Towatch in high quality type &fmt=18 at the end of the url. Time for Magical Mermaid Pop Stars!! This is Alala’s Song. What if 4kids got a hold of this anime I will be making a trailer soon, and I will also be uploading the rest of the clips I have on my other account soon! Mermaid Melody is unliscensed in the US and Canada. Name Changes: Mermaid Melody Pichi Pichi Pitch = Magical Mermaid Pop Stars Lucia= Lucy Hanon= Heather Lina= Lita Caren= Katelyn Noel= Nicole Coco= Catherine Sara= Sarah Seira= Sera Sheshe: Shian Mimi: Mimi Maria: Marissa Yuri: Yoli Izul: Lisa Eiruru: Erin Gaito: Grant Mikeru: Micheal Mikaru: Michell Alala: Ariel Lady Bat: Tyler Luan Fa/Ranfa: Laurie This is fanmade and is in no way associated with the anime or music company in anyway. I’m not making ANY money off of it. And Since it is a video PARODY it falls underneath the fair use laws.

DUO Maya Homburger/Barry Guy MAYA HOMBURGER baroque violin BARRY GUY double bass “Peace Piece” for Bass Solo Barry Guy Recorded at Jazzclub Moods, Zurich, March 15, 2007 Cameras: Dominique Magnusson, Marianne and Juerg Rufer Audio Engineering: Willy Strehler, Klangdach Editing and DVD-Production: Juerg Rufer A Dingo and Fox Production ©2008, Maya Homburger and Barry Guy Barry Guy New compositions, improvisations and baroque masterpieces. Barry Guy, one of the most virtuosic and imaginative improvisers, joins forces with his partner Maya Homburger, whose interpretation of solo violin sonatas is very much inspired by his freedom and creativity. Barry Guy is an innovative bass player and composer whose creative diversity in the fields of jazz improvisation, chamber and orchestral performance and solo recitals is the outcome both of an unusually varied training and a zest for experimentation, underpinned by a dedication to the double bass and the ideal of musical communication. He is founder and Artistic Director of the London Jazz Composers Orchestra for which he has written several extended works. His concert works for chamber orchestras, chamber groups and soloists have been widely performed and his skilful and inventive writing has resulted in an exceptional series of compositions. Barry Guy continues to give solo recitals throughout Europe and the USA as well as performing with Evan Parker/Paul Lytton trio, Marilyn Crispell and Gerry Hemingway, the Bill Dixon quartet, in …

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Question by nullprofile: Do you think the type of music you listen to reflects your personality? (Classical styles only)?
[If you aren't a classical listener, please don't answer this question. I'm not asking about non-classical music. Nothing against you personally.]

I often hear people say, “He listens to indie/metal/rap/[insert band/group/whatever here],” as if it should convey information about that person’s personality. I’m sure to most people who listen to pop music, hearing that someone listens to Coldplay gives them an idea of what that person is like.

-So, is there a similar phenomenon in classical music?

-Do you have a marked preference for a particular genre, or do you just like it all?

-Do you think that your personality matches your preferred genre?

-Do you think that there is a general ‘type’ of personality in classical music?

-Is there a genre (within classical music) which you absolutely can’t stand/don’t understand? If so, what do you think that says, if anything, about your personality?

My answers:

-So, is there a similar phenomenon in classical music?
I worded this vaguely to try and get interesting answers. Hopefully it won’t backfire and be totally opaque. If you’re not sure what I’m asking, pick whatever possibility you like best and write something

-Do you have a marked preference for a particular genre, or do you just like it all?
First and foremost, I love the Baroque. It’s extravagant to a ridiculous degree, but so expertly controlled. The music is very well-decorated but can be broken down in to such Spartan components. I like plainchant and Renaissance vocal music because of its complexity and control. When it comes to the Romantics…well, I like Brahms and Schumann a lot, and I don’t like Liszt and Wagner very much. They have nice moments, but I’m not a fan. In the 20th century, I can take Shostakovich, Prokofiev, Steve Reich, and a small amount of Michael Nyman. So it seems that overall, I value control in my music.

-Do you think that your personality matches your preferred genre?
Definitely. I get as emotional as anyone else, but I channel it or hide it. I don’t announce my feelings with swirling violins, thundering timpanis, and a wailing soprano. I have been called “stable,” “level,” “grounded,” “uptight,” “impossible to figure out,” and “emotionless,” so you can take your pick from any of those adjectives. Basically, I don’t wear my heart on my sleeve.

