audio sample: https://samples.audible.de/bk/acx0/062525/bk_acx0_062525_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Love Songs & Other Trios
Reviewer Kevin Lynch of the The Capital Times/Wisconsin State Journal wrote of this CD: 'By the time Camplin sang 'I've Seen Trouble,' I could feel my heart aching right through my shirt. You pay a small price to hear this man's voice. I once characterized it as the voice of a fallen angel. After hearing Camplin's long-awaited CD of 12 originals, I know more of what I meant. His voice is a glimpse of a private, forlorn hell. But Camplin's shining baritone keeps his spirit more sweet than bitter. He knows that these qualities can get stuck in neutral, so he invariably drives the music forward with his own rhythm guitar and the crackling jump starts of lead guitarist Jason ''Doet'' Klagstad, a contrapuntal momentum that sustains you through the album's predominant quietude (also featured are bassist Steve Kleiber and string player Randy Sabien). That energy also helps boost Camplin's lyrics, which often flash pure poetry: 'You are a danger disguised as a breath of spring/ And after all we're bound to fall and doing it with no shame.' Camplin carries the weight of too many losses, a bit like this past year's Green Bay Packers. But he's a wandering spirit, beholden to nobody's rules. And yet he sings in one song, 'I Still Need Someone'. The songs rummage through the human condition, turning up archetypes like 'Old Man', or loved ones like 'The Daughter', with lyrics like 'raised on whiskey and flowers, born with hope and with shame, conceived by chance and deception'. There are still traces of Bob Dylan -- and even Lou Reed -- in Camplin's tender toughness. Check out the brilliantly rolling cadences of 'Long and Desperate Day'. It's also gratifying to hear him 'speaking to your shadow' on 'January Guitar', reprised from his very first album, 'January', from 1971. Sit back with a glass of wine on a wintry night with someone close and slowly drink in this music.' ***************** BIO Born after doctor recommends that Clara have another baby to give her something to do... This after already having given birth to 5 children... Feels so good she has another. (#6)Hears Ave Maria in the cradle...produces predilection for weepy ballads. Lives normal childhood on a dead end street...on lake...next to railroad tracks. Stays outdoors nearly all day in the summers... Hears 'It's My Party and I'll Cry If I Want To...' Develops standards with regards to weepy ballads. Time goes by... A Teacher discovers him... He serves his detentions... Encounters another teacher who invites him to sing. Goes to fields and factories in no particular order... Dreams the unoriginal dreams of the young... And is tempted by music. Gives in. Begins writing songs in vain attempt to gain control of content... Has fun in spite of self...receives some recognition... And has to write his first bio. Decades pass. Still following the muse...but not much temptation to speak about... Still abusing four syllable words...like oligarchy...like epiphany... Living normal adulthood. A nuclear family...two autos...but no partridge. Singing late at night in the café... Buffing and polishing in a haphazard way... The detritus of an unseen boulder. Meeting more people than there are separate names for. Hearing so many voices...hearing so many voicings...when overwhelmed... Keep singing. Live and learn...oh that's not original? Speaking of which... A bio is a collection of lies... I wish them to be somebody else's. [Don't discuss yourself, for you are bound to lose, if you belittle yourself, you are believed, if you praise yourself, you are disbelieved. -Michel de Montaigne, essayist (1533-1592)]- Shop: odax
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Fiesta!
