{"url": "http://www2.surrey.ac.uk/undergraduate/dance-culture-and-choreography", "date": "2013-12-13T04:40:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164858282/warc/CC-MAIN-20131204134738-00067-ip-10-33-133-15.ec2.internal.warc.gz", "language_score": 0.9246123433113098, "token_count": 2125, "dump": "CC-MAIN-2013-48", "global_id": "webtext-fineweb__CC-MAIN-2013-48__0__126968831", "lang": "en", "text": "Dance at the University of Surrey has a great variety of modules compared to other dance degrees available. I was drawn to the mix of dance techniques and diverse theory modules, which allowed me to expand my knowledge and then tailor my studies to particular interests.\nOn our unique Dance, Culture and Choreography degree programme you experience and interrogate dance as an embodied practice that is embedded in our contemporary globalised culture. You encounter a broad range of contemporary dance practices, including somatic and body work, release-based techniques and fusion styles of South Asian and African dance. In a combination of practice and theory you study the histories, influences and contexts of dance in Western and non-Western cultures, past and present.\nOur rich and varied programme gives you the vital knowledge and competence for a professional career as a dance teacher in education, a dance manager in the creative industries, a reflective dance artist or a dance researcher and scholar. The programme offers a broad range of contemporary dance practices and explicitly welcomes differently abled bodies.\nAlmost 30 years ago Surrey was the first university to set up an academic dance department. Since then we have continued to build on our reputation as an internationally leading centre for dance research. Our unique pedagogic approach rejects the artificial separation of ‘practice’ and ‘theory’, and instead develops your understanding of dance as a diverse, complex and dynamic cultural practice where moving and thinking simply cannot be separated.\nYou are taught by our team of world-leading international experts whose research includes contemporary European dance and dance theatre, African and South Asian dance, dance in popular culture, digital arts and film, movement analysis and choreography, dance dramaturgy, dance management and dance facilitation.\nYou study within the vibrant creative environment of the Surrey School of Arts, which, along with dance, includes theatre, film and music, as well as the Guildford School of Acting (GSA), the Digital World Research Centre and the Lewis Elton Gallery.\nOur unique Dance, Culture and Choreography programme offers both three-year and four-year degree pathways, the latter including the highly regarded Professional Training placement year. As you progress through your studies you will encounter a range of perspectives and approaches to dance, from various dance practices to movement analysis and choreography, dance history and cultural studies, dance management and dance facilitation. This will provide you with a broad and deep knowledge of dance.\nStudents following the four-year degree participate in the Professional Training Year (PTY), during which you benefit from a unique mentoring scheme in an internationally or nationally renowned organisation, where work-specific techniques are enhanced by transferable skills in professional communication, organisational strategies and critical reflection.\nWith the opportunity to specialise in the final year of your studies, you will be perfectly prepared for your career in dance education, arts management, creative practice and further dance study and research.\nOther than the PTY element, all modules are shared between both the three-year and four-year degree programmes.\nDance and context\nYear 1 provides you with an introduction to key skills in dance studies. You develop new learning skills in academic study and you get started in creative research into contemporary dance practices. You explore your own body as a source for solo choreography and movement analysis, examine the role of dance in culture and society, and encounter the foundations of somatic body work and release-based techniques.\n• Contemporary Dance Practices I\n• Movement Analysis and Notation\n• The Body in Dance: Theory and Aesthetics\n• Dance Management and Facilitation\nDance and the creative industries\nIn Year 2, you begin to make and develop work, exploring dance and its relationship to the creative industries and arts sector. You engage with dance history, dance policy and politics, choreography and dramaturgy, movement analysis and devising performance, and you further develop your professional dance practice. We work closely with external partners, companies and organisations to offer you the opportunity to follow a performance project from inception to completion.\n• Contemporary Dance Practices II\n• Dance and Theatre in the 20th Century\n• Dance and the Creative Arts Industries in Britain\n• Professional Project\n• Dance, Film and Digital Arts\nIf you choose to undertake a Professional Training Year placement, you will work with an established dance organisation, based within the United Kingdom or internationally. You may choose to specialise in a particular area of dance, for example within dance management, community dance or dance company education, but whatever your specialism you will find yourself involved in a wide variety of activities.\nDance and professional practice\nYear 3 offers you further opportunities to specialise in your chosen career direction and to develop your professional profile. You concentrate, through independent research and a final dissertation project, on your expertise in choreography, dance education, arts management, movement analysis and somatic practice or other areas. In addition to a range of module options, the final year enhances your overall proficiency in independent creative research and critical reflection, and provides opportunities for collaboration with students across the School of Arts.\n• Contemporary Dance Practices III\n• Advanced Independent Project\n• Researching Dance\n• Dissertation Project\nOptional modules include:\n• Dance and Globalization\n• Interdisciplinary Collaboration (Music, Theatre, Film)\n• Professional Practices\n• Choreographic Writing\nOur unique and optional Professional Training Year gives you the chance to apply your knowledge and understanding in the context of a year-long placement, and thereby build your experience in a professional dance environment with high-quality mentoring and support from experienced placement hosts.\nA pioneer in integrated professional training, the University has operated its placement scheme in partnership with industry and professional bodies for the last 40 years. Employers interviewing graduates have been impressed by the maturity and professionalism of those with placement experience. Although dance students do not usually receive a salary, they are normally paid a bursary by their employer.\nOrganisations and companies that have participated in the scheme include Northern Ballet Theatre, Rambert Dance Company, Sadler's Wells, South East Dance and Birmingham Royal Ballet.\nYou will have practical classes, lectures, seminars and tutorials. Performance and choreography modules have higher class-contact time, while classroom-based modules have fewer contact hours but require independent study where you read, research, write and prepare work in your own time. You have the opportunity to develop computing skills using our E-Learning facilities, in addition to word-processing, spreadsheet and database packages.\nYou are also able to participate in dance classes, events, performances, seminars and residencies on campus, including extracurricular classes in Guildford School of Acting’s evening programme. These are open not only to students studying Dance, Culture and Choreography, but also to the wider University and the general public. This provides you with a lively and challenging dance environment.\nModules are assessed in a format that is most suited to the content and structure of each. We therefore use a variety of assessment methods, such as essays, portfolios, seminar presentations, lecture demonstrations and performances.\nOur Dance degree programmes are well resourced and include the PATS dance studio and the state-of-the-art Ivy Arts Centre. The campus is home to a unique archive, the National Resource Centre for Dance, and the School of Arts.\nYou have the opportunity to spend time abroad on a work placement in a foreign country or studying at one of our partner universities. These include the North Carolina State University and the universities of Florida and Cincinnati in North America. Additionally we operate exchanges with La Trobe University and Monash University in Melbourne, Australia.\nThe benefits of working or following courses abroad are numerous. You are exposed to a different culture with its language and its traditions which broaden your horizons in terms of knowledge but also in terms of employment opportunities.\nGraduates of our Dance and Culture degree programme are currently employed in performance and choreography, education (including private, secondary, further and higher education), community dance settings including arts centres and arts and dance projects, theatre management, dance company education, public relations and marketing. Dance graduates have received employment in some of the foremost dance institutions in the UK, including Greenwich Dance Agency, Shobana Jeyasingh Dance Company, The Place Theatre and the English National Ballet.\nOur graduates have an excellent track record in securing places on MA and PGCE courses in dance and related subjects. Over the last few years, Surrey Dance students have gone on to careers such as:\n• West London Partnership/Surrey County Council – Graduate Dance Teacher\n• Royal Opera House – Education Department\n• Independent Dance – Administrator\n• King Edward VI School – Dance Teacher\n• East London Dance – Project Co-ordinator\n• Ludus Dance Agency – Project Manager\n• Self-employed – Ballet Teacher\n• Dance School, Maya Sofou, Athens – Dance Teacher\n• Rambert Dance Company – Development Officer\n• Arts Strategy, Arts Council – Assistant Officer\n• Greenwich Dance Agency – Programme Co-ordinator\n• South East Dance – Programme Producer\n• The Place – Education Officer\n• Laban – Education Officer\nWe offer a range of bursaries, scholarships and other financial support.\nThere are no specific subject requirements. Dance at either A or AS-level (or equivalent) is preferable.\nGCSE English Language and Mathematics at grade C or above (or equivalent).\nOffers are normally made in terms of grades. Suitable candidates may be invited for an audition and interview. During the visit to the University the candidate can find out more about the programme and meet staff and students.\nNon-native speakers of English will normally be required to have IELTS 6.5 or above, with a minimum of 6.0 in each sub-skill (or equivalent).\nWe offer intensive English language pre-sessional courses, designed to take you to the level of English ability and skill required for your studies here.\n|Qualification||Course Length||Professional Training||UCAS code||KIS code|\n|BA (Hons)||3 years||PPM3||View KIS data set|\n|BA (Hons)||4 years||PPM4||View KIS data set|\nFind out how and when to apply to study at Surrey.\nEmily Labhart, BA Dance and Culture with Professional Training, talks about her Professional Training placement year at Sadler's Wells", "domain": "music_and_dance"}
{"url": "https://925kissfm.iheart.com/calendar/content/2023-07-29-fall-out-boy-so-much-for-tour-dust-with-special-guests/", "date": "2023-05-29T19:09:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224644907.31/warc/CC-MAIN-20230529173312-20230529203312-00123.warc.gz", "language_score": 0.9405030608177185, "token_count": 1098, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__246531937", "lang": "en", "text": "Show – Fall Out Boy – So Much For (Tour) Dust\nSupport- Bring Me The Horizon, Royal & the Serpent, and Games We Play\nDate –July 29, 2023\nVenue – Pine Knob Music Theatre\nTicket Link: https://www.ticketmaster.com/event/08005E3BD7406910\nGrammy® Award-nominated and multi-platinum selling rock band Fall Out Boy is set to hit the road this summer with their 2023 headline tour So Much For (Tour) Dust. The 25+ date North American trek will visit Pine Knob Music Theatre on Saturday, July 29 at 6:30 p.m. Bring Me The Horizon, Royal & The Serpent and Games We Play will provide support. Pine Knob Music Theatre is presented by Proud Partners United Wholesale Mortgage, Trinity Health and Ally.\nThe tour will kick off with a show of epic proportions at Chicago’s famed Wrigley Field on June 21 before continuing through cities like St. Louis, Dallas, Phoenix, Atlanta, Toronto, and concluding in Camden, NJ on August 6.\nIn addition to Wrigley Field, So Much For (Tour) Dust includes three more stadium stops: BMO Stadium in Los Angeles, Forest Hills Stadium in New York and Fenway Park in Boston. Complete routing is available below.\nSo Much For (Tour) Dust, presented by Live Nation, is in support of Fall Out Boy’s forthcoming new album So Much (For) Stardust, which arrives March 24, 2023 on Fueled By Ramen/Elektra/DCD2 Records. The record was produced by Neal Avron. Pre-order So Much (For) Stardust here.\nLast Wednesday, the band returned to their roots for a surprise homecoming show at Chicago’s legendary 1,000-capacity Metro – announced only two days prior, the show immediately sold out. Just down the street from Wrigley Field, the band first played the venue in September 2002, a pivotal gig that FOB’s Patrick Stump jokingly called back to for the packed crowd two decades later: “Twenty years ago, I told my mom I was going to take a semester off [college] because we were headlining Metro and I wanted to see how that would work out.” FOB’s Pete Wentz expressed the band’s enduring relationship with the venue: “Walking up those stairs is the closest thing this band will have to church.”