musical forms
Listening is not merely a natural biological and relates more to the musical sphere, there is a big difference between hearing and listening, and a song, as well as a speech, can be felt on the surface or penetrated deep including varying degrees of attention. During the 1900 is designed to teach you how to understand the buildings and facilities through a piece listening. This practice mainly North American, are known as music appreciation, whose name already indicates the appreciation of music in the sense of understanding a critical level. This current of thought organized real courses to spread his theories that have formed over time in an increasingly complex. Critics now reject this kind of music reading, because the associated language and for many the music is not a language in the sense that it does not express concepts in a manner intelligible as it is in a language. The risk is to see the musical production only as a psychological operation where sheet music and performance are only partial representations, as well as the language is expressed only partial expression of the person. In fact
language and music have much in common: they share the ability to absorb and change over time, such permeability, according to the mutations of society. According to the theoretical advocates of music appreciation, you should define the community of listeners whose musical perception has aesthetic significance because only they would be able to make a formal speech. These listeners would coincide at a glance the composers themselves and their task would be to prescribe how the music should be played, because it does not follow a correct path of play would result in an error of assessment and therefore misunderstandings on the part of listeners. This line of thinking assumes that we can first define the syntax as a set of rules with which it was created music, and then determine (or define) as it should be played, but in reality the use of composers writing mode completely independent responding to the cognitive processes of which we are still in the dark and so it is impossible to establish universal rules of musical interpretation.
The theoretical discourse of music appreciation part by the growing awareness that music is a form of language, which goes back many centuries ago when it was realized that it had some power over the collective thinking, and today there is so much a concern the nature of music as a language, but rather it focuses on its syntax even more than semantics. The doubt about the nature of the music comes from the fact that if it was indeed a language, it would not even need a text or stage or other extra-musical reality to express a meaning, the modernists have sought autonomy and appreciated this music rest but not registered in all musical events. There are in fact more and compositions that do not understand, do you want for our lack of culture, either by a distance between composer and audience. In other words, if they were independent of all other realities, they can not, however, never be universal, ie universally understood by all, since they are the mirror that reflects the realities of each community. They are the expression of different cultural identities, and then taking any composition, but may not have universal value, as can be understood can never be fully appreciated by all.
Beatrice Eleanor
Sunday, September 26, 2010
Friday, September 24, 2010
How Much Does It Take To Fill Up A Cherokee
Fabliaux
Here are some general considerations on the latest reading I've done: the French in the French fabliaux Folio.
The structure of these stories, which have been classified as a genre in itself, is always formed by a rhyming couplet or octosyllabic assonanzati; the fabliaux does not address the court, the kings and princes, but the class middle-class, the provincial merchants, clergy, monks and priests with low country. The language used is plain and straightforward, without terms and concepts intellectually demanding or specific to some branch of knowledge. The situations are often repeated and so the tales are at times repetitive, this is likely to help the singers to remember everything.
Botte, screams, banquets, betrayal, crooks, thieves, schemers, trading of items, trips and meetings in the streets provide the basis of the story.
The plots are reduced to the meager descriptions and give a situational primitive, the narrator spoke very little, especially of creating tight dialogue, introducing the theme the story in a concise manner and quick.
These stories are short and entertaining, a truculent character; are treating the vices of society in the Middle Ages in no uncertain terms. Sometimes the thoughts and opinions of the minstrel society are expressed in words that go so far as to blasphemy, more often fabliaux retain a key to self-righteous in the end.
schematically some examples of teaching in the moral of the story are: 1
. God punishes those who had mocked unfairly than others.
2. Women are evil and its purpose is to deceive her husband.
3. It is not always all that is potentially positive honor to a person.
4. Everyone must remain what it is and not wanting to go beyond its nature.
5. Material possessions are in the hands of God who has power to give and take, while men can not escape their situation.
6. It is always wise to tell what you think.
7. Who has power often makes fun of poor people who are victims of abuse.
8. Often the truth comes out and the man died without being able to prove his innocence, and this shows how little we know about reality.
