Ebooks de música, página 6 de 361

This e-book is for kids or adults who are absolute beginners in music. I tried to write it as simply as possible. That is why I use an easy-to-play visual aid so any beginner can play music quickly.Neither kids nor their parents have to read sheet music or have a musical background. No previous knowledge is necessary. None at all.Every song has a large and simple, color and letter-coded visual, along with traditional sheet music. The instruction is designed so that children begin with simple circles and gradually advance to reading notes using sheet music. I try to make this transition as easy as a game, where children advance to higher levels themselves.There is a total of 22 songs and 3 options to help children to begin to play right away.PLAYING BY COLOR CIRCLEPLAY BY LETTERPLAY WITH THE MUSICAL STAFFThe player can first follow the circles and then repeat with the classic note symbols and staff. The helpful letters are always above the notes.There are 3 parts to this e-book. They are equal to 3 levels.Level 1Songs that are played in one octave. All songs here appear twice: once written with circles and the next time with classic music notes. This will help kids remember the staff notes.For example:Mary Had a Little Lamb - Ver 1 - CirclesMary Had a Little Lamb - Ver 1 - NotesLevel 2In this part, you will find one version with both circles and notes and a more advanced version of the song with notes and musical notation.For example:Hot Cross Buns - Ver 1 - CIRCLESHot Cross Buns - Ver 1 - NOTESHot Cross Buns - Ver 2 - NOTES (Here the player will play songs in a different key and learn to transpose.)Generally, the version of the song written with sheet music is a little bit more complex than a letter-coded version. Such versions already have music notations such as rests or beams, etc. You can find an illustrated explanation of the notation at the end of this e-book.Level 3Here, the first two songs are versions of the same melody (different combinations of notes) written with circles and notes. This is important so that the beginner can see how the same melody can be played in different keys.First of all, this e-book is addressed to newcomers to any keyboard instrument (such as Piano or Synthesizer). I offer 22 one-hand piano songs.Also, it is a perfect self-training guide for children and beginner adults to mastering the challenges of percussion instruments such as kalimba, marimba, xylophone, glockenspiel, or even color bell set.Table of contentsLevel 1Mary Had a Little LambOde to JoyThe Wheels on the BusJolly Old Saint NicholasTen Little FingersLondon BridgeDo You Know the Muffin Man?we Wish You a Merry ChristmasThe First NoelBrahms LullabyRow Row Your BoatItsy Bitsy SpiderSilent NightOh SusannahLevel 2Hot Cross BunsAre You Sleeping?Old McDonaldLevel 3Jingle BellsLa CucarachaYankee DoodleHappy BirthdayAmazing GraceMusic Note ValuesMusical Puzzles

¿Te imaginas despertar un día y darte cuenta de que en realidad no eres más que un actor en una obra de teatro a lo Jim Carrey en Elshow de Truman? Seguro que, como mínimo, dejarías de montar un drama cada vez que vieras que tu pareja se ha vuelto a dejar la nevera abierta. Y ademas, por si te parece poco, quiza tambien apareceria una forma de vivir con la que podrias volver a abrirte y aprender de nuevo, como cuando eramos niños.¿Y por que te cuento esto? Pues porque esta es la perspectiva que adoptan Melendi y Sergi Torres para sumergirse en algunos de los aspectos mas relevantes de la vida. Quiza hayamos olvidado que vivimos en este mundo para aprender, crecer y crear, porque solemos perdernos en los laberintos de nuestra confusion y de nuestros temores. Pero existe una salida: el camino de la sinceridad, una sinceridad tan grande que nos lleve hasta el sincericidio de las mascaras que hemos construido y que nos alejan del lado autentico de la vida. Si, si, ¡a lo Show de Truman!Desde esta apertura nacen las conversaciones (de wasap) entre Melendi y Sergi, dos seres muy humanos que aparentemente no tienen nada que ver, pero que comparten un proposito claro: dejar en evidencia su ignorancia y, desde esa evidencia, volver a descubrir la vida.