\nVariety hailed the night as a “triumphant hometown show,” noting that “there are concerts, and there are events, and a hometown show in Chicago from [Fall Out Boy] is definitely in the latter category.” Over the course of the night, the band ripped through a mix of their biggest hits and deepest cuts, with Illinois Entertainer praising the set as “taking full advantage of both the intimate venue and the loyal hometown crowd to deliver a once-in-a-decade event.”\nThe show also featured the live public debut of both “Love From The Other Side” (listen here) and “Heartbreak Feels So Good” (listen here), two tracks from the new album and the latter of which was released the morning of the show. The Chicago Sun-Times lauded the two tracks, noting the new material “takes all they’ve learned and accomplished the past 20 years and combines it with their unflinching roots for an ultimate glow-up.”\nPrior to the show, the city was enveloped with teasing signage across city buildings and stations along the ‘L.” Foreshadowing the impending tour announcement, the marquees at Metro and Wrigley both featured curiously complimentary nods to the 1989 film Field of Dreams.\nFall Out Boy first hit the stage in 2023 with a dynamic set at iHeartRadio ALTer EGO in Los Angeles, CA on January 14, just days after officially revealing the release date for “Love From The Other Side.”\nFall Out Boy most recently co-headlined The Hella Mega Tour in July 2021 alongside Green Day & Weezer, playing live in front of over one million fans on a sold-out global stadium tour. The U.S. leg included numerous sold-out stadium gigs – including renowned venues like Wrigley Field, Boston’s Fenway Park and Los Angeles’ Dodger Stadium. Critical and fan acclaim poured in, with USA Today hailing it “the most stacked line-up of any rock tour in 2021,” Billboard noting that each night was “serving up a buffet of hits in front of one of the largest concert crowds,” and Rolling Stone calling it “wildly entertaining.” The tour was nominated for both Major Tour of the Year and Best Rock Tour at the Pollstar Awards in 2021. The international leg of the tour took place throughout the summer of 2022.\nSo Much (For) Stardust is Fall Out Boy’s eighth studio album and first since 2018’s M A N I A, which garnered a Grammy® nomination for Best Rock Album and marked their third consecutive and fourth overall #1 album.", "domain": "music_and_dance"}
{"url": "http://www.thehandstand.org/archive/november2005/articles/asafsirkis.htm", "date": "2018-12-13T03:49:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376824448.53/warc/CC-MAIN-20181213032335-20181213053835-00003.warc.gz", "language_score": 0.9639412760734558, "token_count": 1494, "dump": "CC-MAIN-2018-51", "global_id": "webtext-fineweb__CC-MAIN-2018-51__0__196855235", "lang": "en", "text": "We are Falling\nJazz CD Review:\nAsaf Sirkis & the Inner Noise\nKCD 5150, 2005\nby Rory Braddell©2005\nThe composer and drummer Asaf Sirkis was born in Israel in 1969. and it was there that he established his solo career. He recorded his first solo album \"One Step Closer\" in 1995, playing his own compositions with the \"Asaf Sirkis Trio\". He later developed his \"Inner-Noise\" project in Israel, 1997-98, but revived it after he had relocated to Britain in 1999.\nThe first \"Inner Noise\" album was recorded using a real church organ at St. Michael's church Highgate in March 2003 and was received as something fairly innovative and unusual. Sirkis, who cites Olivier Messiaen's organ music as a major influence, composed music that was not that easy to categorise into a general jazz context. His latest album \"We are Falling\" follows on and continues in a similar vein, also using the same line up of musicians: Asaf Sirkis on drums, Steve Lodder on keyboards and Mike Outram on guitar.\nAn important difference is that Lodder uses a special keyboard, fitted with base pedals similar to\nthose of a church organ, which makes it easier to tour and play as a group. The sustaining power of\nthe organ within the context of jazz, creates a sound that is very unique. The project distances itself from having a purely \"jazz\" identity and the classical music and rock influences are apparent.\nSirkis is quoted by Nick Lea of Jazzviews as saying: \"the essence of music or non-identity in it is\nmost interesting for me. Not the language or the style.What I'd like to point out through music is utterly simple - I am a human being and it is only when identity stops can music begin (Jazzviews, July 2005).\nWhen I picked up \"We are Falling\" for first time, I was taken with an image of asteroids printed on the front cover with an accompanying quote by Sun Ra: \"This music is about another to-morrow, another kind of language .speaking things of blackness about the void, the endless void, the bottomless pit surrounding you.\" My first impression was reinforced by initial feelings about the music. The opening track \"Another Being\" reminded me of Bach's prelude in F minor, which is used at the beginning of the classic science film \"Solaris\". The film, created by a Russian film director Tarkovsky, is often compared to Stanley Kubrick's \"2001 AD,\" but it is a more intense psychological journey, presenting an inward looking analysis of human nature.\nThe final track \"Ida & Dactyl\" reminded me of the end of the film, where we are presented with an image of an island in the ocean of Solaris, which seems like an endless void beyond worldly reality. Sirkis' compositions made me think of Tarkovsky's frequent references to moving water. The music, like moving water, embodies the principle of change, but also affirms the idea of a repeating cycle.\nIn \"Another Being\" there are recurring motifs, evocative of ostinato, which provide unifying\nrepetition. These are supported by the very low, harmonic, tones, supplied by the bass pedal, which project the music forward into space. This procedure is reminiscent of techniques used by minimalist composers like Terry Riley, Steve Reich, Philip Glass and John Adams, who experimented with tape loops and recurring fragments of melody. However, Sirkis' music is more rhythmically flexible, which gives a more open-ended impression of continuous motion. The influence of Messiaen's music is strong, and I noticed a parallel in Sirkis' music to \"Quartet for the End of Time,\" which, coincidently, I was listening to at that time. Messiaen wrote the following forward to his work: \"Modes, which produce a kind of tonal ubiquity in harmonic and melodic terms, bring the listener closer to eternity in space, to infinity. Special rhythms without any specific time signature play a powerful role in taking the listener away from the temporal sphere\" This distance between the temporal and the spatial is apparent in \"Galactic Citizen.\" The first of the two pieces combines repeating motives with melodically and rhythmically freer musical lines. This is like Messiaen's \"Liturgy of Crystal, which is a combination of a harmonic modal procedure and flexible additive and non-retrogradable rhythms. I felt a similarity between the sustaining bass tones\nof \"Galactic Citizen\" and Messiaen's harmonic chordal succession - a backdrop for a modal\nmelodic cycle that exists independently. These two elements have a point of reference at which they converge, but it is not musically punctuated in a traditional sense. It gives an effect of forever pulling the music into infinity, because once we have reached the end of a cycle we begin again on the same journey. At the end of \"We are Falling,\" we have reached the end of a cycle with Ida & Dactyl. This piece reminds me of Messiaen's \"In praise of the immortality of Jesus,\" which elaborates a lyrical violin line over a series of cyclic chords.\nIn Ida & Dactyl, Mike Outram's expressive guitar playing is accompanied by long, deep bass\ntones. This is intensified in the second part of the track into some of the best jazz music on the album. Steve Lodder elaborates with an excellent piano solo, played in tandem with the drums, which builds up a fabulous climax. After a long silence, the music comes back with a meandering\nmelodic line that is briefly cut short on one final long tone that just hangs, indicating the end, but without the musical completion that we are normally used to.\nThe pace is stepped up on the faster tracks on the album, such as \"Life Itself,\" which is a far more rock oriented sound. Similarly, \"We are falling\" also provides an opportunity for an even more intense relentless style of drumming and virtuoso solo guitar playing. This reminds me of the playing of Jimi Hendrix, Miles Davis, and more recently, the work of Nguyên Lê. These faster tracks provide opportunities for virtuosity of playing and jazz solos that intersperse the slower material giving a kinetic overall sense of musical form. They tend to draw the music on to a level that is much more formidable and energetic.\nThe level of musicianship on the album is very high as the group play in a very cohesive and\ncomplimentary manner. Sirkis's drumming varies from an expressive subtlety on the slow tracks, which is maximised by timbral use of cymbals, to the tight relentless virtuosity of the faster pieces. I think that \"We are Falling\" is of real attraction to listeners who are interested in new sounds and the fusion of musical styles. It is a definite magnet for an audience wanting to expand their musical experience beyond the limitations of style, and it is an album that suits the individuality of modern musical taste.\nRory Braddell, October 2005", "domain": "music_and_dance"}
{"url": "https://english-kanazawa.com/flashcards-english/flashcards-noun/musical-instruments/", "date": "2023-01-30T13:38:05Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764499819.32/warc/CC-MAIN-20230130133622-20230130163622-00447.warc.gz", "language_score": 0.6803529858589172, "token_count": 1748, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__297443402", "lang": "en", "text": "こちらは、「Musical Instruments」のAnswer Keyです。\n- Answer Key\n- musical instrument【ˌmjuːzɪkl ˈɪnstrəmənt】\n- electric keyboard【ɪˌlektrɪk ˈkiːbɔːrd】\n- electric guitar【ɪˌlektrɪk ɡɪˈtɑːr】\nmusical instrument【ˌmjuːzɪkl ˈɪnstrəmənt】\n:an object used for producing musical sounds, for example a piano or a drum\n:a large musical instrument played by pressing the black and white keys on the keyboard.\nelectric keyboard【ɪˌlektrɪk ˈkiːbɔːrd】\n:a musical instrument that you hold in both hands to produce sounds.\n:a musical instrument that usually has six strings and that you play with your fingers or with a plectrum\nelectric guitar【ɪˌlektrɪk ɡɪˈtɑːr】\n:an electronically amplified guitar, used mainly in pop music\n:a musical instrument with strings, which you hold under your chin and play with a bow\n:a musical instrument with strings, like a large violin in shape. The player sits down and holds the cello between his or her knees.\n:a musical instrument of the woodwind group, like a thin pipe in shape. The player holds it to the side of his or her face and blows across a hole at one end.\n:a brass musical instrument made of a curved metal tube that you blow into, with three valves for changing the note\n:a metal musical instrument that you blow into, used especially in jazz and dance music. A saxophone has a reed and belongs to the woodwind family.\n:a large brass musical instrument like a tuba\n:a musical instrument of the woodwind group. It is like a pipe in shape and has a double reed at the top that you blow into.\n:a large brass musical instrument that you blow into, with a sliding tube used to change the note\n:a large brass musical instrument that you play by blowing, and that produces low notes\n:a small musical instrument that you hold against your lips and play by blowing or taking air in through it\n:a musical instrument made of a hollow round frame with plastic or skin stretched tightly across one or both ends. You play it by hitting it with sticks or with your hands.\n:a musical instrument made of two rows of wooden bars of different lengths that you hit with two small sticks\n:a musical instrument made of a row of metal bars of different lengths, that you hit with two small hammers\n:a musical instrument that has a round wooden frame, sometimes covered with plastic or skin, with metal discs around the edge. To play it you shake it or hit it with your hand.\n:a musical instrument in the form of a round metal plate. It is hit with a stick, or two cymbals are hit against each other.\n:musical instrument that consists of two small round pieces of wood that you hold in the hand and hit together with the fingers to make a noise. Castanets are used especially by Spanish dancers.\n:a simple musical instrument that consists of a long piece of metal bent into the shape of a triangle, that you hit with another piece of metal", "domain": "music_and_dance"}