9. Those who plot against the people around him, he loses everything he wanted.
10. Worth much more than being clever that strong, being the shrewd to be learned.
11. The money may come a person everywhere, with it you get items and women, and is a symbol of evil.
12. Thieves get rich, but then they pay the consequences, because God puts them in a state of trial.
13. Children tell it all with great innocence, so do not let them see everything you do, especially if you do something improper.
point of view on women is twofold: on one hand, the woman "Angel", on the other and more often the woman is evil, or suffering because she has to endure the harassment of her husband, by his cunning he also manages to resolve situations and give a lesson in virtue. In
fabliaux you should never let their wives bring the pants home, and we recommend that you give them a good lesson. Husbands should also not believe that their women are smarter than them, because this will lead to sad consequences.
Women often cheat because they are compelled to do so by other women, they easily betray their husbands and are therefore evil. They are clever because they always manage to convince her husband that they want, above all, that are honest and faithful.
As for classes, are represented by the sons of knights and horsemen, and people portrayed as morally more righteous and better than others.
Often women who are part of a higher class are also on familiar terms with her husband and prove more honest with him than the others.
The vision of the church is just as clear and sharp: the priests are seen in a negative way: they steal, they are full of vices and are looking for other women. They encourage honest people to lead a life of abject, want virgins and corrupt, often a wife or a partner, and undermine women already married. The priests are corrupt and disrespectful of the very institution they represent; come to use the money to bribe the almsgiving women. They sell for money the absolution of sins and the right to enter heaven to those who did not have it.
These views are part of children's injury and the clichés of the company, but known to have a kernel of truth that makes then fabliau important evidence on medieval society.
Here are some general considerations on the latest reading I've done: the French in the French fabliaux Folio.
The structure of these stories, which have been classified as a genre in itself, is always formed by a rhyming couplet or octosyllabic assonanzati; the fabliaux does not address the court, the kings and princes, but the class middle-class, the provincial merchants, clergy, monks and priests with low country. The language used is plain and straightforward, without terms and concepts intellectually demanding or specific to some branch of knowledge. The situations are often repeated and so the tales are at times repetitive, this is likely to help the singers to remember everything.
Botte, screams, banquets, betrayal, crooks, thieves, schemers, trading of items, trips and meetings in the streets provide the basis of the story.
The plots are reduced to the meager descriptions and give a situational primitive, the narrator spoke very little, especially of creating tight dialogue, introducing the theme the story in a concise manner and quick.
These stories are short and entertaining, a truculent character; are treating the vices of society in the Middle Ages in no uncertain terms. Sometimes the thoughts and opinions of the minstrel society are expressed in words that go so far as to blasphemy, more often fabliaux retain a key to self-righteous in the end.
schematically some examples of teaching in the moral of the story are: 1
. God punishes those who had mocked unfairly than others.
2. Women are evil and its purpose is to deceive her husband.
3. It is not always all that is potentially positive honor to a person.
4. Everyone must remain what it is and not wanting to go beyond its nature.
5. Material possessions are in the hands of God who has power to give and take, while men can not escape their situation.
6. It is always wise to tell what you think.
7. Who has power often makes fun of poor people who are victims of abuse.
8. Often the truth comes out and the man died without being able to prove his innocence, and this shows how little we know about reality.
9. Those who plot against the people around him, he loses everything he wanted.
10. Worth much more than being clever that strong, being the shrewd to be learned.
11. The money may come a person everywhere, with it you get items and women, and is a symbol of evil.
12. Thieves get rich, but then they pay the consequences, because God puts them in a state of trial.
13. Children tell it all with great innocence, so do not let them see everything you do, especially if you do something improper.
point of view on women is twofold: on one hand, the woman "Angel", on the other and more often the woman is evil, or suffering because she has to endure the harassment of her husband, by his cunning he also manages to resolve situations and give a lesson in virtue. In
fabliaux you should never let their wives bring the pants home, and we recommend that you give them a good lesson. Husbands should also not believe that their women are smarter than them, because this will lead to sad consequences.
Women often cheat because they are compelled to do so by other women, they easily betray their husbands and are therefore evil. They are clever because they always manage to convince her husband that they want, above all, that are honest and faithful.
As for classes, are represented by the sons of knights and horsemen, and people portrayed as morally more righteous and better than others.
Often women who are part of a higher class are also on familiar terms with her husband and prove more honest with him than the others.