-Do you think that there is a general ‘type’ of personality in classical music?
Yes, I do. To appreciate classical music you absolutely must enjoy complexity. We must remember that during any era, let’s take the Baroque as an example, there is pop music, there is okay music, and there is great music. People preserve the great music and leave that as their legacy, but it would be foolish to say that all music from the past was good. We don’t know the words or tune to Johann Christian Wolf’s 1697 Ohrdurf hit, “Mein Lieblingsfisch ist der Karpfen”- but 12-year old Johann Sebastian Bach did. When, later in life, he wrote his great music, it wasn’t popular music in either sense of the term. Classical music -and jazz- attracts minds that like music for the sake of music. In contrast, pop music is about the performer (he looks so badass with his electric guitar!) and about the words (this song is totally about me!) not the music itself. The sounds are just some filler and it’s all about the solos. Complex music is usually less appreciated by the masses. On the other hand there are the people who don’t particularly care about classical music but listen to it either because they think it makes them seem smart, or because their parents made them take violin lessons from when they were 5 and they’re now in some sort of teen orchestra, and they don’t particularly care, but their identities depend on classical music. Usually you can tell the real fans from the, well, posers by asking if the person you’re dealing with has a particularly favored era. Everyone’s going to say, “Oh, I like Bach, Beethoven, and Mozart.” With Twilight being so popular you might get Debussy in there too. If someone says he likes absolutely every piece of classical music ever composed in every era, that in his opinion every composer did a fantastic job in every genre, he’s bullshitting you.

-Is there a genre (within classical music) which you absolutely can’t stand/don’t understand? If so, what do you think that says, if anything, about your personality?
Atonal music, definitely. My boyfriend loves the stuff and has been steadily trying to get me in to it, but it’s been three years and I haven’t made much progress. I can take *some* dissonance, I see where it makes music more textured…but I need regularity in my music and I can’t take too much dissonance.

This: http://www.youtube.com/watch?v=ZE3gUZ9wBlc is beyond me. Actually, it says something that I can now listen to the whole thing and find it somewhat interesting. A while ago I wouldn’t have been able to take it at all. However, while I can listen to it, I don’t understand it

Best answer:

Add your own answer in the comments!

1.__ Found in Beethoven’s Symphony Number Nine but not in Symphony Number 3
2.__ In an effort to bring people back, brought artistic splendor to places of worship
3.__ Bach and jazz have this in common
4.__ Introduced harmony
5.__ Dedication to, withdrawn by Beethoven
6.__ Died with a hammer in his hand
7.__ Brought jazz to Carnegie Hall with such works as “Mood Indigo”
8.__ Liverpool quartet that arrived in the United States in 1962
9.__ Sold it for the equivalent of 15 cents
10.__ Minimalist
11.__ Simultaneous production of tones
12.__ Medieval sung prayers
13.__ Rocked around the clock
14.__ Brought European styles to ragtime music
15.__ Scale usually has five tones instead of seven

Answers:
1. Abraham Lincoln
2. “Adeste Fidelis”
3. African
4. “Ave Maria”
5. Baroque
6. Beatles
7. Blues
8. Catholicism
9. Chorus
10. Duke Ellington
11. Bill Haley
12. Fugue
13. Glass
14. Improvisation
15. Islam
16. John Henry
17. Improvisation (don’t know why its used twice?)
18. Napoleon
19. Plainsong
20. Renaissance
21. Rolling Stones
22. Harmony

Good Luck!

Best answer:

Answer by cerinp
1.__ Found in Beethoven’s Symphony Number Nine but not in Symphony Number 3
Fugue
2.__ In an effort to bring people back, brought artistic splendor to places of worship
Catholicism
3.__ Bach and jazz have this in common
Improvisation
4.__ Introduced harmony
Chorus
5.__ Dedication to, withdrawn by Beethoven
Baroque
6.__ Died with a hammer in his hand
John Henry
7.__ Brought jazz to Carnegie Hall with such works as “Mood Indigo”
Duke Ellington
8.__ Liverpool quartet that arrived in the United States in 1962
Beatles
9.__ Sold it for the equivalent of 15 cents
Ave Maria
10.__ Minimalist
Islam
11.__ Simultaneous production of tones
Harmony
12.__ Medieval sung prayers
Plainsong
13.__ Rocked around the clock
Bill Haley
14.__ Brought European styles to ragtime music
African
15.__ Scale usually has five tones instead of seven
Blues

Add your own answer in the comments!