{"url": "https://newsmint.in/art/the-nightingale-of-indian-cinema-lata-mangeshkar-turns-90-973.html", "date": "2021-04-22T21:18:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00538.warc.gz", "language_score": 0.9823826551437378, "token_count": 560, "dump": "CC-MAIN-2021-17", "global_id": "webtext-fineweb__CC-MAIN-2021-17__0__19017094", "lang": "en", "text": "When the nation hears the word music, one name that appears in everyone’s minds is Lata Mangeshkar-Nightingale of Indian Cinema. Her voice is heavenly and her expressions up to the mark. When we talk about the Living legends in the Film Fraternity the first name that pops into everyone’s mind is Lata Mangeshkar.\n“Naam goom Jayega, chehra yeah badal jayega,\nMeri awaaz hi pehchaan hai,\nAgar yaad rahe..”\nThese lines were penned by legendary writer Gulzar and sung by Lataji fit aptly for her. The faces might change but the voice behind those faces will never be forgotten. Her voice is her identity, the one that is going to inspire generations of musicians.\nShe was just 13 when she had recorded her first song. After that, there was no looking back, and now she completes 60 years in the Music industry with over 25,000 songs and 5000 albums. Her father Deenanath Mangeshkar was also a musician and so are her siblings- Asha Bhosle,Usha Mangeshkar, Hridayanath Mangeshkar and Meena Khadikar.\nShe had started singing in Hindi films in 1945, and by 1950 she had become a household name in music industry. In 1958, she won her first Filmfare Award.\nIn 1962, the legendary singer had a close encounter with death as she was poisoned by her cook. She was bedridden for couple of months. At that time, the famous composer Majrooh Sultanpuri use to visit her and taste her food before allowing her to eat.\nIn 1963, against the backdrop of Sino-India war, she sang “Ae mere Watan ke Logo” in the presence of JawaharLal Nehru. The song is said to have brought tears in Prime Minister’s eyes. In 1974, she became the first Indian to perform in an overseas concert that took place in Royal Albert Hall, London.\nIn 1999, she was nominated as the member of Rajya Sabha. In 2001, she was conferred with India’s highest civilian honor- Bharat Ratna. She had sung multiple songs in Yash Chopra’s films and used to have atleast one song in every film that was directed or produced by him.\nShe is still touted be one of the best singers in Indian film fraternity. She still rules the roost and we hope that she continues to do so for atleast another 100 years.\nLakhon musicians aye aur Gaye inke jaisa na koi tha aur na ho payega.", "domain": "music_and_dance"}
{"url": "https://fitnessstips.com/j-a-g-ali/", "date": "2023-01-29T09:32:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764499710.49/warc/CC-MAIN-20230129080341-20230129110341-00287.warc.gz", "language_score": 0.8899591565132141, "token_count": 592, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__161360667", "lang": "en", "text": "NEW YORK, NY (December 15, 2022) – Kicking off another era in one of the most storied partnerships in rap, GRAMMY® Award-nominated hip-hop legend and Cash Money Records Co-Founder and Co-C.E.O. Birdman and multiplatinum rap icon Juvenile return as J.A.G. with a new single entitled “Ali” met with an accompanying cinematic music video today. Get it HERE via Cash Money Records. Watch the official music video HERE.\nThe production fuses cinematic piano to steady 808s. Right out of the gate, Juvenile delivers the chantable and quotable chorus with his signature swagger and soul, “My heart ain’t got no feelings, my career ain’t got no ceilings, I’m the greatest since Muhammad Ali.”Birdman stunts on a slick counter verse with the force of a knockout uppercut. Together, they lock into their classic chemistry, and it remains as powerful as ever.\nBirdman & Juvenile last linked up on their 2019 collaborative album, J.A.G. The latter generated over 20 million total streams and views across platforms and incited unanimous critical applause. Pitchfork christened it “a shockingly strong late-career reunion record,” and Billboard summed it up best as “a beginning of a new chapter” and praised Juvenile, “He sounds revitalized.”\nMeanwhile, Birdman made waves last year on From The Bayou with YoungBoy Never Broke Again, earning a platinum certification for “Black Ball” and gold for “Heart & Soul.”\nStay tuned for a whole lot more from JAG, Birdman, Juvenile, and Cash Money Records.\nAbout Cash Money Records:\nSince 1991, Brothers Bryan “Birdman” Williams aka “Baby” and Ronald “Slim” Williams have built Cash Money Records into a legendary force in the music industry. Through tireless devotion and an unparalleled work ethic, the duo founded the legendary label in the New Orleans housing projects and elevated it into a multi-million-dollar empire and cultural tastemaker. Not only is the company revered as an iconic and enduring global street brand, it’s become the most successful independent record label in America boasting a bevy of chart-dominating, multi-platinum artists and Grammy Award winners and cumulative sales over 100 million albums worldwide, the roster includes Jacquees, GSO Phat, Eighty8, Juvenile, Rublow and more. The label also houses Lil Wayne‘s imprint Young Money Entertainment (Drake and Nicki Minaj) as well as a publishing arm Cash Money Content. Cash Money Records is distributed by RepublicRecords, a division of Universal Music Group, the world’s largest music company.", "domain": "music_and_dance"}
{"url": "https://elvisinfonet.com/ftd_review_forty_eight_hours_to_memphis.html", "date": "2023-09-24T21:46:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506669.30/warc/CC-MAIN-20230924191454-20230924221454-00557.warc.gz", "language_score": 0.9694347977638245, "token_count": 3347, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__192700490", "lang": "en", "text": "48 hours to Memphis\n\"What I remember about the opening isn't so much the song, but it was the lights being turned off on the stage. The drums were pounding and almost everyone in the entire Coliseum was shooting photos, so there were flashes going off all over the place and people were screaming. When the lights were turned on and he came on stage, it was awesome. It gave me goose bumps at the time, and I still remember this moment. It was quite the experience. -\nGlenn Clark, son of Wallace Huey Clark (photographer) - from the FTD sleeve notes\nThe original \"Elvis Live On Stage In Memphis\" was the only single-CD performance released by FTD with the deluxe \"Classic Album\" 7\" packaging. Now the Richmond March 18th concert recorded just 2 nights beforehand also gets the same high-quality packaging - and what a treat it is!\nThe fold-out cover features some good colour photos of Elvis in action while the 16-page booklet features some very informative liner notes plus another pile of photos, including some candids of Elvis heading off from Memphis Airport on the day of the concert.\nThis would be Elvis’ second concert in Richmond during this March 1974 tour due to the high-ticket demand.\nWhile Elvis weight (and moods) fluctuated during 1974 he looks in fine form in his ‘Aqua Blue-Vine’ jumpsuit and possibly because he had spent the last few nights sleeping at Graceland, Elvis is full of energy from the very start.\nThis time the FTD has been compiled and researched by Robert Frieser who also provided FTD with the tape of the concert. In part of his extensive liner information he notes …\nFrom the moment FTD and I decided to release this show, I started researching for information, photos and other materials.\nAlthough there could be several explanations for this unofficial recording, it's possible that it served as a backup recording in case something went wrong recording the \"real\" live album in Memphis two days later. In addition, maybe they could always use a song from this show for the Memphis album if something didn't work out. My research led me to people who were present in Richmond, and saw Elvis perform. They all said that Elvis was extremely good looking and looked like he was from another planet. During the \"Rock & Roll medley\", total pandemonium broke out; leaving nobody in their seats, as the crowd rushed to the stage.\nThe sixty-strong police force had their hands full, as they tried to stop people from getting on the stage as well as helping people who fainted in the crowd. The reaction of the audience encouraged Elvis to show an even wilder side of his persona. During \"Fever\" it seemed as if something like a giant earthquake shook through tile Coliseum while the flashing lights from people's cameras filled the hall. The room was full of electricity. The fans that saw Elvis in Richmond and heard a part of this tape, say that the sound has the same atmosphere they remember from witnessing him live on stage.\n- Robert Frieser, August 2011\nThe Music – 64 minutes\nIn the past this concert was released as the bootleg ‘Guaranteed To Blow Your Mind’ which was a sensational find for fans and was one of the best quality bootleg releases.\nDespite the initial Disappointment when we all thought FTD had found a stereo master-tape, the real positive now is that the excellent audio engineer Vic Anesini (The Complete Elvis Masters, etc) has mastered this tape and the sound is even better now. While the tape is \"mono\" there is actually some slight stereo reverb across the two channels and it sounds very good indeed.\nElvis’ vocal is nice and high in the mix (far more that FTD’s “Memphis 74” release) as well as Glen D Hardin’s piano which was also fairly hidden in the live Memphis album. The very intimate ‘Help Me’ sounds extremely different to the “full-auditorium feel” given to the Memphis concert and is truly delightful.\nWhile there is more-than usual added reverb especially on Elvis’ vocal track, this has never been an issue for me as it gives the feel of Elvis playing this big arena. Fans who have attended these concerts state that it really sounds as if you were there! The mix is the same as on the earlier bootleg but the audio quality much improved with a nice rich sound thanks to Vic Anesini.\nThe band is nice and clear with the orchestra section mixed as well as any professional release. The other oddity in the mix is the rather high tambourine level that ocaisionally drowns-out Ronnie Tutt’s percussion.\nAs soon as the concert starts it is noticeable how a professional audio mix really captures the excitement of the audience and being at an Elvis concert far better than a regular soundboard.\nElvis played Richmond over 15 times in his career – he was always popular in the early days - and he had a huge fan following in the area with the crowds always enthusiastic. It seems to me that Elvis and the band were not aware the RCA tapes were rolling as the bonus with this concert is that Elvis is more relaxed, having more fun and the band are rocking out with the excitement of it all. Of course Elvis’ would concentrate harder for the Memphis live recording as well as including a few rarer songs for the RCA album but this is still a cracker of a concert.\nOf course there are many similarities to the RCA ‘Memphis’ concert recorded just 2 days later but here the band is under less pressure and seem to be having fun and rocking out more at times.\nThe obvious difference can be heard with Elvis’ great adlibs during a fabulous ‘Steamroller Blues’ and the ‘Rock’n’Roll Medley’ is exceptional with Elvis really rocking out – not surprising that \"total pandemonium broke out\"! Both ‘Help Me’ and ‘Fever’ get very cute renditions.\nThe audience reaction is well-placed in the mix and with the exceptional audio quality you can feel the obvious excitement of the crowd as the rumble of ‘Also Sprach Zarathustra’ starts. This is going to be a ripper-show!\nFlying in from Graceland means that Elvis was ready to rock from the start - and there is a noticeable happiness in his voice as he rocks into 'See See Rider' and checks out the appreciative crowd. Ronnie Tutt plays some blistering drums tonight as well.\nA sincere ‘I've Got A Woman/ Amen’ follows with Elvis making JD Sumner repeat his deep-ending and like the Memphis version two days later it's short & sweet compared to the rambling versions of later years.\nElvis played Richmond a few days before and greets the audience jokingly saying, \"It's a pleasure to be back here in Hampton Roads…. errr Richmond!\" – \"Just kidding, just kidding!\"\n‘Love Me’ is played pretty straight tonight without the usual playing with audience and has some great James Burton guitar work in it.\nA cool treat added to his set-list in 1974 was 'Trying To Get To You' and this is another great version showing Elvis’ enjoyment of this Sun oldie. Tonight Elvis even puts some serious energy into the short but crowd-pleasing ‘All Shook Up’ laughing a few times as he plays along with the backing singers.\n'Steamroller Blues' is one of the funkiest versions ever, with Elvis putting a really bite into the lyrics. \"I’m a steamrolling snake\" indeed! Elvis rocks out putting far more energy into it that the laid-back Aloha version over a year before. In this audio mix Elvis’ vocal is nice and prominent and there’s some great piano work for Glen D Hardin. Elvis pushes his voice even further in the final verse \"I’m a napalm bomb\" and the call-and-response from The Sweets is excellent. A real highlight.\nMore crowd-pleasing oldies follow ‘Teddy Bear/Don't Be Cruel’ and ‘Love Me Tender’ with Elvis again enjoying them more than he usually would.\nThe Rock’n’Roll Medley is another highlight with Elvis putting in more energy than usual obviously playing to the enthusiastic crowd. For some reason Elvis sounded a little out-of-breath on the famous ‘Live In Memphis’ version, but not here where the medley is also taken at a slightly faster tempo. Its great as you can hear the crowd getting louder and louder as he drives ‘Jailhouse Rock/Hound Dog’ along at the end.\nAt the start of ‘Fever’ Elvis acknowledges the loud shrieks from the crowd, \"I haven’t done anything yet, wait a minute.\" Elvis has a real blast with this one teasing the crowd and swivelling his hips, getting the giggles along the way. It’s a real crowd pleaser, less messed around with than two nights later, and they go wild, \"why you all laughing?\" Very cool and great fun. At the ends he laughs, \"Thank you very much. That's a fun song to do.\"\n‘Polk Salad Annie’ follows and is another cracker, funky 1974 version with some great work backing-vocals from The Sweet Inspirations and more fine piano from Glen D Hardin along with James Burton’s guitar. \"Play it James, sneak up on it Ronnie\" Elvis tells the band during the instrumental. Great audio, great mix and Ronnie Tutt goes wild on the drums backing Elvis’ karate moves at the end. \"Whoo!!\" notes Elvis afterwards.\nElvis takes a breather while J D Sumner and the Stamps sing a powerful and sincere ‘Why Me Lord?’ Of course Elvis would sing the Grammy winning 'How Great Thou Art' in Memphis two nights later but sadly not tonight. In fact it is amazing to realise that the Memphis recording of 'How Great Thou Art' was only the second time Elvis had sung the song since 1973!