The vision of the church is just as clear and sharp: the priests are seen in a negative way: they steal, they are full of vices and are looking for other women. They encourage honest people to lead a life of abject, want virgins and corrupt, often a wife or a partner, and undermine women already married. The priests are corrupt and disrespectful of the very institution they represent; come to use the money to bribe the almsgiving women. They sell for money the absolution of sins and the right to enter heaven to those who did not have it.
These views are part of children's injury and the clichés of the company, but known to have a kernel of truth that makes then fabliau important evidence on medieval society.
Tuesday, September 21, 2010
Pros Cons Selling Organs
Surprise! With your sharp frost. Take me! With your heart of ice! Hurt me! With your sharp crystals on my face. Hit me! And most do not make me get up. Love me, hate me and ... Beat me with your snowflakes. Tranquillizzami ... Like an empty afternoon on a tram in Milan. Aimless, wandering in darkness and in traffic. Pending the past. And I'll whisper once again: "Merry Christmas, my love."
Pending winter 2010 ...
Beatrice Eleanor
Sunday, September 19, 2010
Anniversary Sale Clip Art
2010 Winter Concerts Plan: Lang Lang at the Scala
In Scaliger cycle dedicated to Chopin and Schumann, the last event before the break summer was an artist I'd heard about but which I had never even heard a recording. So I was curious to hear it, even to understand how he would have approached from the eastern to western music, also in May, already knew that the piano cycle in the 2010-11 season would be entrusted only to Lang Lang and prefigured the issue of renewal of ' subscription to get an idea about this music became important to me.
let us just a doubt that the exit of the theater still gripped many in the audience: Lang is Chinese, not Japanese. Indeed, he has achieved a number of Chinese as a musician like no other primates his countryman before, working first with the larger theaters and conductors in the world. The passion for the instrument he was born in very early age, "just two years," he confessed to Italian TV, in an interview with the TG3, as he watched cartoons. Hence the constant engagement in the study of the instrument, which will place him in the Conservatory at age 9 and fame only 17.
Today, less than 30 years he is constantly called on by institutions and is a professor at the music conservatories in China. Here are several events organized in collaboration with the "Lang Lang International Music Foundation" which supports young talents since 2008 and has as its aim the music education of children. Very attentive to the problems of their country and sensitive to social issues, in 2008, is auctioning one of his piano, a Steinway red, the proceeds went to help people affected by the earthquake in China that year.
Going back in time, in 2004 Lang was appointed UNICEF ambassador and has created five versions of the Steinway piano called "Lang Lang Steinway TM" to facilitate learning the instrument from elementary school children.
In 2007, Lang was invited to perform as a soloist at the concert for the award of the Nobel Prizes in Stockholm, while in 2008 he performed for the 50th Annual Grammy Awards as well as having participated come testimonial nelle cerimonie olimpiche di Pechino; quest’anno invece la Cina lo ha voluto come ambasciatore nel mondo dell’Expo di Shanghai.
Nella sua carriera egli ha suonato per capi di stato e numerose personalità pubbliche, tra cui Kofi Annan, George W. Bush, Putin, la regina Elisabetta II d’Inghilterra, Sarkozy e Hu Jin-Tao, tanto che il World Economic Forum lo ha annoverato tra i 250 giovani più influenti del mondo. Inoltre egli partecipa a un importante progetto, la YouTube Symphony Orchestra, il cui scopo è allargare il pubblico della musica classica, soprattutto nei giovani.
Tutti questi impegni e riconoscimenti mostrano la grande personalità di Lang, la cui bravura vista dal vivo è impressionante. At the Scala gig he added two more pieces to the program, Beethoven's another one of Albéniz, because in his view of music there may be limitations to their expression, and although the sky was devoted to Schumann and Chopin, this should not be an impediment to tackle other composers. On the floor he is eccentric, exaggerated in the movements, expression and facial expressions with the result of a sound absorbing and exciting. Listening to us is convinced that Western music can also be understood and interpreted by the Eastern, not only focusing on a cool technique, as has been said of some singers, but also with feeling. Overall
I was conquered by Lang and I am convinced that renew your subscription for next year, with a whole series of his concerts, it was the thing I did after this concert soon.