Organ passacaglia for Easter. Baroque style Composer : Jean-Paul Verpeaux The same thema is repeated 3 x 3 times 1-2-3 : in D minor, 2 voices, 3 voices, 4 voices 4-5-6 : in A minor, with a fagot 8′ at the pedal, 2-3–4 voices, manual : fundation 8′ 7-8-9 : D minor again, 2-3-4 voices, pedal Posaune 16 + fagot 8′, manual : mixtures Passacaille pour le jour de Paques

Here are some items I picked up from the MAC Pro store!
Video Rating: 4 / 5

Question by Steve: do you think the world’s best music will eventually “disappear”?
thinking along the lines of works from baroque, classical, etc., do u think these works will eventually be worked out of the repertoire. when i say that, im not saying that they’ll be thrown away and forgotten, but with the progression of technology maybe there will be new composing styles that will come into play in the future, along with different instruments and all of that. in addition to all the crappy ass music thats being pumped out today, younger kids and above and between have no care or interest in the music, and when they all say things like “beethoven sucks” u know that there is something wrong with the generation, especially when they try to say a musician who has been famous for a month is better tahn the worlds greatest composers.

with that, those kids are probably so much less likely then to show their kids good music like beethoven, mozart, bach, etc. because they themselves know no other compositions than the base ones that are taught in music classes in school.

so what do u think, do u think that with time the world’s greatest musicians will eventually be tossed aside, only there for curious people to listen to if they want to?

Best answer:

Answer by Donesha.
It has already.

Add your own answer in the comments!

Please choose any piece state the era (i.Baroque), piece title and the composer. If you have a link that would also be great.

Please don’t give me a massive list of suggested pieces I just want at least one from each poster.

oh other styles are fine as well, eg bebop jazz, country etc.

Best answer:

Answer by Rachel G
baroque: bach – rondeau OR badinerie (flute)
classical: mozart – andante in C (flute)
romantic: chopin – nocturne no. 2 (piano) OR grieg – morning (orchestral)
bebop jazz: charlie parker – billies bounce
blues jazz: miles davis – all blues
hope that helped

Give your answer to this question below!

Heinrich Schütz (1585-1672) – Fili mi, Absalon (SWV 269; Symphoniae sacrae I, 1629) Washington Cornett and Sackbutt Ensemble (Period Instrument Group) Michael Holmes, director David Brundage, bass soloist Translation of Latin text: (2 Samuel 18:33) “O my son Absalom, my son my son Absalom. Would God I had died for thee, O Absalom, my son, my son!” About the group: Fast becoming the premiere ensemble of its kind in North America, the Washington Cornett and Sackbutt Ensemble, directed by Michael Holmes, consists of early brass specialists from the Washington DC, Philadelphia, and New York City areas. The WCSE’s membership has modified and grown considerably since its inception in 1997. It has performed extensively and has been in high demand all along the east coast USA, collaborating in adventuresome programs with prominent period ensembles such as Lumen Valo (Finland), New Trinity Baroque (Atlanta), Sacra Fuma (Princeton), the Orchestra of the 17th Century (DC), the Washington Bach Consort (DC), Carmina (DC), Cantate Chamber Singers (DC), the Washington Kantorei (DC), and Zephyrus (Charlottesville). Its repertoire has been vast, exploring almost every possible style and region, including music from Germany, Italy, Poland, Bohemia, Moravia, Scandinavia, Spain, England and the New World. In the summer of 2001, WCSE produced its first recording of music by Gabrieli and Schütz. In August 2003, WCSE was invited to be the featured ensemble at the Historic Brass Society Festival …

A new style of duct tape
Video Rating: 5 / 5

Balice, Pałac Radziwiłłów


Image by Małopolski Instytut Kultury
fot. Marcin Klag

V Małopolskie Dni Dziedzictwa Kulturowego 2003r.