\n'Suspicious Minds' is similar to the ‘Live On Stage’ version not having the feel of the stunning earlier versions but still sung with great energy. Elvis still sings the \"Oh let our love survive\" break with great sincerity, but this all-time classic would soon be dropped as a regular on Elvis' set list after June 1974. I am sure on this Richmond night it still sounded as great as always to the adoring crowd.\nIn the Introductions Elvis thanks the regulars noting in particular that JD Sumner is sounding \"pretty good despite having a bad cold\". Elvis jokes to Duke Bardwell,, \"Bardwell? What kind of name is that? It’s as bad as Elvis!\" There’s a strange reaction from the band when Elvis thanks the John Marshall Hotel \"where everybody’s staying\".. I wonder why.\n‘I Can't Stop Loving You' is a powerful version with Elvis singing his heart out tonight and shows off Elvis' rich 1974 voice adding his dramatic falsetto ending!\n\"This next song is a song we just recorded. I hope you like it\" leads into a delightful 'Help Me' with a nice gospel feel to it - The mix truly shows off Elvis’ vocal .. \"Lord Let me see\" and the feeling is VERY intimate compared to the Memphis version. It truly sounds like Elvis standing alone on stage pleading to God in front of hia doring followers. Another highlight, the audience really applauds the performance and Elvis adds a sincere, \"Thank you, I’m glad you liked it.\"\n'American Trilogy' with the added reverb again has a powerful feel of being in this huge auditorium, similar to FTD’s ‘Live On Stage’ play it loud and feel the experience. Listen closely to the 'All My Trials' section – this is a beautiful recording, one of the very best.\n'Let Me Be There' – a new song added back in January 1974, is another quality version of the Olivia Newton John standard and James Burton’s guitar picking adds a little extra to this country song this time round. Like the version two nights later, the songs gets a deserved reprise.\nElvis asks for the house lights to go up \"let me take a look at you. Well, well, well\"\n‘Funny How Time Slips Away’ has a lovely relaxed feel with Elvis at one point laughing about \"a big old ghost in the corner.\"\nElvis is still obviously enjoying the show but sadly the time has come and with 'Can't Help Falling In Love' Elvis bids then \"an affectionate adios\" and you can hear the crowd go wild.\nThe Bonus Songs\nSadly these are not multitrack recording but off regular soundboard.\n‘Sweet Caroline’ – Elvis had dropped this song off his regular set-list after February 1974 and in fact would perform it a handful of times more in concert. While by no means a great performance this night, taken at a slower pace than earlier versions - and without the orchestra strings in the mix - this is an enjoyable version. It’s obvious that Elvis is enjoying it as well.\n'Johnny B Goode' – a regular on this tour but for some reason dropped from the last three shows including the final Memphis concert. A pretty standard version, probably would sound great on multitrack, but nice to have the fact noted that Elvis sang it on this March tour.\n‘That’s All Right’ – A real highlight, this makes up for the lack of ‘How Great Thou Art’. Elvis asks, \"This is the first record I ever recorded, I just want to do it right now, ok?\" Never performed in 1973 this is likely to be Elvis' second only version since June 1972!\nWith The Sweets call-and–response this has the feel of later versions but Elvis is obviously having ball singing along all the way with James Burton’s guitar solo. From the Memphis March 17th performance a one-off special for his hometown crowd.\nGlenn Clark remembers: \"My father printed a few pictures from the show on the 12th and took them to the show on the 18th where he gave them to Col. Parker, who took them to Elvis and Elvis signed one to my mother -\"Dear Helen, Best wishes, Elvis Presley.\"\nElvis said that he really liked them, and was going to keep the one taken from above the stage where the girl has her arms on the stage and, it appears as if he had just bent down to touch her and was going back on stage.\n(From the FTD booklet)\nFinding new multi-track professional LIVE recordings is a real rarity and has to be appreciated by Elvis fans. While perhaps not quite up to the standard of the amazing Memphis concert two days later – what a shame Elvis didn’t try out ‘How Great Thou Art’ this night - this is a brilliant find and a great release for FTD. Elvis is having a little bit more fun than he did when he knew the tapes were rolling for the Memphis performance and the “Elvis up-front” audio mix is a treat especially on songs such as ‘Help Me’. A great sounding concert, rightly deserving the \"Classic Album\" packaging this is what FTD should be all about. The sleeve notes, photos and research make this a terrific presentation and also value-for-money.\nReview by Piers Beagley.\n-Copyright EIN November 2011\nEIN Website content © Copyright the Elvis Information Network.", "domain": "music_and_dance"}
{"url": "https://thinknydrinkny.com/TON/", "date": "2023-12-01T02:58:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100264.9/warc/CC-MAIN-20231201021234-20231201051234-00858.warc.gz", "language_score": 0.9478200674057007, "token_count": 1368, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__175128953", "lang": "en", "text": "Experience a “Taste of Nashville”: Songwriters behind Country Music Hits to Tour NYS Breweries\nBMI (Broadcast Music, Inc.) is partnering with Gigmor and the New York State Brewers Association (NYSBA) to bring the “Taste of Nashville” Tour to breweries across upstate New York. Hitting cities from Clifton Park to Hamilton and everywhere in between, the tour kicks off on Tuesday, August 23rd and wraps up on Saturday, August 27th. Showcasing two of BMI’s top Nashville\nsongwriters, these concerts are free and open to the public.\nEach night will feature performances from BMI songwriters Clint Daniels and Tim James who will bring a taste of Nashville’s Bluebird Café “songwriter in the round” tradition to the north. The songwriters, who have penned hits for Nashville heavyweights Trace Adkins, Eric Church, Toby Keith, and many more, will give concertgoers a unique opportunity to hear the stories behind some of country music’s biggest hits straight from the writers themselves.\n“BMI is thrilled to partner with Gigmor and the NYSBA to bring some of our songwriters to breweries across upstate New York,” said Dan Spears, VP, Industry Relations, BMI. “This tour will highlight the value that music brings to establishments across the country, and in my eyes, it doesn’t get much better than listening to live music on a summer night with a cold brew in hand.”\n“Both breweries and music are synonymous with bringing people together,” said Paul Leone, Executive Director, NYSBA. “By partnering with BMI, we’re showcasing two amazing songwriters at some of New York’s top breweries, and with Gigmor, we’re introducing an easy and cost-effective way to book musical performances. We’re looking forward to five nights of great music, cold beer and good times.”\nSee the full schedule below to find a brewery performance nearest you.\n“Taste of Nashville” Tour Dates:\nTuesday, 8/23 at 6PM – Single Cut North Brewery Clifton Park, NY\nWednesday, 8/24 at 6PM – Prison City Brewing Auburn, NY\nThursday, 8/25 at 7PM – Common Roots Brewing South Glen Falls, NY\nFriday, 8/26 at 7PM – Saranac Brewery Utica, NY\nSaturday, 8/27 at 4PM – Good Nature Farm Brewery Hamilton, NY\nABOUT THE ARTISTS\nClint Daniels is an American country music singer and songwriter. He was signed as a solo artist with Arista Nashville in 1998. There, Daniels released four songs, two of which charted on Billboard’s Hot Country Songs. In 2003, Daniels signed with Epic Records but never released an album. Having already co-written his first Number One single for Joe Nichols (“Brokenheartsville”), he focused his career on songwriting and has been primarily known for his songwriting and performing at showcases across the country. As a BMI award-winning songwriter, Daniels has co-written Number One singles for Joe Nichols, Montgomery Gentry (“Roll With Me”) and most recently, Eric Church (“Some Of It”). His songs have helped shape country music for almost 20 years and have been recorded by George Strait, Alan Jackson, Brooks & Dunn, Clay Walker, Easton Corbin, Jon Pardi, Brandy Clark and other country acts. In 2019, Daniels signed a co-venture publishing deal with BMG and Porchlight Music. In 2020, he was both nominated for a GRAMMY (country song of the year) and an ACM for the song, “Some of It”.\nA GRAMMY award-winning songwriter, Tim James is the co-writer of the 5 week #1 “My List” by Toby Keith, the Bucky Covington Top 10 “It’s Good To Be Us”, and the smash debut from the Lost Trailers “Holler Back”. James has had over 50 major label cuts by artists such as Alabama, Darius Rucker, Craig Morgan, Chris Young, Montgomery Gentry, LeeAnn Womack, Joe Nichols, Buddy Jewel, Josh Turner and contemporary Christian artist Point of Grace. James penned the Trace Adkins single “All I Ask For Anymore”, which was nominated for a Grammy Award for Best Country Song of 2009, and the 2010 Billboard song of the year and #1 “Love Like Crazy”, by Lee Brice. “Love Like Crazy” was nominated for ACM song of the year in 2010 and broke a record for consecutive weeks on the charts. James also wrote the Rodney Atkins single “He’s Mine”, the George Strait #1 single “Give It All We Got Tonight”, and the title track and single from the Darius Rucker album “Southern Style”. James also penned the single, “Either Way”, from the GRAMMY-winning Chris Stapleton album entitled “From A Room, Volume 1”.\nFor live music booking made easy, check out Gigmor, to learn more.\nCelebrating over 80 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in over 18.7 million musical works created and owned by more than 1.2 million songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. Today, the musical compositions in BMI’s repertoire, from chart toppers to perennial favorites, span all genres of music and are consistently among the most-performed hits of the year. For additional information and the latest BMI news, visit bmi.com, follow us on Twitter and Instagram @BMI or stay connected through Broadcast Music, Inc.‘s Facebook page. Sign up for BMI’s The Weekly™ and receive our e-newsletter every week to stay up to date on all things music.", "domain": "music_and_dance"}
{"url": "http://www.michaelmatsuno.com/sample-page/", "date": "2017-09-25T00:33:06Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-39/segments/1505818690268.19/warc/CC-MAIN-20170925002843-20170925022843-00645.warc.gz", "language_score": 0.9695027470588684, "token_count": 254, "dump": "CC-MAIN-2017-39", "global_id": "webtext-fineweb__CC-MAIN-2017-39__0__246705044", "lang": "en", "text": "Michael Matsuno is a San Diego based flutist dedicated to performing contemporary repertoire and the music of our time. As a member of the What’s Next? Ensemble, he has championed the voices of many talented West Coast composers alongside standard works of the 20th century. He has appeared as a soloist and chamber musician with UCSD Palimpsest Ensemble, Claire Chase and members of ICE, USC Contemporary Music Ensemble, WildUp, Monday Evening Concerts and Jacaranda New Music series. Michael was also a flute fellow with the Aspen Contemporary Ensemble.\nAn avid orchestra musician, Michael currently plays with La Jolla Symphony under Steven Schick. He has held the Principal Flute and Piccolo positions with the Young Musicians Foundation Debut Orchestra, and has attended the Round Top Festival Institute, and the Aspen Music Festival and School for orchestral studies.\nMichael is a doctor of musical arts candidate at UCSD, where he received an MA in performance. He earned a BM from the USC Thornton School of Music. His primary teachers have been John Fonville (UCSD), James Walker (USC, former LA Phil), and Nadine Asin (Aspen, former Met Opera).", "domain": "music_and_dance"}
{"url": "http://www.elizabethschoolofmusic.tk/drumlessonsinmiami.htm", "date": "2021-11-29T09:39:20Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358702.43/warc/CC-MAIN-20211129074202-20211129104202-00038.warc.gz", "language_score": 0.8994342684745789, "token_count": 180, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__43839893", "lang": "en", "text": "All Classes for Drum Lessons in Cape Coral are $20.00 for a One Hour Lesson in our private home studio. The drum lesson will be taught by one of our professional instructors who has over 20 years of experience. This class is perfect for all levels (beginner to advanced) and is also good if you need to practice for an upcoming performance or recital. Group lessons are also available, please contact us for rates.\nFeel Free to Contact Us at (239) 878-8579\nWe also offer Private Music Lessons in Cape Coral for Acoustic or Electric Guitar, Electric Bass Guitar, Voice-Singing, Piano-Keyboard, Drums-Drumset, Trumpet, Flute, Music Theory & Song Writing.\nAffordable Private Music Lessons in Cape Coral, FL\nWe Welcome Adults, Teens, Kids 7 and up, and Seniors.", "domain": "music_and_dance"}
{"url": "https://pinnacledancenorth.com/reviews/page/3/", "date": "2022-11-29T10:09:00Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710691.77/warc/CC-MAIN-20221129100233-20221129130233-00386.warc.gz", "language_score": 0.9710790514945984, "token_count": 162, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__71514372", "lang": "en", "text": "June 24, 2020 Carrie Evans\n\"I have been the studio photographer for the last two years, and I absolutely love working with owner/instructor Kim, all the dancers and instructors. The studio and everyone involved is very organized and professional. For many of these kids, dance is their life. They are happiest when they can show their confidence, learn and evolve as not only a dancer but an artist of expression. I love capturing their personalities in each different group and individual photos. We have a lot of fun, and it’s a great way to get everyone even more excited for their big recital of the year. I look forward to more photo shoots with this incredibly talented team. Thank you Pinnacle Dance North. Carrie Evans - Owner / Photographer, Carrie Evans Photography\"", "domain": "music_and_dance"}