Beatrice Eleanor
In Scaliger cycle dedicated to Chopin and Schumann, the last event before the break summer was an artist I'd heard about but which I had never even heard a recording. So I was curious to hear it, even to understand how he would have approached from the eastern to western music, also in May, already knew that the piano cycle in the 2010-11 season would be entrusted only to Lang Lang and prefigured the issue of renewal of ' subscription to get an idea about this music became important to me.
let us just a doubt that the exit of the theater still gripped many in the audience: Lang is Chinese, not Japanese. Indeed, he has achieved a number of Chinese as a musician like no other primates his countryman before, working first with the larger theaters and conductors in the world. The passion for the instrument he was born in very early age, "just two years," he confessed to Italian TV, in an interview with the TG3, as he watched cartoons. Hence the constant engagement in the study of the instrument, which will place him in the Conservatory at age 9 and fame only 17.
Today, less than 30 years he is constantly called on by institutions and is a professor at the music conservatories in China. Here are several events organized in collaboration with the "Lang Lang International Music Foundation" which supports young talents since 2008 and has as its aim the music education of children. Very attentive to the problems of their country and sensitive to social issues, in 2008, is auctioning one of his piano, a Steinway red, the proceeds went to help people affected by the earthquake in China that year.
Going back in time, in 2004 Lang was appointed UNICEF ambassador and has created five versions of the Steinway piano called "Lang Lang Steinway TM" to facilitate learning the instrument from elementary school children.
In 2007, Lang was invited to perform as a soloist at the concert for the award of the Nobel Prizes in Stockholm, while in 2008 he performed for the 50th Annual Grammy Awards as well as having participated come testimonial nelle cerimonie olimpiche di Pechino; quest’anno invece la Cina lo ha voluto come ambasciatore nel mondo dell’Expo di Shanghai.
Nella sua carriera egli ha suonato per capi di stato e numerose personalità pubbliche, tra cui Kofi Annan, George W. Bush, Putin, la regina Elisabetta II d’Inghilterra, Sarkozy e Hu Jin-Tao, tanto che il World Economic Forum lo ha annoverato tra i 250 giovani più influenti del mondo. Inoltre egli partecipa a un importante progetto, la YouTube Symphony Orchestra, il cui scopo è allargare il pubblico della musica classica, soprattutto nei giovani.
Tutti questi impegni e riconoscimenti mostrano la grande personalità di Lang, la cui bravura vista dal vivo è impressionante. At the Scala gig he added two more pieces to the program, Beethoven's another one of Albéniz, because in his view of music there may be limitations to their expression, and although the sky was devoted to Schumann and Chopin, this should not be an impediment to tackle other composers. On the floor he is eccentric, exaggerated in the movements, expression and facial expressions with the result of a sound absorbing and exciting. Listening to us is convinced that Western music can also be understood and interpreted by the Eastern, not only focusing on a cool technique, as has been said of some singers, but also with feeling. Overall
I was conquered by Lang and I am convinced that renew your subscription for next year, with a whole series of his concerts, it was the thing I did after this concert soon.
Beatrice Eleanor
Friday, September 17, 2010
Nasal Spray Burns Throat
Hunt of Henry IV
Chapter 9 of the fourth part of "War and Peace" we find a scene that at first glance may seem minor, but in reality is fraught with implications: Franco-Russian clash in the Napoleonic army is now on the run toward their home in a disgraceful retreat from the military point of view that will cost dearly in terms of human lives. The cold takes away many soldiers, who during the long march back over the cold also suffer from hunger. In this scene, Ramballe the officer and his orderly Maurel Russian and reach the camp, media exposure and hunger, can be understood by the enemy of food and getting a seat by the fire overnight. Maurel and flow of Spirit is probably not used to this drink, gets drunk and immediately starts to hum a song, which reads as follows:
"Vive Henri Quatre. Vive ce roi vaillant!
Ce diable à quatre
EUT Here the triple talent
de boire, de battre Et d'être
a vert galant '
Some Russian soldiers make fun of Maurel and like to mangle the song, imitating the sound of the language without know and then inventing nonsense words.
With a little research it turns out that the verses of this song are part of a comedy of the French theater in 1600, entitled "La partie de chasse d'Henri IV", whose source is an English tale reworked without too much trouble, as used in the past being totally missing the concept of copyright. That piece is a hunt of the French King Henry IV, entering a wood that is caught in a storm and takes refuge from his subjects of the peasants who welcome him into their home and pay homage, but in reality the work, that respects the aesthetic of the play, beginning with a storm to end happily with the "rescue" of King, has been reworked with the initial insertion of a scene politics, court intrigue, in which the minister Sully is able to clear itself of some of the accusations against him and regain the esteem of the sovereign.