Kraków
Pałac w Balicach

Pałac w Balicach, jednej z najstarszych podkrakowskich wsi, znajduje się w otoczeniu kilkuhektarowego, pięknego parku, w którym rośnie wiele gatunków rzadko występujących krzewów i drzew.
W średniowieczu wieś należała do rodu Toporczyków z Morawicy, którzy mieszkając tutaj, przyjęli od nazwy siedziby nazwisko Balickich. Kolejnymi właścicielami byli Seweryn Betman, a od 1519 r. jego zięć Seweryn Boner, który przebudował stary pałac w duchu włoskiego renesansu i uczynił z niego podmiejską rezydencję, gdzie gościł najznamienitszych intelektualistów tamtych czasów.
Po nim odziedziczył dobra balickie jego syn, Jan Boner, a następnie przekazał je swojej siostrze, Zofii z Bonerów Firlejowej. Począwszy od połowy XVI w., Balice pozostawały w rękach Firlejów przez półtora stulecia. Odnowili oni pałac oraz założyli ogród z sadem owocowym. W okresie najazdu wojsk szwedzkich pałac zniszczono i złupiono.
Pod koniec XVII w. właścicielami Balic zostali Szembekowie. Jan, kanclerz wielki koronny, odbudował pałac, który jednak już po połowie XVIII w. popadł w ruinę. Odnowiony na początku kolejnego stulecia przez Urszulę Darowską, wielokrotnie zmieniał właścicieli. Pod koniec XIX w. trafił w ręce księcia Dominika Radziwiłła. Na jego zlecenie w latach 1887-1894 krakowski architekt Tadeusz Stryjeński przeprowadził gruntowną przebudowę pałacu. Po II wojnie pałac przekazano Uniwersytetowi Jagiellońskiemu, a od początku lat 50. służy on Instytutowi Zootechniki jako centrum konferencyjne oraz hotel.
Murowany, piętrowy pałac złożony jest z kwadratowego korpusu z ryzalitem na osi oraz bocznych skrzydeł. Utrzymany jest w historyzującej formie, nawiązującej do barokowych rezydencji. Najbardziej dekoracyjną częścią budowli jest jego partia środkowa z parterowym ryzalitem otoczonym dwuramiennymi, półkolistymi schodami wiodącymi na taras, pod którym mieści się hall wejściowy. Piętro pałacu otwiera się na taras czterokolumnowym portykiem, zwieńczonym trójkątnym przyczółkiem z kartuszem herbowym w polu. Szczególnie ozdobne i różnorodne są obramienia okien: od skromnych, tynkowych opasek okulusów po rozbudowane z trójkątnymi nadokiennikami, wspartymi na wolutowych konsolkach i dekorowanych motywami roślinnymi. We wnętrzach pałacu zadziwia mnogość sztukatorskich zdobień sufitów i ścian; uwagę przyciągają również intarsjowane podłogi oraz XIX-wieczne detale stolarki.

—

Mansion
in Kraków’s Balice

The mansion in Balice, one of the oldest villages in the Kraków area, is surrounded with a beautiful, spacious park, boasting many rare species of trees and shrubbery.
In the Middle Ages the village belonged to the Toporczyk clan of Morawica, who changed their family name into Balicki, after the appellation of their dwelling. Subsequent owners included Seweryn Betman and, from 1519, his son-in- -law, Seweryn Boner, who had the old mansion rebuilt after Italian Renaissance fashion. His son, Jan Boner, inherited the Balice property and then handed it over to his sister, Zofia Firlej née Boner. From the mid-16th century, Balice remained in the Firlej family for one and a half centuries. They refurbished the palace and planted a garden and an orchard. During the Swedish attacks, the mansion was plundered and demolished.
In the late-17th century, the Szembek family acquired Balice. Jan Szembek, the King’s Chancellor, had the mansion restored – yet in the 18th century, the estate fell into ruin. Renovated at the beginning of the 19th century by Urszula Darowska, the palace changed hands many times. At the end of the 19th century, it became the property of Duke Dominik Radziwiłł. The latter commissioned a Kraków architect, Tadeusz Stryjeński, to completely remodel the mansion; the works were carried out from 1887 to 1894. After the second world war, the estate was given to the Jagiellonian University, and since the 1950s it has served the Institute of Zootechnics as a conference centre and a hotel.
The brick, two-storey mansion consists of a square corpus, projected forth at the axis, and side wings. It was fashioned in a historical style, resembling Baroque mansions. The most decorative part is the central section, its ground floor set forth and surrounded with semicircular double stairs leading to a terrace, where the vestibule is located. The upper floor opens to the terrace with a four-column portico, closed with a triangular attic bearing a coat-of-arms. The variety of window decorations is striking: from modest, plaster oculus bands to elaborate structures with triangular lintels, supported upon volute consoles and decorated with floral stuccoes. Inside, the plenitude of stuccoed decorations is amazing, and the inlaid patterns of wooden floors and 19th-century wood-crafted details captivate the visitor’s attention.

Balice, Pałac Radziwiłłów


Image by Małopolski Instytut Kultury
fot. Marcin Klag

V Małopolskie Dni Dziedzictwa Kulturowego 2003r.