{"url": "http://cuexpo2015.ca/program/open-to-community-reception/", "date": "2017-03-24T12:03:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-13/segments/1490218187945.85/warc/CC-MAIN-20170322212947-00102-ip-10-233-31-227.ec2.internal.warc.gz", "language_score": 0.9229292273521423, "token_count": 115, "dump": "CC-MAIN-2017-13", "global_id": "webtext-fineweb__CC-MAIN-2017-13__0__308570307", "lang": "en", "text": "Open-to-Community Evening Reception – FREE to Attend!\nC2UExpo 2015 invites you to attend our open-to-community evening reception at Algonquin Commons Theatre on May 26, starting at 6:00pm EST. This reception will feature a performance by the Dandelion Dance Company, an Ottawa-based non-profit youth dance theatre company that explores social issues through movement.\nWhile the reception is free for anyone to attend, we ask that you please RSVP by May 22nd, 2015. We look forward to seeing you there!", "domain": "music_and_dance"}
{"url": "https://en.sgaf.ru/festival/13528", "date": "2023-12-07T03:07:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100632.0/warc/CC-MAIN-20231207022257-20231207052257-00558.warc.gz", "language_score": 0.9437716007232666, "token_count": 2925, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__87571162", "lang": "en", "text": "Eurasia International Music Festival\nDialogue of Civilizations\nEkaterinburg will play host to the Eurasia International Music Festival, which returns to the city for a fourth time and will run from October 6 through October 13, 2017. The initiator and organizer of the upcoming high-profile event is the Sverdlovsk Philharmonic. The Grand Hall of the Philharmonic and other concert venues of the city will welcome musicians from France, Germany, Italy, Poland, China, and Syria. The opening and closing ceremonies will be held with participation of the Ural Philharmonic Orchestra (UPO) under the baton of Chief Conductor and Eurasia’s Artistic Director Dmitry Liss. The festival is conceived as an intercontinental project built on the dialogue between Eastern and Western cultures and civilizations.\n“The idea of the festival was inspired by our city’s unique location on the border between Europe and Asia,” Dmitry Liss says. “Here, in Russia we cannot escape the dialogue between two civilizations. The Tatar Yoke brought centuries-long cross-cultural influences and interactions between the two civilizations, two philosophies, two mentalities. How much does our mentality owe to the Western civilization and how big was the Eastern contribution? I strongly believe that Russia is a European country; however, centuries of the coexistence with eastern civilizations could not but leave their imprint on national archetypes. Even the stereotype-based saying “The Russians are slow starters but they drive fast” correlates with the Eastern meditative traditions. Besides, intonational contacts in music are obvious – Russia has always been participating in the dialogue between East and West: It was captured in compositions by Mikhail Glinka, Alexander Borodin, Mily Balakirev, Nikolai Rimsky-Korsakov and many other composers. The so-called Russian East is an essential part of our culture.\nThe way or the road is the word and the concept of crucial importance for both civilizations. The theme throughout the festival is that of way or journey. In the European culture, the way or journey is a metaphor of life: Schubert’s Winter Journey, Gustav Mahler’s Songs of a Wayfarer, Viktor Vasnetsov’s Knight at the Crossroads. In the eastern philosophy, the word “way” (dao, do) is not only polysemous, but also highly important: It is the basis of existence, a way of life, learning and mastering of arts (bushido, judo, karate-do). The guests of our festival are musicians who chose non-traditional ways: For example, Gabriel Prokofiev had been known as a DJ before he became a composer creating scores for a symphony orchestra; Gerhard Oppitz, a famous German pianist, moves along two roads, pursuing two career choices: a soloist and a pilot. I think it is great that all these ways and roads are going to meet at the festival in our city.”\nThe idea of cultural convergence the maestro is talking about was implemented during the first festival at several levels: selecting performers, preparing concert programs, launching festival projects with participation of musicians from countries of Asia and the Arab World, commissioning new compositions. The First Eurasia International Music Festival was held in 2011 and was dedicated to the 75th anniversary of the Sverdlovsk Philharmonic. The lineup of its participants looked quite impressive: orchestras from China and Germany, the Hortus Musicus Ensemble, violist Yuri Bashmet, pianists Vassily Lobanov and Freddy Kempf, violinists Sayaka Shoji and Alena Baeva. The China National Symphony Orchestra opened the festival; the conductor was Michel Plasson, the renowned French conductor. The orchestra played music of French, German, Russian, and Chinese composers.\nThe hero of the festival was the Ural Philharmonic Orchestra, which gave seven out of thirteen concerts; 1001 Nights in the Harem, the violin concerto of Turkish composer Fazıl Say, made its debut in Russia. The First Festival commissioned Alexander Tchaikovsky to write music, and he created Concerto for cello and orchestra – Night in the Harem – pure coincidence, though rather symbolic. Another world premiere – Chorale & Lamento, an orchestral piece by French composer Rene Koering, echoed the tragedy of the execution of the Russian royal family. Another highlight was Nikolai Rimsky-Korsakov’s Scheherazade – the composition of particular importance for Dmitry Liss, echoing with his thoughts about the dialogue between civilizations:\n“Russia gave impetus to the French music, having influenced Claude Debussy, Maurice Ravel, composers of Les Six (The Six),” the maestro says. “It was Diaghilev’s Russian Seasons that sparked European musicians’ interest in orientalism, in Oriental culture. Rimsky-Korsakov’s Scheherazade was followed by Ravel’s Scheherazade; then Olivier Messiaen and, later on, minimalists made their contribution, trying to combine elements of Eastern cultures and European music. In the meantime, composers from Asian countries, among them Toru Takemitsu, Tan Dun and many others, started dressing their music in European clothes. The dialogue is full of an inexhaustible vigor. The festival justifies its name: It was born and takes place here, on the border between Europe and Asia.”\nToward Unknown Seas and Lands\nEven today, the Ural Philharmonic Orchestra is the core orchestra of Eurasia, though the pool of participants and the genre palette of the forum have become a lot wider. Light from the East (Ex Oriente Lux) was the motto of the Second Festival (2013). New pieces of music were commissioned to three composers representing Western, Eastern and Russian musical cultures. The festival opened with three world premieres: Leonid Desyatnikov debuted with the Journey of the Fox to the North-West for soprano and orchestra; South-Korean composer Eun-Hwa Cho wrote the Concerto for janggu (the national drum) and orchestra; Ekaterinburg composer Olga Viktorova prepared a revised version of her orchestral piece Azure Dragon of the East.\nThe guests of the Second Festival were the Amsterdam Baroque Soloists, the Leipzig Radio Symphony Orchestra, the Mannheim Philharmonic Orchestra, conductors Ton Koopman, Kristjan Jarvi and Benjamin Ellin, pianist Fazıl Say and many others. The audience was captivated by the Hong Kong Orchestra using traditional national instruments to play old folk melodies; the Great Silk Road, a two-day event, introduced the audience to flamenco Cante Jondo (Spain), Azerbaijani mugham singers and musicians, Orthodox male Byzantion Choir (Romania) and the Indian Classical Music Ensemble. Two years later, the success of the second festival was nailed down by the third festival dedicated to the musical culture of Mediterranea. Its centerpiece was the ethnic project – From the Levant to the Maghrib – bringing together music from different coasts of the Mediterranean Sea: The Western world was represented by Christina Pluhar’s L’Arpeggiata ensemble playing folk songs of Spain, Portugal, Italy, and Greece; the Eastern World was represented by Sufi ensemble Al-Tariqa Al-Gazoulia (Egypt), directed by Sheikh Salem Al-Gazouly.\nAmong the participants of the third festival there were the RAI National Symphony Orchestra (Italy), pianists Anton Batagov and Lucas Debargue, violist Yuri Bashmet, violinist Josef Spacek and the legendary Arditti Quartet. The latter took part in the world premiere of Fluss (The River) for string quartet and orchestra (composer: Toshio Hosokawa, Japan). The audience was introduced to another two world premieres: I See Your Dream, You See My Dream for piano and orchestra (composer: Anton Batagov) and The River of David, mono-opera (composer: Olga Viktorova). The first festival immediately demonstrated the audience’s interest in meet-the-artist events and autograph signing sessions followed by the traditional Ekaterinburg treat – a bird-cherry pie. Guests of the fourth festival will not be disappointed: They will have it all; however, the main events will take place at the Grand Hall of the Philharmonic, at the club of the Press House and at the Yeltsin Center.\nAsia and an Experiment; Europe and the Tradition\nBy tradition, the 4th Festival will open with a concert of the Ural Philharmonic Orchestra directed by Dmitry Liss. Two concerts of the orchestra, October 6 and October 13, overarch the festival program. The program is implicitly divided into two parts: The first part is represented by Asia and an experiment; the second part introduces Europe and the tradition. The Way, the theme of the 4th Festival, symbolizes the search and the movement. Sergei Prokofiev’s Scythian Suite (Ala and Lolly) will open the festival alongside his grandson’s Concerto for Turntables and Orchestra and Toru Takemitsu’s Quotations of Dream for two pianos and orchestra, an elegant impressionistic concerto. In his composition, Toru Takemitsu uses musical motifs from Claude Debussy’s symphonic poem La Mer (The Sea), which harmoniously complements the opening program.\nOne day later, Gabriel Prokofiev will introduce the audience to a special project of the festival – Nonclassical Night at the club of the Press House. The name has been used by Gabriel since 2004 for his concerts at clubs of London, Paris, Berlin, New York City and other cities and towns. Classical music of composers of the 20th century is interspersed with a mixture of modern composition and electronic dance music played by DJs. The unique concert will be given with participation of soloists of the Ural Philharmonic Orchestra and the most famous London DJ Switch – a three-time DMC World Champion: It turned out that not only accordionists, but also DJs have world championships instead of international competitions.\nThe next highlight of the program is The Dialogue, a Chinese and European musical project where Lingling Yu (pipa, China) will play together with performers from France, Poland and Russia. The pipa, guitar and orchestral strings will be used to play different music ranging from Chinese folk melodies to compositions of Tchaikovsky and Tan Dun, including a European, three Russian and three world premieres. The most exotic event of the festival will take place on October 8: The Sheikh Hamed Dawood Group from Syria will introduce the audience to the music and dances of the Sufis – the tradition of the Middle-Eastern culture going back into the 7th century AD.\nThe second part of the festival showcases the best achievements of European culture, primarily Austrian-German and Italian, though not neglecting Asia. The Munich Chamber Orchestra will play compositions of Mendelssohn and the Romanian Concerto of Gyorgy Ligeti, a representative of the European avant-garde, as well as Chamber Symphony of Isang Yun, a Korean-born German composer. Pianist Pierre-Laurent Aimard, who included compositions of Johann Sebastian Bach in his repertoire several years ago, will present his interpretation of Bach’s Goldberg Variations and 12 etudes of Claude Debussy. His colleague Gerhard Oppitz will play compositions of Schumann and Schubert as well as Sonata No.2 of Japanese composer Saburo Moroi; the composer did a lot in his attempt to merge two centuries-long traditions of Japan and Germany.\nMusic of Handel will be presented by conductor Fabio Ciofini, singer Roberta Invernizzi and ensemble Accademia Hermans. The level of these performers, still unknown to many music lovers in Russia, is well demonstrated by the fact that a week later they are going to repeat their performance at the Wigmore Hall (London), one of the world’s best chamber halls. On October 13, the festival will close with the world premiere UR of contemporary Italian composer Ivan Fedele; Gerhard Oppitz will play Brahms’ Piano Concerto No. 2. The final highlight of the program is Vaughan Williams’ Toward the Unknown Region for chorus and orchestra; the name of the composition not only resonates with the name of one of the movements of Fedele’s new composition – Toward Unknown Heights, but also can be associated with the motto of the festival.\nAs usual, Eurasia goes beyond the concert program and venues; the audience can meet many performers in an informal environment, ask question, get autographs, and get a close-up look at exotic instruments of the musicians of the Sheikh Hamed Dawood Group. Gabriel Prokofiev and Ivan Fedele will meet with young musicians and students of music schools of Ekaterinburg; the Yeltsin Center will host a movie night: The program includes the film about life and work of Gerhard Oppitz as well as recorded concerts of the previous Eurasia festivals (the recordings were prepared by the Virtual Concert Hall of the Sverdlovsk Philharmonic).\nOver six years of its existence, the Eurasia International Music Festival has come a long way: a wide audience as well as a Russian and international community of professionals was introduced to the vibrant palette of the musical landscape of Europe and Asia. It was the way of discoveries: premieres of new compositions, performances of outstanding musicians, new names and unknown musical instruments, a journey into musical heritage of Europe, Asia, Middle and Far East. The journey goes on through time and space, and it is proved by the program of the 4th Festival, which remains true to itself, performers and audiences.", "domain": "music_and_dance"}