Beyond this technical issue, the song above is a true cultural landmark, was in vogue until the 20th century, but today if we're not going to recall the original context from which it was extrapolated do not understand the meaning of these words. This illustrates the variable of knowledge over time, as though Tolstoy is Russian and French from the world knows why the fashion then, but now without mediation of others to recognize this quote would be impossible. Tolstoy is so expert on European history and man of letters, man of thought and intelligent writer, inserting a symbol of the French comic making, showing that the grandeur of this country's policy is exhausted.
This song evokes the spirit and practice of hunting theme in the play and "War and Peace", not only in the meeting between Russian troops and French officers, but also earlier in the narrative. The Rostov fact, in chap. III of the fourth part of the second volume in their estates organize a hunt that takes up a small part of the text, approximately 1, 87% of the total, but that stands out because of its overall work location and its unusual and unexpected flavor than the rest. The hunting here is as noble in the sense of virtuous activity that women can take part, although their role is secondary.
In this episode, the scene shows the presence of horses, which are fundamental in society and in literature until the nineteenth century, and that is when they began to be replaced by machinery as a means of locomotion. A demonstration of their importance, in the first book of the Essais to the cap. 48, Montaigne reminds us of the use of horses in battle at the ancient peoples, how the horses were removed from the Caesar conquered peoples as well as to drop their weapons, while in 1500 it is known in Indie the use of elephants for the same functions as in the West were fulfilled by horses. Today, the importance of the horse and hunting are difficult to understand if you do not proceed to make a comparison with some very expensive business elite.
The figure of the hunt which is then activated at two different points of "War and Peace" could be a symbol of reading throughout the Napoleonic Wars, where the French first and then chase the Russians to capture the opponent, as if it were of prey. And in truth the picture of the injured back, especially during the French retreat. Tolstoy writes: "The wounded beast at Borodino was lying there, at a point where he had left the hunter running away, but the hunter did not know if she was alive, had strong or if only he had hidden. Suddenly we heard the lament of this beast. The lament of this wounded beast, - the French army, - the expression of his loss, he was sending the General Lauriston to the camp of Kutuzov with a question of peace. "(Book 4, Part 2, Chapter 2.)
The hunt is a symbol in the novel and generally falls between the full literary topos used anymore. Think of the hunt in Hell of Dante Inferno Canto XIII vv. 109-129, where the damned are chased by two "black bitches, ravenous, and / as greyhounds ch'uscisser chain." They try to escape from these events described with an image loaded with violence, but they can not escape the danger and are torn: bitches tear the flesh of two and carry them around like trophies, such as the hounds are usually when they reach the game and trapping. In Dante lacks the physical design of the knight master of the dogs, which is only mentioned, because the emphasis is on fear of the two unfortunates who attempt to flee and hide, as well as on their moral and physical pain caused by bites.
The other known example we can cite is the hunting of the knight and the lady set out in the eighth story of Boccaccio's Decameron Nastagio degli Onesti. The author completely reverses the subject and suggests the image of a woman being chased by a knight, punished because he never loved.
The key element that unites these three works is therefore the moral purpose that hunting plays, acting as a punishment for those who have transgressed the rules: the two suicides, the French lady and the army, which implode without any rational justification, are all punished for their immoral behavior and their transgressions.
Beatrice Eleanor
Chapter 9 of the fourth part of "War and Peace" we find a scene that at first glance may seem minor, but in reality is fraught with implications: Franco-Russian clash in the Napoleonic army is now on the run toward their home in a disgraceful retreat from the military point of view that will cost dearly in terms of human lives. The cold takes away many soldiers, who during the long march back over the cold also suffer from hunger. In this scene, Ramballe the officer and his orderly Maurel Russian and reach the camp, media exposure and hunger, can be understood by the enemy of food and getting a seat by the fire overnight. Maurel and flow of Spirit is probably not used to this drink, gets drunk and immediately starts to hum a song, which reads as follows:
"Vive Henri Quatre. Vive ce roi vaillant!
Ce diable à quatre
EUT Here the triple talent
de boire, de battre Et d'être
a vert galant '
Some Russian soldiers make fun of Maurel and like to mangle the song, imitating the sound of the language without know and then inventing nonsense words.