For the second half of his long life, Christopher Logue (1926-2011) - political rebel, inventor of the poster poem, pioneer of poetry and jazz - was at work on a very different project: a rewriting of Homers Iliad. The volumes that appeared from War Music (1981) onwards were distinct from translations, in that they set out to be a radical reimagining and reconfiguration of Homers tale of warfare, human folly and the power of the gods, in a language and style of verse that were emphatically modern. As each instalment, from Kings to Cold Calls, was published, it became clear that this was to be Logues masterpiece.Sadly, illness prevented him from finishing it. Enough, however, of his projected final volume, Big Men Falling a Long Way, survives in notebook drafts to give a clear sense of its shape, as well as some of its dramatic high points. These have been gathered into an appendix by Logues friend and one-time editor, Christopher Reid. The result comes as near as possible to representing the poets complete vision, and confirms what his admirers have long known, that Logues Homer is one of the great poems of our time.

This book is characterized as the result of an ethnomusicological and historical research by Recife musician Walter Wanderley (1932-1986), known as a representative of Bossa Nova. Organist, pianist, arranger and sporadic composer, Walter Wanderley has released dozens of records on record labels such as Odeon, Philips, the American company Verve and many others, both as an instrumentalist and arranger for singers and as solo instrumental albums. Even with such a robust record production, Walter Wanderley seems to have been forgotten by most records in the History of Brazilian Popular Music. This book tries to help understand how this success happened predominantly only outside his country of origin and the reasons why his name was practically omitted by historiography and by important references of Bossa Nova. As was his performance in other genres such as Samba, Bolero, Sambalanço and Sambajazz, which are much more present in his work than Bossa Nova itself, a genre for which the artist came to be labeled as representative, especially after his death. The book makes a contribution to the construction of knowledge for Ethnomusicology, Musicology and other areas of study of Brazilian Popular Music in its relations with the cultural industry and with the aspects between Memory and Forgetfulness.

Este livro se caracteriza como resultado de uma pesquisa etnomusicológica e histórica do músico recifense Walter Wanderley (1932-1986), conhecido como representante da Bossa Nova. Organista, pianista, arranjador e compositor bissexto, Walter Wanderley lançou dezenas de discos por gravadoras como Odeon, Philips, a norte-americana Verve e muitas outras, tanto como instrumentista e arranjador para cantores e cantoras, quanto como em discos de trabalho solo instrumental. Mesmo com uma produço discografica to robusta, Walter Wanderley parece ter sido esquecido pela maioria dos registros da Historia da Musica Popular Brasileira. Este livro tenta ajudar a compreender de que forma esse sucesso aconteceu predominantemente apenas fora de seu pais de origem e as razes pelas quais seu nome foi praticamente omitido pela historiografia e por importantes referencias da Bossa Nova. Como aconteceu sua atuaço em outros generos como Samba, Bolero, Sambalanço e Sambajazz, que se mostram muito mais presentes em sua obra do que a propria Bossa Nova, genero pelo qual o artista passou a ser rotulado como representante, principalmente apos sua morte. O livro traz uma contribuiço na construço do conhecimento para a Etnomusicologia, Musicologia e outras areas de estudo da Musica Popular Brasileira nas suas relaçes com a industria cultural e com os aspectos entre Memoria e Esquecimento

Un apasionante ensayo sobre la influencia de Wagner, en ocasiones luminosa, otras veces nefasta, en la literatura, las artes, el cine, la vida intelectual y la política.Para bien o para mal, Wagner es la figura mas influyente en la historia de la musica. Creaciones tan colosales como El anillo del Nibelungo, Tristan e Isolda y Parsifal sirvieron en el arte como modelos de obras osadas en la forma, como ejemplos en la creacion de mitos, la libertad erotica y especulacion mistica. En Wagnerismo, Alex Ross restaura la magnifica confusion de lo que significa ser wagneriano: un pandemonio de genios, locos y profetas que luchan por el legado multifacetico del compositor, y convierte la experiencia de lectura en un constante descubrimiento a traves de esas figuras, de Nietzsche, Van Gogh, Dali y Buñuel a Baudelaire, Virginia Woolf o Proust.En muchos sentidos, Wagnerismo cuenta una historia tragica. Un artista que podria haber rivalizado con Shakespeare en alcance universal se ve arruinado por una ideologia de odio. Aun asi, su sombra perdura sobre la cultura del siglo XXI y sus motivos miticos recorren peliculas de superheroes y fantasia. Ni una apologia ni una condena, Wagnerismo es una obra de apasionante descubrimiento, que nos ofrece una idea mas honesta de como actua el arte en el mundo.