Iain Farrington - Fiesta! This recording features four piano works of varying and disparate angles: jazzy, political, pictorial and private. It is music that aims to encompass many contrasting elements, from technical virtuosity to calm simplicity, from tunefully melodic to harshly dissonant, from lightweight fun to melancholic seriousness. Fiesta! Fiesta! Is music about celebrations and merry-making. In seven short movements, the mood is unashamedly joyous, ranging from wild excitement to intimacy. Despite the title, there are no Spanish elements in the music. It was composed and first performed in 2003. Celebration establishes the scene with it's jumpy, knock-about rhythms, and champagne-popping spirit. Lively natterings and gossipings of individuals are heard in Conversations, arguing and laughing about life. To get people on their feet, the Stride Dance launches a lively, bouncing rhythm in a Hammond organ style. A gentle Song relaxes the atmosphere before the pounding, foot-stomping rhythms of Fast Dance. As the festivities draw on, a bluesy Nocturne slackens the pace, with an improvisatory solo at the heart of the movement. Renewed energy is found in the Finale, a carefree fugue that breaks into a frantic dance. The celebrations are nearly brought to a premature conclusion by protestations from the neighbours, but this is a party that could go on and on... Mozart Variations The theme for this set of variations is Figaro's aria Non più andrai, from the end of Act One of Mozart's The Marriage of Figaro. Figaro tells Cherubino that he will no longer be chasing girls, but will be joining the army, marching to victory. The variations are heard as one continuous piece, and exploit the threatening military nature of the aria. Composed at the outbreak of the Iraq war in 2003, the work follows a path from playfulness to swaggering arrogance, through distant fanfares to violence and aggression, culminating in tolling bells and a hollow victory march. Animal Parade Animal Parade is a depiction of ten familiar animals, from the tallest to the fastest, the biggest to the nastiest. It is an affectionate caricature of wildlife, exploring the unusual characteristics of these creatures in an entertaining assortment of organ effects. The work includes an optional narration with verses for each animal by Esther Eidinow. It was composed and first performed in 2007, paired with Poulenc's Babar the Elephant. 1 - Entrance: The stage is set with a lively, rhythmic introduction, capturing a playful mood. 2 - Giraffes: A wide-ranging melody depicts the height and flexibility of the giraffe's long neck. Teetering on fragile thin legs, the piece tiptoes along gingerly. 3 - Barrel organ monkey: Raucous oom-pah off-key music is dispatched on the organ-machine with cold, grim humour. 4 - Hippopotamus: Wallowing in thick muddy water, this is the slow life of a hippo. 5 - Critics: A worthy addition to the menagerie. The music is suitably unoriginal: fatuous fanfares, sarcastic laughter and three distorted quotes from musical masterpieces that received a critical mauling at their premieres. 6 - Blue whale: The gentle heart of the whole set. From the depths of the sea a whale gently rises to the surface for air. 7 - Sparrows: Chirping and darting around the scene, the birds merrily sing to each other. 8 - Penguins: Shaking from the cold, the penguins march along, taking the occasional dive into the sea. 9 - Cheetah: With teeth showing, the cheetah embarks on a wild chase after a hapless prey. 10 - Piranhas: A tense, still atmosphere is interrupted by three bloody feasts. 11 - Alley cats: Slinky and low-down with a bluesy mood, proud cats wander the streets, tails held high. A brief encounter leaves one slightly scratched. 12 - Exit: The opening music is recalled and expanded, providing a happy conclusion to the grand show. Night Journey Night Journey was derived from a request in 2004 to compose some short, relatively simple piano pieces, from Grades 4 to 8 in standard. This grew into 24 miniatures of varying character, still restricted by the original parameters. Although quite straightforward in terms of harmonic and technical difficulty, these pieces explore a wide range of pianistic sounds and textures. The music is often highly expressive and essentially melancholic. It was written not only as a compositional challenge, but also as a way of lifting spirits. The work is loosely based on the key structure of Chopin's Preludes, progressing through each major key and it's relative minor: C major/A minor, G major/E minor, D major/B minor etc. There is also recurring and developed material in movements 1, 7, 13, 19 and 24, giving an overall shape to the work. Iain Farrington has an exceptionally busy and diverse career as a pianist, organist, composer and arranger. He studied at the Royal Academy of Music, London and at St John's College, Cambridge University. As a composer, Iain has written chamber, instrumental, vocal and choral works. He was a featured artist in Musical Opinion, described as 'a musician of exceptional promise and accomplishment...the melodic and harmonic aspects of his music, allied to a genuine creative character, combine to produce an output that is both modern and attractive.' Among notable successes include his suite Fiesta! Performed in the USA, Australia, New Zealand, Sweden, France, Germany, and across Europe and the UK, with several recordings available. Iain has arranged and performed over one hundred diverse works, from Mozart to Gershwin. He is Arranger-in-Residence for the Aurora Orchestra. His solo piano arrangement of Elgar/Payne Symphony No.3 is published by Boosey and Hawkes, and his transcription of Elgar's Five Piano Improvisations was recently published by Novello. His chamber orchestral version of Dvorák's Rusalka was performed across the UK by English Touring Opera. Iain has performed at the Wigmore Hall, Queen Elizabeth Hall, the Purcell Room, the Royal Opera House, and in Japan, South Africa, Jordan and all across Europe. He performed two solo organ works in the BBC Proms 2007 in the Royal Albert Hall, which the Independent described: "This was his Proms debut, and an exciting one. He's an authentic star, and deserves to have a Prom all to himself." He works with many of the country's leading singers and conductors, including Bryn Terfel, Lesley Garrett, Sir Simon Rattle and Sir Colin Davis. Iain is the accompanist for the London Philharmonic Choir, working regularly with Vladimir Jurowski and Kurt Masur. He gives frequent broadcasts on BBC Radio Three and has recorded numerous CD's as accompanist and soloist. He regularly gives solo piano recitals all across the UK, with his repertoire embracing contemporary, British and light music, and his own Farrington Ensemble has performed in festivals across the UK.- Shop: odax
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