With a little research it turns out that the verses of this song are part of a comedy of the French theater in 1600, entitled "La partie de chasse d'Henri IV", whose source is an English tale reworked without too much trouble, as used in the past being totally missing the concept of copyright. That piece is a hunt of the French King Henry IV, entering a wood that is caught in a storm and takes refuge from his subjects of the peasants who welcome him into their home and pay homage, but in reality the work, that respects the aesthetic of the play, beginning with a storm to end happily with the "rescue" of King, has been reworked with the initial insertion of a scene politics, court intrigue, in which the minister Sully is able to clear itself of some of the accusations against him and regain the esteem of the sovereign.
Beyond this technical issue, the song above is a true cultural landmark, was in vogue until the 20th century, but today if we're not going to recall the original context from which it was extrapolated do not understand the meaning of these words. This illustrates the variable of knowledge over time, as though Tolstoy is Russian and French from the world knows why the fashion then, but now without mediation of others to recognize this quote would be impossible. Tolstoy is so expert on European history and man of letters, man of thought and intelligent writer, inserting a symbol of the French comic making, showing that the grandeur of this country's policy is exhausted.
This song evokes the spirit and practice of hunting theme in the play and "War and Peace", not only in the meeting between Russian troops and French officers, but also earlier in the narrative. The Rostov fact, in chap. III of the fourth part of the second volume in their estates organize a hunt that takes up a small part of the text, approximately 1, 87% of the total, but that stands out because of its overall work location and its unusual and unexpected flavor than the rest. The hunting here is as noble in the sense of virtuous activity that women can take part, although their role is secondary.
In this episode, the scene shows the presence of horses, which are fundamental in society and in literature until the nineteenth century, and that is when they began to be replaced by machinery as a means of locomotion. A demonstration of their importance, in the first book of the Essais to the cap. 48, Montaigne reminds us of the use of horses in battle at the ancient peoples, how the horses were removed from the Caesar conquered peoples as well as to drop their weapons, while in 1500 it is known in Indie the use of elephants for the same functions as in the West were fulfilled by horses. Today, the importance of the horse and hunting are difficult to understand if you do not proceed to make a comparison with some very expensive business elite.
The figure of the hunt which is then activated at two different points of "War and Peace" could be a symbol of reading throughout the Napoleonic Wars, where the French first and then chase the Russians to capture the opponent, as if it were of prey. And in truth the picture of the injured back, especially during the French retreat. Tolstoy writes: "The wounded beast at Borodino was lying there, at a point where he had left the hunter running away, but the hunter did not know if she was alive, had strong or if only he had hidden. Suddenly we heard the lament of this beast. The lament of this wounded beast, - the French army, - the expression of his loss, he was sending the General Lauriston to the camp of Kutuzov with a question of peace. "(Book 4, Part 2, Chapter 2.)
The hunt is a symbol in the novel and generally falls between the full literary topos used anymore. Think of the hunt in Hell of Dante Inferno Canto XIII vv. 109-129, where the damned are chased by two "black bitches, ravenous, and / as greyhounds ch'uscisser chain." They try to escape from these events described with an image loaded with violence, but they can not escape the danger and are torn: bitches tear the flesh of two and carry them around like trophies, such as the hounds are usually when they reach the game and trapping. In Dante lacks the physical design of the knight master of the dogs, which is only mentioned, because the emphasis is on fear of the two unfortunates who attempt to flee and hide, as well as on their moral and physical pain caused by bites.
The other known example we can cite is the hunting of the knight and the lady set out in the eighth story of Boccaccio's Decameron Nastagio degli Onesti. The author completely reverses the subject and suggests the image of a woman being chased by a knight, punished because he never loved.
The key element that unites these three works is therefore the moral purpose that hunting plays, acting as a punishment for those who have transgressed the rules: the two suicides, the French lady and the army, which implode without any rational justification, are all punished for their immoral behavior and their transgressions.