Nicolas Slonimsky nos presenta aquí un delicioso recopilatorio de descarnadas, venenosas e ingeniosas críticas musicales al compositor Richard Wagner.«Esta música solo puede despertar los instintos m

Esta edición digital en formato ePub se ha realizado a partir de una edición impresa digitalizada que forma parte de los fondos de la Biblioteca Nacional de España.El proyecto de creación de ePubs a partir de obras digitalizadas de la BNE pretende enriquecer la oferta de servicios de la Biblioteca Digital Hispanica y se enmarca en el proyecto BNElab, que nace con el objetivo de impulsar el uso de los recursos digitales de la Biblioteca Nacional de España.En el proceso de digitalizacion de documentos, los impresos son en primer lugar digitalizados en forma de imagen. Posteriormente, el texto es extraido de manera automatizada gracias a la tecnologia de reconocimiento optico de caracteres (OCR).El texto asi obtenido ha sido aqui revisado, corregido y convertido a ePub (libro electronico o publicacion electronica), formato abierto y estandar de libros digitales. Se intenta respetar en la mayor medida posible el texto original (por ejemplo en cuanto a ortografia), pero pueden realizarse modificaciones con vistas a una mejor legibilidad y adaptacion al nuevo formato.Si encuentra errores o anomalias, estaremos muy agradecidos si nos lo hacen saber a traves del correo bnelab@bne.es.Las obras aqui convertidas a ePub se encuentran en dominio publico, y la utilizacion de estos textos es libre y gratuita.

With the Tristan chord at the start of Wagners opera Tristan und Isolde, the composer launched modern music. The political refugee, a former revolutionary, was living in Zurich when the lovely Mathilde Wesendonck, the wife of a rich businessman, inspired him to break off from working on Siegfried, part of his Ring cycle, and refocus his efforts on Tristan. Expelled from there, Wagner continued to work on the opera in the Palazzo Giustiniani in Venice, and finished it in Lucerne in 1859. The premiere, in Munich, was delayed until 1865, after the Mad King Ludwig of Bavaria came to Wagners financial rescue. Wagner blended Gottfried von Strasburgs medieval epic with Schopenhauers philosophy and his own idiosyncratic views on the psychology and metaphysics of love. (As well, Wagner reflected his views on Greek drama and the integrated Gesamtkunstwerk, or art-work.) The result is a torrent of sound which depicts almost indecent passion. The Liebestod, in which the sexual love of Tristan and Isolde is consummated through death, and which is often presented in concert performance, is some of the most glorious music ever written. Written by Michael Steen, author of the acclaimed The Lives and Times of the Great Composers, Short Guides to Great Operas are concise, entertaining and easy to read. They are packed with useful information and informed opinion, helping to make you a truly knowledgeable opera-goer, and so maximising your enjoyment of a great musical experience. Other Short Guides to Great Operas that you may enjoy include The Magic Flute, Eugene Onegin and Peter Grimes.

In "Wagners Tristan und Isolde," George Ainslie Hight meticulously explores the profound intricacies of Richard Wagners groundbreaking opera. Hights analysis is both scholarly and lyrical, weaving together an understanding of Wagners innovative use of chromatic harmonies, leitmotifs, and dramatic pacing. The book situates the opera within its cultural and historical context, tracing its impact on the music of the late 19th century and its revolutionary role in shaping the trajectory of Western art music. Hights literary style harmoniously combines rigor with accessibility, making complex musical ideas approachable for both scholars and enthusiasts alike. George Ainslie Hight, a distinguished musicologist and a passionate advocate for Wagnerian opera, brings to the page his extensive background in music theory and history. His deep appreciation for Wagners contributions to the operatic genre has not only informed his scholarly pursuits but has also inspired a lifelong dedication to elucidating the transformative themes of love and death central to "Tristan und Isolde." Hights critical engagement with various interpretations of the opera showcases his commitment to understanding its enduring legacy. This book is highly recommended for scholars, musicians, and opera lovers seeking to deepen their understanding of Wagners masterpiece. Hight provides not just an analysis, but an invitation to engage more profoundly with the operas themes and musical innovations. "Wagners Tristan und Isolde" is essential reading for anyone looking to appreciate the complexities and nuances that make this work a cornerstone of the classical repertoire.In this enriched edition, we have carefully created added value for your reading experience:- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