{"url": "https://mediu.com/about/community-involvement/", "date": "2018-11-22T11:51:35Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-47/segments/1542039746205.96/warc/CC-MAIN-20181122101520-20181122123520-00446.warc.gz", "language_score": 0.9458965063095093, "token_count": 232, "dump": "CC-MAIN-2018-47", "global_id": "webtext-fineweb__CC-MAIN-2018-47__0__165651206", "lang": "en", "text": "Mediu Community Involvement\nWe take immense pride in giving back to our community and believe that service is central to who we are and how we do business. Our corporate charity of choice, Project Blues, is one that is truly close to our hearts.\nFounded by Mediu CEO Mike Berichon in 2011, Project Blues brings together renowned musicians and music lovers from all over the country to make and enjoy blues music—all to raise funds for those individuals and families afflicted by cancer. The event combines a full-day event and concert, along with a private blues concert for cancer patients, to raise awareness of cancer’s impact and the spirits of those impacted by this horrific disease. Project Blues partners with LifeCare Alliance’s Columbus Cancer Clinic to fund mammograms and adopt families for those that need access to direct resources. The annual event raised $24,000 in 2015 and featured a well-known roster of artists headlined by Anson Funderburgh and the Rockets with the Texas Horns.\nLearn more about this wonderful initiative and how it’s helping those touched by cancer in Central Ohio one concert at a time.", "domain": "music_and_dance"}
{"url": "https://www.saxapahawnc.com/events/sugar-on-fire", "date": "2021-10-24T13:28:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-43/segments/1634323585997.77/warc/CC-MAIN-20211024111905-20211024141905-00207.warc.gz", "language_score": 0.9534860849380493, "token_count": 169, "dump": "CC-MAIN-2021-43", "global_id": "webtext-fineweb__CC-MAIN-2021-43__0__129941342", "lang": "en", "text": "Sugar on Fire\nTime & Location\nAbout the Event\nSugar On Fire started in February 2018 on the campus of the University of North Carolina at Chapel Hill. The band members came together through their involvement in the Carolina Bluegrass Band, the ensemble under the university’s Bluegrass Initiative, and their love of acoustic music led them to form their own group. Drawing on their bluegrass and old-time influences, as well as their interests in other musical styles, the band has created their own unique sound, full of energy and passion.\nAll hailing from North Carolina, Sugar On Fire consists of Reese Krome (Winston-Salem), Jon Beyle (Chapel Hill), Lee Landess (Raleigh), Patrick Truesdell (Weaverville), and Jake Cochran (Greensboro)", "domain": "music_and_dance"}
{"url": "https://travelingtikes.com/products/tiny-love-soothen-groove-mobile-meadow-days", "date": "2022-01-26T21:34:35Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320304961.89/warc/CC-MAIN-20220126192506-20220126222506-00323.warc.gz", "language_score": 0.8999939560890198, "token_count": 279, "dump": "CC-MAIN-2022-05", "global_id": "webtext-fineweb__CC-MAIN-2022-05__0__187562381", "lang": "en", "text": "Tiny Love Soothe'n Groove Mobile - Meadow Days\nQuick OverviewThe Soothe 'n Groove Mobile(TM) is an ingenious way to entertain your child from baby through to toddler both at home and on the go. This Mobile is two items...\nThe Soothe 'n Groove Mobile(TM) is an ingenious way to entertain your child from baby through to toddler both at home and on the go. This Mobile is two items in one. It grows with your baby from a crib mobile to a stand-alone music box that toddlers can carry on their own. With six different musical categories and 18 different tunes, there's up to 40 minutes of continuous and non-repeating music for your child to enjoy. The special soothing motion of the mobile captures baby's attention and keeps them engaged and colorful buttons allow your child to activate and change the music on their own. The unique design features two high quality speakers for great sound and easy to control volume.\n- Features 6 different musical categories with 18 different tunes; Music shuffle button\n- Special soothing motion engages baby; Up to 40 minutes of continuous non-repeating music; Nightlight\n- 2 high quality speakers; Adjustable volume\n- Colorful buttons allow baby to activate and change the music on their own\n- Becomes a stand-alone portable music box for toddlers", "domain": "music_and_dance"}
{"url": "http://m.nationals.mlb.com/news/article/3872064", "date": "2017-10-20T03:30:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-43/segments/1508187823630.63/warc/CC-MAIN-20171020025810-20171020045810-00245.warc.gz", "language_score": 0.9701993465423584, "token_count": 499, "dump": "CC-MAIN-2017-43", "global_id": "webtext-fineweb__CC-MAIN-2017-43__0__173443857", "lang": "en", "text": "VIERA, Fla. -- Elton John and Billy Joel, two of the most popular performers in pop history, are returning to Washington, D.C.\nIn what will be the first concert in Nationals Park history, the dynamic piano-playing duo will perform on July 11 at 7:30 p.m. ET.\nTickets will go on sale on Saturday at 10 a.m., exclusively through Tickets.com.\nAs the inaugural concert at Nationals Park, John and Joel will open the concert together with a series of duets, playing twin pianos and trading vocals. Each artist will then perform a set with his own band. The grand finale reunites the two at center stage with their supporting musicians for a closing encore.\nThe two superstars are excited about the joint performance.\n\"I love touring with Billy,\" John said. \"I have the greatest respect for him, and we're such good friends.\"\nJoel is looking forward to the competition.\n\"The great thing about performing with Elton is that he is such a good piano player and that makes me have to dig deep to keep up with him,\" Joel said. \"Not to mention I've got the best seat in the house -- only one piano away from Elton John!\"\nJohn and Joel launched their first tour in Philadelphia at the former Veterans Stadium with three sold-out shows in July 1994. Their first venture to Washington came in 2002, when John and Joel performed during three sold-out engagements at the former MCI Center.\nJohn and Joel returned to the District as a part of the 2004 Kennedy Center Honors ceremony. After John received an award for \"exemplary lifetime achievements in the performing arts,\" Joel took to the stage to perform a rendition of John's classic \"Benny and the Jets.\" The ceremony was filmed and broadcast to television audiences nationwide.\n\"The Nationals are thrilled to host the 'Face to Face' tour with Elton John and Billy Joel for the first-ever concert at Nationals Park,\" said Nationals president Stan Kasten. \"Elton and Billy are beloved throughout Washington, D.C., and have a rich history performing in our city. Undoubtedly, this will be an remarkable inaugural evening of music out under the stars, showcasing the ballpark's capabilities as a premier summer concert venue.\"\nBill Ladson is a reporter for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs.", "domain": "music_and_dance"}
{"url": "http://matebella.com/en/home/101/event_details?date=2022-4-1", "date": "2022-07-01T14:14:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103941562.52/warc/CC-MAIN-20220701125452-20220701155452-00475.warc.gz", "language_score": 0.8966090083122253, "token_count": 457, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__111880912", "lang": "en", "text": "Symphony Concert 15 - Orchestra of the LUCERNE FESTIVAL ACADEMY\n|Date:||01 September 2018|\n|Place:||KKL Luzern - Concert Hall - Europaplatz 1, 6005 Luzern, Svájc|\n|Telephone:||+41 (0)41 226 44 00|\nLethe for string orchestra\nDialoge. Concerto for two pianos and orchestra\nReading Malevich for orchestra\nworld premiere | commissioned as part of the“Roche Commissions”\nStele for large orchestra\nThe LUCERNE FESTIVAL ACADEMY presents a “Hungarian connection” spanning three generations. The new work by Peter Eötvös concerns the Russian painter Kasimir Malevich. Eötvös’s compatriot Máté Bella, his junior by four decades, was inspired by Greek mythology to write his enormously sensual-sounding Lethe, about the “stream of forgetting,” for string orchestra. Stele, written in 1994, is the first orchestral work by György Kurtág, the great master of small forms, into which he channeled his grief over the loss of a friend, creating an expressive music of memory. And Dialoge by Bernd Alois Zimmermann, who would have celebrated his 100th birthday in 2018, is also an homage: to Claude Debussy, another composer whose anniversary is being marked this year. But along with Debussy, Mozart, jazz elements, and the ancient Pentecostal hymn Veni, creator spiritus appear in Zimmermann’s concerto for two pianos, which abounds in quotations and allusions.\nRadio SRF2 Kultur will record this concert and broadcast it on 26 December 2018, starting at 21:00 (Lucerne time) as part of its “Neue Musik im Konzert” (“New Music in Concert”) program.\nYou can purchase the digital concert program here.", "domain": "music_and_dance"}
{"url": "http://silver.afi.com/Browsing/Movies/Details/f-0100002331", "date": "2020-02-21T01:36:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-10/segments/1581875145316.8/warc/CC-MAIN-20200220224059-20200221014059-00368.warc.gz", "language_score": 0.9327177405357361, "token_count": 191, "dump": "CC-MAIN-2020-10", "global_id": "webtext-fineweb__CC-MAIN-2020-10__0__149922697", "lang": "en", "text": "LOMAX IN ÉIRINN\nIrish composer Pól Brennan explores how American song collector Alan Lomax came to Ireland on the first stop of a mission to save the folk music of the world. That trip resulted in the first LP of Irish traditional music — an album that sowed the seeds of the Irish traditional music revival in the 1970s. Lomax realized the music of the most marginalized people was as powerful as the highest form of art, and, inspired by two new inventions of the 1940s, he devised a plan to save the music of the world. (Note adapted from Galway Film Fleadh.) DIR/PROD Declan McGrath; SCR Felim MacDermott. Ireland, 2018, color, 52 min. NOT RATED\nNo AFI Member passes accepted.\nLOMAX IN ÉIRINN Showtimes\nThere are currently no sessions scheduled. Please check back again later.", "domain": "music_and_dance"}
{"url": "https://twincities.citymomsblog.com/why-music-matters/", "date": "2018-02-19T13:35:20Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891812665.41/warc/CC-MAIN-20180219131951-20180219151951-00708.warc.gz", "language_score": 0.9555047750473022, "token_count": 1613, "dump": "CC-MAIN-2018-09", "global_id": "webtext-fineweb__CC-MAIN-2018-09__0__170224438", "lang": "en", "text": "Raising a child sometimes feels like a Mount Everest of responsibility. Not only must your kid grow up to be a reasonably decent person, but he must also be a full-blown Renaissance man, accomplished in academics, sports and the arts — or so it seems. Life can quickly become cluttered with lessons, practices, games and rehearsals. How does one prioritize the countless extracurricular activities competing for our children’s attention?\nFor our family, music has always been a priority. Growing up, I distinctly remember the thrill of sitting at my parents’ baby grand piano and plunking out simple tunes by ear long before I could read notes. I developed an early appreciation for classical music in particular. During road trips, my dad would pop in a cassette of piano concertos. To this day, hearing Rachmaninoff’s “Rhapsody on a Theme by Paganini” or Beethoven’s “Emperor” concerto brings back a wave of nostalgia for those blissful childhood memories.\nMy siblings and I started piano lessons at a young age. Once a week, we would walk up the street to the house of a stern German lady with a thick accent. She had a reputation for being strict and an intimidating demeanor to match. Word had it, if you showed up for your lesson without having practiced, you’d sure get a talking to. Nonetheless, the many hours I spent in her basement studio laid the groundwork of discipline, dedication and passion that would shape my musical journey for a long time to come.\nI’m not sure how exactly I ended up playing the viola. I remember being enthralled by seeing the older kids play in the school orchestra. The cello and bass seemed like too much of a hassle to lug around, and the violin was too popular, so I decided to go with the lesser-known alto voice of the orchestra. The first night after coming home with the rental viola from school, we were under strict instructions from the orchestra teacher not to touch anything (or even take the instrument out of its case). That warning had about as much effect as telling a starving child to keep his hands out of the cookie jar.\nThe first time I played with the middle school orchestra, it was magical. We’d all been practicing our individual parts for months. When it all finally came together for a holiday concert, I was awed. I’m sure we sounded more like a herd of yowling tomcats than an orchestra. Still, there’s nothing quite like contributing your individual voice to create a beautiful tapestry of sound.\nMany years later, although I’m on hiatus from orchestra and rarely dust off my instrument, music continues to be a big part of my life. It’s taught me invaluable lessons and shaped who I am today.