Beatrice Eleanor
Friday, September 10, 2010
Image Galery Model Joomla
Dissection of my common
The people are together because they have something in common: life experiences, as paths of study at the same schools and universities, feelings, like love in a couple activities such as working for two gentlemen, common words or phrases read in books and those written by those directly involved, and therefore common ideas, because often the talk show one way of looking at life. The best thing is when you have a project to be implemented and we begin to work together: all the hard work tend to do the same when one is tired, the other holds out his hand and says his companion. It 'hard to this type of relationship, there is rarely so in tune with someone, while more often than not we find this harmony, or you meet someone who believes in the same things only for short periods: that is how friends come and go that we meet but then is no longer a reason to stay together once it is no longer a common path. And so the streets are divided, each makes his path and the relationships that we thought had disappeared solid. It 's true that we are fundamentally alone, and what happens in between birth and death is only a set of problems not completely controllable. The best things happen by accident, the stronger links have nothing rational and will only last if both people, or more than two, they want to make them last.
The people are together because they have something in common: life experiences, as paths of study at the same schools and universities, feelings, like love in a couple activities such as working for two gentlemen, common words or phrases read in books and those written by those directly involved, and therefore common ideas, because often the talk show one way of looking at life. The best thing is when you have a project to be implemented and we begin to work together: all the hard work tend to do the same when one is tired, the other holds out his hand and says his companion. It 'hard to this type of relationship, there is rarely so in tune with someone, while more often than not we find this harmony, or you meet someone who believes in the same things only for short periods: that is how friends come and go that we meet but then is no longer a reason to stay together once it is no longer a common path. And so the streets are divided, each makes his path and the relationships that we thought had disappeared solid. It 's true that we are fundamentally alone, and what happens in between birth and death is only a set of problems not completely controllable. The best things happen by accident, the stronger links have nothing rational and will only last if both people, or more than two, they want to make them last.
Wednesday, September 1, 2010
Gallbladder Cancer Color
voice
I think it is important to understand and discern, to think about everything. In the study I have always been so, I go deeply into the fundamental issues that I deal with it as far as we know a given argument we always end up finding something new that had not noticed or that had been noticed but you could look at another new perspective.
The reflection period on my last entry should be more and more towards the realization of the "necessity" of a medical examination. I speak of the famous speech therapist, a doctor's voice, with a brief analysis gives a response on the patient's vocal cords, giving information on their health status and adding a few comments on the scientific nature of their length, thickness and type of vowel. A visit I would now beginning to come out a little 'stamp and the actual color of my voice, to remove the cloud of mystery surrounding my kind of soprano. The key issue is to be a good singer before any part of an effect of type and form of footage, because the most important thing is to sing well does not hurt their ears and neighbor before entering into any discourse, but the curiosity of understand "who you are" vocally there is always the first day when you realize that you have an identity from this point of view. Not by chance that the voice is an important feature that allows us to distinguish between a person we know too many eyes closed, and the original tone, a characteristic may be the luck of a singer or otherwise may arise as a result of artistic slating. To This desire to find their own identity, to discover and understand I need a visit. The thing holding me back most is trivially "fear" of being put something in my throat and to be taking pictures as it usually happens by a speech pathologist. The doctor then gives the patient to bring all of these shots souvenir of the experience, then the singer can idealize but that can be compared neither more nor less of radiographs. In my mental operation
dissection of my voice, I sought help with a staff to establish the boundaries on my extension and my log. While the extension is easier to determine, since it takes into account all the sounds that can be issued, the record is more complex, since it takes into account the quality of the notes issued, especially with regard to the audibility of the voice. Reflecting
and vocalizing, I can now say with certainty, with reference to European music notation, that my full extension is from LA2 to FA6, since this relative importance. However, with respect to the register, the boundaries should be placed on DO3 and REb6, the literature confirms that in my natural voice. Moreover, like all the sopranos, but I present the classical features of this vocal group:
1) Substantial change in voice quality of DO3.
2) Joint Registry chest and short, and prevalence log head.
3) Switching between MI5 and FA5 (but I am convinced personally that you have another step up DO4).
4) Presence of overload.
In this self-analysis, which has tried again to myself for the umpteenth time what everyone always told me, that is to say that I am a soprano and you can not escape from this, however, have gone further. As for my extension below middle C, up to Lab3 notes are still large, dense, very audible and stamped, below, to become MI3 cavernous throat, still distinguishable but much less powerful then they decreased until extreme, getting more and more off until whispered. In the interval reconstructed log
DO3 - RE4 is in the chest, the composite log is between RE4 and F # 4, this as the precedent set a few notes, then go ahead to the top REb6. Both the notes in the chest that those enterprises have a good consistency, they are strong, vibrant and fairly, while the log is stamped head, easy, full and rounded. As I mentioned earlier, I noticed what I would call a level crossing DO4, perhaps to my own anatomy, but it's no secret that many singers and scholars believe there may really be more than one crossing point, or perhaps (hazard hypothesis) a double step may occur in some people and not others.