Viaggio fantastico nel tempo dove Wagner incontra i Pink Floyd nel ventunesimo secolo

Welcome to The Independents new ebook series The Great Composers, covering fourteen of the giants of Western classical music. Extracted from Michael Steens book The Lives and Times of the Great Composers, these concise guides, selected by The Independents editorial team, explore the lives of composers as diverse as Mozart and Puccini, reaching from Bach to Brahms, set against the social, historical and political forces which affected them, to give a rounded portrait of what it was like to be alive and working as a musician at that time. No other composer is at once so revered or so reviled as Richard Wagner. Yet his contribution to opera is immense. His reputation rests on ten epic operas which are constantly performed worldwide, without speaking of the annual festival of his music at Bayreuth, the opera house which he designed and built to stage his works. Four of these operas, Das Rheingold, Die Walkure, Siegfried and Gotterdammerung, make up the monumental 15-hour Ring cycle, based on old Norse-Germanic sagas. Many of the others hark back to medieval and Arthurian legends, often dramatising the conflict between the sacred and profane, the sensual and spiritual. Using leitmotifs themes which symbolise characters and elements in his opera Wagner introduced a new musical vocabulary. Endless affairs, twice married, constantly on the run for either political or financial reasons, a prolific writer, an indefatigable composer, Wagner was also, as Michael Steens narrative shows, a monster of egoism. A revolutionary in his youth, Wagner escaped to Zurich, only to be forced to move on when the businessman bankrolling him was about to uncover Wagners affair with his wife. He was then lavishly supported in Munich by the Mad King Ludwig II of Bavaria, until the kings ministers objected. Once in Switzerland, Wagner was joined by Cosima von Bulow, Liszts daughter and the wife of a conductor, who became his second wife and helped him realise his dream at Bayreuth.

"There is something quite moving about seeing the lyrics of these fifty-six songs collected and assembled this way. You can see the evolution of the minds and hearts at work behind the lyrics. . . . Its a thrill, realizing that its a still-evolving and growing body of work." -Brandon Taylor, from the IntroductionSince the release of their breakout debut in 2008, Fleet Foxes and their frontman, singer-songwriter Robin Pecknold, have enjoyed international critical and commercial acclaim. Drawing comparisons to Simon & Garfunkel; Crosby, Stills & Nash; and the music of Brian Wilson, Grammy-nominated Fleet Foxes have reshaped the American indie-folk sound, crafting songs that are acoustically and melodically driven, steeped in gospel-like harmonies, and propelled by resonant and timeless lyrics. Wading in Waist-High Water: The Lyrics of Fleet Foxes contains Robin Pecknolds complete lyrics from 56 songs, capturing the poetic and inventive storytelling that is a hallmark of the bands music. These richly layered lyrics explore the complexity, darkness, and beauty of physical and emotional landscapes, both pastoral and modern. Alongside the lyrics, Pecknold includes hand-written notes and candid observations on creative processes, inspirations, and motivations. With an introduction by celebrated author Brandon Taylor, Wading in Waist-High Water: The Lyrics of Fleet Foxes is a moving and intimate look at the art of songwriting, the joy of music-making, and what it means to produce meaningful and memorable sound.

Em nova ediço revista e ampliada, Vozes do Brasil: entrevistas reunidas apresenta um pouco da vida e da obra de algumas personalidades da MPB por meio de entrevistas realizadas pela jornalista Patricia Palumbo, que ha vinte anosapresenta o programa de radio homonimo e acompanha a cena musical do pais. Os textos compilados neste volume revisitam conversas que ocorreram desde o inicio dos anos 2000 ate outras mais recentes e ineditas , trazendo ao leitor um panorama musical da cena contemporanea.