\nMy kids are too little to take up the violin or learn to read notes. But I still find ways to make music a valuable part of their lives too.\nBecause music matters.\nPlenty of research shows that music has a profound impact on children’s brains. It boosts attention spans, improves math skills and enhances language development. Learning a complex rhythm or sight reading a difficult passage is a lot like solving a challenging math problem. (Don’t worry, though – you don’t have to be good at math to be good at music.) Put simply, making music forces your brain to work in a different way, forging millions of new neural pathways every second.\nOne study found that calming background music has a positive effect on kids’ moods and behavior. I can certainly attest to that. Brushing my toddler’s teeth used to be an epic struggle until I started singing “this is the way we brush our teeth,” which consistently elicits a big grin instead of wailing. Ditto for diaper changes. Since having kids, I’ve found myself coming up with songs to accompany the many mundane tasks of life (and absent-mindedly breaking into song in the grocery store aisle, much to my embarrassment).\nThe benefits of early music exposure will stay with your child long after their last trumpet lesson or jazz band concert. For example:\n- Music teaches persistence. It takes years – even decades – of diligent effort to master an instrument. You have to stick with it even when the going gets tough. By the time I hit seventh grade, orchestra no longer seemed cool and I yearned to join the flute section in marching band. My parents wisely advised me to stay the course. Had I given up, I would have missed out on the countless memories and life lessons I picked up along the way. Every musician has to weather these storms – and, in the process, gain skills that apply to overcoming challenges in other areas of life.\n- Music helps us pursue excellence. In music, as in life, there’s always room for growth. I was blessed with incredibly gifted orchestra teachers who knew how to push us to the next level without burning us out. They inspired me to continually strive for improvement. At the same time, they acknowledged slip-ups and shortcomings as an integral part of the learning process. Better to play boldly and with confidence than stay silent for fear of making a mistake.\n- Music helps us relate to others. Teamwork is an essential part of participating in a choir, orchestra or other ensemble. You have to learn to listen to others around you – not just your section, but the group as a whole. You have to know when to play out and when to blend in. You have to work together to create something bigger than yourself. This shared experience helps build deep connections and lifelong friendships. My husband and I met in orchestra and, for a time, were even stand partners. Our passion for music – and how it brought us together – will forever be a part of our story.\n- Music fosters artistic expression. It helps us process emotions in a way that words simply can’t. Music can be life-changing not only for those who make it, but for those who hear it, too. I can’t count the number of times an audience member has told me how touched they were by a performance. I’ve often seen them moved, literally, to tears.\n- Music both affirms our humanity and transcends it. For me, certain passages of music — like the heavenly strains of John Tavener’s “Song of the Angel” or the heart-wrenching crescendos of Henryk Gorecki’s “Symphony of Sorrowful Songs” — have spiritual resonance. Whether you’re religious or not, music can lift you from your earthly struggles and transport you to a realm beyond the day-to-day drudgeries of life.\nYou don’t have to be a musician to instill a love of music in your children. Start them young – from birth, even – by making music a part of your day. Sing to your little ones (even if you don’t think you can carry a tune). Join a family music class. Go to children’s concerts and instrument demos.\nDon’t limit yourself to one genre. Expose your kids to a wide range of music – pop, classical, jazz, reggae, rock. Show them there’s more to the musical world than the Moana soundtrack or those obnoxious VTech earworms.\nAnd give them the freedom to follow their own passions. After all, the best footing for success has nothing to do with inborn talent. Rather, it’s the simple joy of sharing music – whether playing an instrument, lifting up your voice or just listening – that makes it all worthwhile.", "domain": "music_and_dance"}
{"url": "http://www.novarexrocks.com/event/nova-rex-santas-rocking-christmas/", "date": "2023-09-24T16:52:08Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506658.2/warc/CC-MAIN-20230924155422-20230924185422-00483.warc.gz", "language_score": 0.7923299074172974, "token_count": 196, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__185683493", "lang": "en", "text": "The Niagara Tap presents their Holiday concert, “Santa’s Rockin’ Christmas”.\nAt The Niagara Tap\n11950 Seminole Blvd Largo, FL 33778\nSanta’s Rocking Christmas\nThe Niagara Tap presents their Holiday concert, “Santa’s Rockin’ Christmas” Sat December 3rd 2022 (3pm-11pm)\nA musical event for everyone which includes legendary local favorites: Comfort Zone, St.Pete Sons, Tommy Roxx band and 80’s Hair Metal Icons NOVA REX!\nBenefiting Toys for Tots, bring your donation and place it under Mr.Sawbladehead’s LIFE TREE and don’t forget to Enter to WIN some amazing prizes!\nAdmission is FREE - VIP seating available. Contact The Niagara Tap for pricing & details\nCome celebrate this holiday season with us !", "domain": "music_and_dance"}
{"url": "http://carmens.com/upcoming-shows/", "date": "2018-01-19T09:18:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-05/segments/1516084887849.3/warc/CC-MAIN-20180119085553-20180119105553-00558.warc.gz", "language_score": 0.8294326663017273, "token_count": 944, "dump": "CC-MAIN-2018-05", "global_id": "webtext-fineweb__CC-MAIN-2018-05__0__42154105", "lang": "en", "text": "Experience Ontario’s premier dinner theatre and live entertainment experience. Carmen’s Banquet Centre is Hamilton’s favourite venue for enjoying a special evening or to celebrate an occasion. Our world class dinner theatre has it all: incredible live entertainment, outstanding customer service and gourmet cuisine. Whether you’re looking to enjoy a night out with friends or family or you’re booking a fundraising event, birthday party, tour group or office parties – you’ll love our unique shows and delectable dinner theatre menus!\n“We just saw your brilliant Elvis show complete with his very talented back up band. The highly entertaining show was perfectly complemented by a lovely meal, great service and a beautifully decorated venue. Talk about value for money! Thank you Carmen’s Dinner Theatre!”\n– Mark & Jacqui\nBox Office Information\nMonday: 9:00 AM – 5:00 PM\nTuesday: 9:00 AM – 5:00 PM\nWednesday: 11:00 AM – 5:00 PM\nThursday: 9:00 AM – 5:00 PM\nFriday: 9:00 AM – 5:00 PM\nPhone Number: 905-387-0007\nManager: Tricia Silenzi\nDoors Open – 11:00 PM\nLunch – 12:00 PM\nShow Begins – 1:30 PM\nShow Ends – 3:30 PM\nDoors Open – 6:00 PM\nDinner – 7:00 PM\nShow Begins – 8:30 PM\nShow Ends – 10:30 PM\n- Photography and recording devices are prohibited\n- Please turn off all pagers and cell phones during the show\n- Please advise us within 7 days of dietary restrictions\n- Menu and entertainment are subject to change\nLegends of Soul\nLegends of Soul features the Greatest Soul and R&B Singers of All Time with look-a-like/sound-a-like tributes to: Aretha Franklin, Otis Redding, Al Green, James Brown, Ray Charles, Luther Vandross Prince Michael Jackson, Etta James, Gladys Knight, Jackie Wilson, Chaka Khan, Donna Summer, Whitney Houston.\nTuesday, October 24, 2017\nJohnny Cash & The Queens of Country\nThis show pays homage to Johnny Cash and eight great Female Legends: Dolly Parton, Patsy Cline, Loretta Lynn, June Carter, Tammy Wynette, Minnie Pearl, Tanya Tucker and Reba McEntyre. This collection of stars will be performed by three individually talented Canadian entertainers Marie Bottrell, Pam Yorfido and Jackie Grainge.\nThursday, November 16, 2017\nWonderful World of Christmas\nCelebrate the most wonderful time of the year! We invite you to over indulge in a holiday feast and spend the afternoon carolling to some of the classic Christmas sing-a-longs. This is one present too big to fit underneath the Christmas tree.\nTuesday, December 5, 2017\nElvis Rock ‘n’ Roll & Christmas Soul\nAn outstanding Elvis Tribute performed by Steve Michaels. Elvis’ classics mixed with his favourite Christmas songs. A Stephen Michael Kabakos Production.\nWednesday, December 6, 2017\nKenny & Dolly\nA Little Touch of Christmas\nA tribute to Kenny Rogers & Dolly Parton as they sing their favourites and Christmas.\nTuesday, December 12, 2017\nAbbamania & Night Fever\nAbbamania: a Canadian produced rock musical, which takes you back to the disco era of one of the best pop bands in history, features nine incredible musicians and singers. Night Fever: The close high harmonies of brothers Barry, Robin and Maurice Gibb have made The Bee Gees one of the most impossible attractions in music to launch a tribute to… until this show! The vocal match of this tribute band creates an eerie sense of seeing the Gibb brothers in concert.\nWednesday, December 13, 2017\n3 Knights & A Lady\nBritain’s favourite performers Sirs and Ladies of song. Tribute performances of Paul McCartney, Elton John, Rod Stewart & Adele all on one stage.\nThursday, December 14, 2017\nGeorge Rose Big Band Valentine’s\nThis highly charged swinging band is all about musical entertainment at its finest.\nWednesday, February 14, 2018\nKings of Classic Country\nCelebrate the music of Buck Owens, George Jones, Merle Haggard, Marty Robbins, Roger Miller, Conway Twitty, Glen Campbell and of course, the legendary Hank Williams.\nTuesday, May 8, 2018", "domain": "music_and_dance"}
{"url": "https://cdmediaworld.com/hardware/cdrom/news/0104/free_virgin.shtml", "date": "2023-06-02T05:56:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224648322.84/warc/CC-MAIN-20230602040003-20230602070003-00792.warc.gz", "language_score": 0.8980068564414978, "token_count": 631, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__5118068", "lang": "en", "text": "Radio Free Virgin Also Debuts Lite Player\nLOS ANGELES, April 2 /PRNewswire/ -- Radio Free Virgin (www.radiofreevirgin.com), a leading digital radio broadcast company, announced today the launch of a new feature on its player which enables listeners to record their favorite songs or programming blocks from any Radio Free Virgin station. The Record feature allows listeners to playback songs whether they are online or off. Radio Free Virgin also launched Radio Free Virgin Lite, a pop-up window interface that allows listeners to sample twenty Radio Free Virgin stations before downloading the full player.\n\"Radio Free Virgin is aggressively building a premium digital radio network that offers deep, genre-rich programming that reaches way beyond the realm of terrestrial radio,\" stated Zack Zalon, General Manager of Radio Free Virgin. \"In addition to offering great music, with the Record feature, we free our listeners from the confines of a web-based audio stream by enabling them to store their favorite programming and playback a single song or an entire programming block whenever they want.\"\nThe new feature on the Radio Free Virgin Player, a proprietary digital radio tuner, enables listeners to record any of Radio Free Virgin's forty streaming music stations with the click of a button. Users record Radio Free Virgin's streaming music directly to their hard drive. Each high-quality recording can be named and added to the individual user's channel guide for playback later, whether the user is on or offline at the time. The feature not only plays back music, but also integrates the original Radio Free Virgin online experience, displaying corresponding track information, cover art, and a buy button that links to that specific album at the Radio Free Virgin store. Saved audio files will only play back through a Radio Free Virgin player, preventing illegal file swapping and duplication.\nAlso launching today is Radio Free Virgin Lite, a pop-up window interface which allows users to sample twenty select channels from Radio Free Virgin, before downloading the player. Through Radio Free Virgin Lite, users get a similar experience to what Radio Free Virgin has to offer, from the eclectic array of musical stylings to the album art, song information and buy button -- favorite listener features on the downloadable player. Radio Free Virgin Lite does not give listeners access to all the added values on the downloadable player including the new Record feature and access to all forty channels.\nAbout Radio Free Virgin\nPart of the worldwide Virgin family, Radio Free Virgin is a leading digital radio broadcasting company that uniquely combines music and technology to bring consumers the highest quality music content available via digital distribution, both on and off the desktop. Radio Free Virgin's state-of-the- art, CD-quality streaming audio combines the company's proprietary software application (available by download free of charge at www.radiofreevirgin.com) and innovative, genre-rich, original music channels programmed by well-known artists, celebrities, musicologists and DJs from around the world. Based in Los Angeles, Radio Free Virgin is a privately held company funded by Richard Branson, and is a unit of Virgin Audio Holdings, LLC.\nSOURCE: Radio Free Virgin", "domain": "music_and_dance"}