Kraków
Pałac w Balicach

Pałac w Balicach, jednej z najstarszych podkrakowskich wsi, znajduje się w otoczeniu kilkuhektarowego, pięknego parku, w którym rośnie wiele gatunków rzadko występujących krzewów i drzew.
W średniowieczu wieś należała do rodu Toporczyków z Morawicy, którzy mieszkając tutaj, przyjęli od nazwy siedziby nazwisko Balickich. Kolejnymi właścicielami byli Seweryn Betman, a od 1519 r. jego zięć Seweryn Boner, który przebudował stary pałac w duchu włoskiego renesansu i uczynił z niego podmiejską rezydencję, gdzie gościł najznamienitszych intelektualistów tamtych czasów.
Po nim odziedziczył dobra balickie jego syn, Jan Boner, a następnie przekazał je swojej siostrze, Zofii z Bonerów Firlejowej. Począwszy od połowy XVI w., Balice pozostawały w rękach Firlejów przez półtora stulecia. Odnowili oni pałac oraz założyli ogród z sadem owocowym. W okresie najazdu wojsk szwedzkich pałac zniszczono i złupiono.
Pod koniec XVII w. właścicielami Balic zostali Szembekowie. Jan, kanclerz wielki koronny, odbudował pałac, który jednak już po połowie XVIII w. popadł w ruinę. Odnowiony na początku kolejnego stulecia przez Urszulę Darowską, wielokrotnie zmieniał właścicieli. Pod koniec XIX w. trafił w ręce księcia Dominika Radziwiłła. Na jego zlecenie w latach 1887-1894 krakowski architekt Tadeusz Stryjeński przeprowadził gruntowną przebudowę pałacu. Po II wojnie pałac przekazano Uniwersytetowi Jagiellońskiemu, a od początku lat 50. służy on Instytutowi Zootechniki jako centrum konferencyjne oraz hotel.
Murowany, piętrowy pałac złożony jest z kwadratowego korpusu z ryzalitem na osi oraz bocznych skrzydeł. Utrzymany jest w historyzującej formie, nawiązującej do barokowych rezydencji. Najbardziej dekoracyjną częścią budowli jest jego partia środkowa z parterowym ryzalitem otoczonym dwuramiennymi, półkolistymi schodami wiodącymi na taras, pod którym mieści się hall wejściowy. Piętro pałacu otwiera się na taras czterokolumnowym portykiem, zwieńczonym trójkątnym przyczółkiem z kartuszem herbowym w polu. Szczególnie ozdobne i różnorodne są obramienia okien: od skromnych, tynkowych opasek okulusów po rozbudowane z trójkątnymi nadokiennikami, wspartymi na wolutowych konsolkach i dekorowanych motywami roślinnymi. We wnętrzach pałacu zadziwia mnogość sztukatorskich zdobień sufitów i ścian; uwagę przyciągają również intarsjowane podłogi oraz XIX-wieczne detale stolarki.

—

Mansion
in Kraków’s Balice

The mansion in Balice, one of the oldest villages in the Kraków area, is surrounded with a beautiful, spacious park, boasting many rare species of trees and shrubbery.
In the Middle Ages the village belonged to the Toporczyk clan of Morawica, who changed their family name into Balicki, after the appellation of their dwelling. Subsequent owners included Seweryn Betman and, from 1519, his son-in- -law, Seweryn Boner, who had the old mansion rebuilt after Italian Renaissance fashion. His son, Jan Boner, inherited the Balice property and then handed it over to his sister, Zofia Firlej née Boner. From the mid-16th century, Balice remained in the Firlej family for one and a half centuries. They refurbished the palace and planted a garden and an orchard. During the Swedish attacks, the mansion was plundered and demolished.
In the late-17th century, the Szembek family acquired Balice. Jan Szembek, the King’s Chancellor, had the mansion restored – yet in the 18th century, the estate fell into ruin. Renovated at the beginning of the 19th century by Urszula Darowska, the palace changed hands many times. At the end of the 19th century, it became the property of Duke Dominik Radziwiłł. The latter commissioned a Kraków architect, Tadeusz Stryjeński, to completely remodel the mansion; the works were carried out from 1887 to 1894. After the second world war, the estate was given to the Jagiellonian University, and since the 1950s it has served the Institute of Zootechnics as a conference centre and a hotel.
The brick, two-storey mansion consists of a square corpus, projected forth at the axis, and side wings. It was fashioned in a historical style, resembling Baroque mansions. The most decorative part is the central section, its ground floor set forth and surrounded with semicircular double stairs leading to a terrace, where the vestibule is located. The upper floor opens to the terrace with a four-column portico, closed with a triangular attic bearing a coat-of-arms. The variety of window decorations is striking: from modest, plaster oculus bands to elaborate structures with triangular lintels, supported upon volute consoles and decorated with floral stuccoes. Inside, the plenitude of stuccoed decorations is amazing, and the inlaid patterns of wooden floors and 19th-century wood-crafted details captivate the visitor’s attention.