Buscando exemplos na natureza, na história ou em geografias distantes, estes textos – redigidos ao longo dos anos que se seguiram à publicação de "A afinação do mundo" – ajudaram a inaugurar o campo

Poesias e letras de músicas

In diesem Buch wird die ereignisreiche 200-jahrige Geschichte der anwendungsorientierten hoheren Bildung in Hagen umrissen. Sie begann 1824 mit der Grundung der Koniglichen Gewerbeschule in einer Schule an der Springe, war mehrere Jahrzehnte im Hagener Rathaus und zog dann uber den Standort des heutigen Rathauses an der Volme an die Haldener Strae. Sie wurde im Laufe der Zeit immer wieder anders genannt, sie war Gewerbeschule, Fachschule, Hohere Maschinenbauschule und Staatliche Ingenieurschule, bevor sie zur heutigen Fachhochschule wurde.Das Buch ist eine Chronik der Ereignisse, Personen, Lehrenden und Lernenden, die die die Entwicklung der Hochschule gepragt haben oder von ihr gepragt wurden, soweit heute bekannt.

Sé que no inventamos el sonido en el encuentro, porque existe de siempre. Lo que hicimos fue adquirir la franquicia, hacernos con su magia para maximizarlo hacia un universo irreconocible. Con modestia añadire que tuvimos superavit en todos los frentes. Si la vida no es creativa, entonces... ¿que es? Si ella carece de sonoridad, la existencia se viste de dama esquizofrenica, con cara enmascarada y finaliza en el desague... ¿Cuantos corazones se enamoran cuando no resuenan las partituras de la vida? ¿Como transcurre una jornada cuando no oimos, definitivamente, ningun canto de sirena?

Voices of Spring (Voci di Primavera) op. 410, e un valzer di Johann Strauss (figlio).Nellinverno del 1882-83 il compositore fu invitato a comporre un valzer vocale per il celebre soprano austriaco Bianca Bianchi (il cui vero nome era Bertha Schwarz), al tempo un acclamato membro del Wiener Hopfoperntheater (Teatro dellopera reale di Vienna).Il valzer fu eseguito per la prima volta al Theater an der Wien il 1º marzo 1883 ad un concerto di beneficenza per la fondazione degli indigenti dellImpero austro-ungarico fondata dallimperatore Francesco Giuseppe e dallimperatrice Elisabetta.Strauss, dopo il successo che aveva ottenuto con i suoi valzer corali, fu felice di scrivere un brano per sola voce e il librettista Richard Genee, che aveva gia collaborato con il compositore nelloperetta Eine Nacht in Venedig (Una notte a Venezia) del 1883, scrisse anche il testo per il nuovo valzer.Lautunno del 1882 vide Strauss impegnato a Budapest per curare la prima rappresentazione delloperetta Der lustige Krieg (Lallegra Guerra; 1881). Durante lo svolgimento di una delle serate in onore della visita del musicista viennese, fu Strauss stesso ad esibirsi al pianoforte con un altro degli illustri ospiti della serata: Franz Liszt. I due compositori si conoscevano gia molto bene da almeno 30 anni (Strauss aveva dedicato il suo valzer Abschieds-Rufe op. 179 a Liszt nel gennaio del 1856) e si incontrarono in numerose altre occasioni. Fu questa visita che forni lispirazione per la scrittura del valzer Fruhlingsstimmen.Successivamente il valzer venne arrangiato da Johann in versione solamente orchestrale e fu eseguito in questa forma, oggi celeberrima, da Eduard Strauss durante uno dei suoi concerti al Musikverein nel 1883.Nel 1934 il valzer fu riutilizzato per loperetta "postuma" (con musiche di Strauss jr.) Die Tanzerin Fanny Eller.Durante il Concerto di Capodanno del 1987, Herbert von Karajan, inseri nel programma il valzer Fruhlingsstimmen eseguendolo nella versione vocale originale con il soprano Kathleen Battle.