This account of the mysterious second pass and high notes from a RE6 FA6 which put out of my register at least for now because I still rare for the issue, small and lacking in effective technical skills at the same time lead to a conclusion in terms of logical and at the end of this posting. The possibility that such overload could one day become part of my registry and not only of my extension is probably remote, and shows how these considerations are not entirely definitive, since my voice still carries the sign "Work in progress."
Beatrice Eleanor
I think it is important to understand and discern, to think about everything. In the study I have always been so, I go deeply into the fundamental issues that I deal with it as far as we know a given argument we always end up finding something new that had not noticed or that had been noticed but you could look at another new perspective.
The reflection period on my last entry should be more and more towards the realization of the "necessity" of a medical examination. I speak of the famous speech therapist, a doctor's voice, with a brief analysis gives a response on the patient's vocal cords, giving information on their health status and adding a few comments on the scientific nature of their length, thickness and type of vowel. A visit I would now beginning to come out a little 'stamp and the actual color of my voice, to remove the cloud of mystery surrounding my kind of soprano. The key issue is to be a good singer before any part of an effect of type and form of footage, because the most important thing is to sing well does not hurt their ears and neighbor before entering into any discourse, but the curiosity of understand "who you are" vocally there is always the first day when you realize that you have an identity from this point of view. Not by chance that the voice is an important feature that allows us to distinguish between a person we know too many eyes closed, and the original tone, a characteristic may be the luck of a singer or otherwise may arise as a result of artistic slating. To This desire to find their own identity, to discover and understand I need a visit. The thing holding me back most is trivially "fear" of being put something in my throat and to be taking pictures as it usually happens by a speech pathologist. The doctor then gives the patient to bring all of these shots souvenir of the experience, then the singer can idealize but that can be compared neither more nor less of radiographs. In my mental operation
dissection of my voice, I sought help with a staff to establish the boundaries on my extension and my log. While the extension is easier to determine, since it takes into account all the sounds that can be issued, the record is more complex, since it takes into account the quality of the notes issued, especially with regard to the audibility of the voice. Reflecting
and vocalizing, I can now say with certainty, with reference to European music notation, that my full extension is from LA2 to FA6, since this relative importance. However, with respect to the register, the boundaries should be placed on DO3 and REb6, the literature confirms that in my natural voice. Moreover, like all the sopranos, but I present the classical features of this vocal group:
1) Substantial change in voice quality of DO3.
2) Joint Registry chest and short, and prevalence log head.
3) Switching between MI5 and FA5 (but I am convinced personally that you have another step up DO4).
4) Presence of overload.
In this self-analysis, which has tried again to myself for the umpteenth time what everyone always told me, that is to say that I am a soprano and you can not escape from this, however, have gone further. As for my extension below middle C, up to Lab3 notes are still large, dense, very audible and stamped, below, to become MI3 cavernous throat, still distinguishable but much less powerful then they decreased until extreme, getting more and more off until whispered. In the interval reconstructed log
DO3 - RE4 is in the chest, the composite log is between RE4 and F # 4, this as the precedent set a few notes, then go ahead to the top REb6. Both the notes in the chest that those enterprises have a good consistency, they are strong, vibrant and fairly, while the log is stamped head, easy, full and rounded. As I mentioned earlier, I noticed what I would call a level crossing DO4, perhaps to my own anatomy, but it's no secret that many singers and scholars believe there may really be more than one crossing point, or perhaps (hazard hypothesis) a double step may occur in some people and not others.
This account of the mysterious second pass and high notes from a RE6 FA6 which put out of my register at least for now because I still rare for the issue, small and lacking in effective technical skills at the same time lead to a conclusion in terms of logical and at the end of this posting. The possibility that such overload could one day become part of my registry and not only of my extension is probably remote, and shows how these considerations are not entirely definitive, since my voice still carries the sign "Work in progress."
Beatrice Eleanor
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