{"url": "http://en.brinkwire.com/news/live-paul-kelly-performs-at-roundhead-studios/", "date": "2018-10-16T17:43:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583510853.25/warc/CC-MAIN-20181016155643-20181016181143-00025.warc.gz", "language_score": 0.9728161692619324, "token_count": 993, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__153907176", "lang": "en", "text": "INTRODUCING PAUL KELLY by Graham Reid\nWhen invited to host a Q&A and live performance session with Paul Kelly, I accepted quickly. But with trepidation.\nKelly had a new album being released – Nature, the 24th under his own name – but few in the audience of critics, writers and competition winners would have heard anything of it other than two singles. And both, I felt, were unrepresentative of a collection of sensitive original songs and musical settings of poems by Dylan Thomas, Walt Whitman, Sylvia Plath, Gerard Manley Hopkins and Philip Larkin.\nExplaining the creative process behind Nature, Kelly says, “I’ve been playing around with poems since 2012 and it’s now become another way for me to write songs. I think most writers get sick of themselves and their own habits so it’s a happy surprise, after 40 years of writing songs, to find a new way.\n“What links them all is the natural world – trees, birds, animals, plants, dust, desert, water – and human nature’s small place in that world. Most of the pieces were written over the last four years in and around the recording sessions for ‘The Merri Soul Sessions’, ‘Seven Sonnets And A Song’ and ‘Life Is Fine’. I didn’t realise I had the makings of another album until I put the songs in a folder and saw the titles staring me in the face. Sometimes you don’t know what you’re doing until you look back.”\nSo, what could I concisely say about a man with a four-decade career, and whose songs have explored deep personal, political, social and cultural touchstones? And how could I invite comment on this unfamiliar new music exploring Nature, human nature and the nature of existence?\nBefore the session, Paul and I had a chat in a side room and loosely discussed what he might play.\nHe was relaxed, friendly and accommodating. He said sure, he’d play my favourite piece on the album, his gorgeous setting of Plath’s Mushrooms:\nHe talked about a new project of poems and songs about birds, was delighted when I mention RNZ National’s daily bird call and laughed approvingly about New Zealand’s Bird of the Year competition (which closes this Sunday*). He was considering a bird song by a New Zealand poet, he said, and sang me a few bars.\nSo I stepped up for the informal session, which you can see and hear below, and paid tribute to his status as a songwriter and his unique sensibilities. I also mentioned I’d been backstage with him and his band the Messengers in 1990 before they opened for Tracy Chapman and how I asked a dumb question.\nYou can hear that in what follows.\nWhat I didn’t mention from that incident was also telling. Literally minutes before they were due on stage before a capacity crowd at the Sydney Entertainment Centre, Paul suggested to the band they get a set list together. They did, after some to-and-fro song suggestions, then headed towards the steps.\nAt the last minute, he turned and said, “I think I’ll do the first couple solo”.\nAnd he did.\nWhat struck me was how comfortable he was with performing, what a deep well of musical knowledge he could draw from, and how personable and engaging he was with me . . . and that huge audience.\nHe was just the same in this intimate Roundhead setting: One man and two guitars, songs of acute emotion delivered without artifice or showmanship, a quick and self-effacing humour in our conversation between songs and at ease when answering random questions from the gathering.\nHalf an hour later he was on a plane home to Melbourne.\nHe is a remarkable man, as singular as his songs . . . as you may hear.\nIntroductions, and a performance of the song With The One I Love\nand ‘A Bastard Like Me’\nHere, Graham and Paul have a chat, and Paul plays ‘And Death Shall Have No Dominion’\nAnd Graham Reid’s special request: ‘Mushrooms’\nThe songs performed are from Paul Kelly’s new album Nature, which is available now.\nRNZ Music is able to share this event thanks to Paul Kelly and his team. Video courtesy of Universal Music NZ, produced by Jordan Arts; Audio recording courtesy of Roundhead Studios.\nThe session was hosted by music writer Graham Reid.\n*New Zealand’s Bird of the Year competition closes Sunday October 14, winner announced on Morning Report, 8.50am Monday 15 October.", "domain": "music_and_dance"}
{"url": "https://www.boesendorfer.com/en/artists/oscar-peterson", "date": "2023-09-29T23:47:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510529.8/warc/CC-MAIN-20230929222230-20230930012230-00259.warc.gz", "language_score": 0.9847440123558044, "token_count": 858, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__193618489", "lang": "en", "text": "It is a fact that many great jazz pianists play on Bösendorfe grand pianos. The most significant is probably the Canadian jazz-virtuoso Oscar Peterson, born in 1925. When he talks about his encounter with the Imperial, it sounds like a love story:\nI ran across a lot of European pianos in my JATP years. The two I remember best were a lovely instrument in Denmark made by Hornung and Mueller and the Viennese-made Bösendorfer. Sadly, the former piano did not prosper in the Canadian atmosphere, refusing to retain its tuning, and despite its lovely feel, I was forced to part with it. But the Bösendorfer was something else - especially the one I encountered in the late 1970s. This piano was called 'The Imperial'. At the end of the set I walked off during the applause and went straight over to Norman Granz (Oscar Peterson's manager and promoter of Jazz at the Philharmonic) frightening him out of his wits by screaming:\nOscar Peterson 1977 in Munich\n\"God-dammit, Norman, where did that box come from? I gotta have one of those!\"\nHe looked at me with his normal calm and replied:\n\"If you like it so much, why don't you go back and play a couple of encores on it?\"\nI duly complied:\n\"In fact, we played at least four encores, for I couldn't get enough of that piano and, that night at least, could do no wrong on it.\"\nMy bassist Niels Pedersen's only remark was: \"Damn! Why did they have to send you such a good piano? Now we're paying for it, because you're never going to leave!\"\nHe was almost right. Normally, unless it's absolutely necessary - a sound-checks in a studio, for example - I seldom go out on stage before a concert. Checking out the piano might lead to preconditioned ideas, and they can in turn interfere with the creative process so essential to a successful jazz concert. By the same token, I would hardly return to play after a concert was over, feeling that I had said all I had to say during the concert. But that night in Vienna was different. I stalled around until the audience had gone, then virtually sprinted back to the piano to bask once more in its incredible tonal quality.\nOn my next visit to Vienna I was picked up at the hotel and driven to what had been an old monastery in the heart of the city. Our party was given a tour of the whole manufacturing process, from where the piano is born to where it comes to completition. Finally we were ushered into the piano salon. This was it! Before me stood an array of 15 to 20 grands - and I mean grands! They were akin to a herd of beautiful Arabian horses, waiting to be chosen for their unique individual qualities. I was told to start trying them, one after the other, in order to isolate my final preference. It was truly unbelievable: instrument after instrument offered itself to me in an unselfish, fulfilling way, each one speaking with its own special voice. I glanced at Norman with what must have been a look of bewilderment and awe, for he strolled over and said quitely:\n\" Take your time, OP, you don't even have to make your choice today. If you can't decide, you can easily come back after the tour and choose then.\"\nSuddenly I touched this one instrument, and it spoke to me in a way I'd never heard before: the sound seemed to run through my fingers, straight up my arms and into my whole body: 'This is mine!' I shouted in excitement. 'This is the one!'\nAll I knew was that I had found the most beautiful instrument I had ever played and I wanted to make it mine. My heart pounded within me as they agreed on my choice and that, after final checks and tunings, they would ship it to me in Toronto.\n*Source: Oscar Peterson, A Jazz Odyssey, Continuum, London/New York, 2002", "domain": "music_and_dance"}
{"url": "https://gameverse.com/2014/05/18/harmonix-to-bring-back-amplitude/", "date": "2024-04-20T14:03:08Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817650.14/warc/CC-MAIN-20240420122043-20240420152043-00609.warc.gz", "language_score": 0.9620200991630554, "token_count": 170, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__64097093", "lang": "en", "text": "Harmonix Music Systems, best known in recent years for their work on the Rock Band and Dance Central franchises, has created a Kickstarter campaign to bring back cult classic rhythm game Amplitude. Released in 2003, Amplitude differs from modern music games by allowing one player complete control over several music tracks at once. The developer is seeking $775,000 to bring a downloadable reimagining of the game to the PS3/PS4 sometime in 2014. Standout backer rewards include a sick vinyl record filled with original music compositions, a trip to PAX to hang out with the team, and even a chance to get your own music put into the game. As of this writing, the campaign has 5 days to goal and has raised around $300,000 of its goal. Stay tuned to IGS for further coverage.", "domain": "music_and_dance"}
{"url": "https://micheladarumble.com/phoenix/", "date": "2023-12-01T23:09:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100308.37/warc/CC-MAIN-20231201215122-20231202005122-00593.warc.gz", "language_score": 0.9724153280258179, "token_count": 274, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__122521759", "lang": "en", "text": "One of the most revered figures in rap since his early-’90s debut, DJ Quik emerged as a formidable rapper/producer and extended his career working primarily as a funk-inspired beatmaker for stars and protégés alike.\nFormed in 1990 by One Dope Mexican (Robert Gutierrez) and Don’t Try To Xerox (Bobby Ramirez). They recorded demos and landed a record deal soon after with a small independent label, Quality/Pump records. Their debut album, 1990’s “Brown and Proud,” brought the group Top 40 single in the U.S. with “On A Sunday Afternoon,” peaked at #39 on the Billboard Hot 100.\nTrish Toledo is a singer-songwriter who’s style can be described as soul / 60s, early 70s era music. She has been likened to folks that listen to artists such as Aretha Franklin, Barbara Mason & Brenton Wood. Inspired by her idols & their success in music, Trish practiced and developed her musical skills through her childhood and got her first studio experience at the age of 18. She has continued to record and release material, currently working on her 4th release.\nFear Farm Sports & Entertainment Complex\n2209 N 99th Ave,\nPhoenix, AZ 85037", "domain": "music_and_dance"}
{"url": "https://lady.gagalasvegas.com/", "date": "2024-04-12T20:44:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816070.70/warc/CC-MAIN-20240412194614-20240412224614-00360.warc.gz", "language_score": 0.9422900080680847, "token_count": 229, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__149546256", "lang": "en", "text": "Your independent guide to the best concerts in Las Vegas! This website is operated by a ticket broker.\nTicket prices are set by third-party sellers and may be above or below face value.\nWe are not affiliated with nor endorsed by Lady Gaga.\nPop chameleon Lady Gaga is relaunching her Las Vegas residency this summer, and she has a handful of dates for her Jazz and Piano show this June and July. As the name suggests, it includes intimate performances of iconic hits as well as her favorite entries in the Great American Songbook. Whichever way you go, you're in for an unforgettable experience.\nAfter all, amazing tickets for all dates are on sale now, and at incredible prices, too. But with all the little monsters out there, there's no telling how long the best sets will last!\nSo if you want to catch the lowkey charm of Jazz and Piano, you can't afford to wait. Check out the schedule below to learn more about available seating options at individual shows, and get your Lady Gaga Las Vegas Tickets right away!\nSee Lady Gaga live at Dolby Live!", "domain": "music_and_dance"}
{"url": "https://beingwiki.com/unlocking-musical-potential-the-power-of-piano-learning-ebooks/", "date": "2024-02-20T23:12:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473347.0/warc/CC-MAIN-20240220211055-20240221001055-00553.warc.gz", "language_score": 0.8754155039787292, "token_count": 649, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__97763199", "lang": "en", "text": "In the digital age, learning the piano has transcended traditional methods, with the advent of Piano Learning eBooks paving the way for a new era of musical education. These digital resources bring a wealth of knowledge and interactive features to learners of all levels, offering a convenient and effective way to embark on a musical journey.\nThe Convenience of Digital Learning\nPiano Learning eBooks provide a convenient and accessible alternative to traditional piano lesson formats. With the rise of e-readers, tablets, and smartphones, aspiring pianists can carry an entire library of instructional materials in their pocket. This portability allows for learning at one’s own pace, anytime and anywhere, making it an ideal choice for individuals with busy schedules.\nComprehensive Curriculum at Your Fingertips\nOne of the key advantages of Piano Learning eBooks is the comprehensive curriculum they offer. These digital resources cover a wide range of topics, from basic music theory and note reading to advanced techniques and musical interpretation. Whether you’re a beginner or an experienced player looking to refine your skills, Piano Learning eBooks provide a structured and organized approach to mastering the piano.\nInteractive Multimedia Features\nUnlike traditional textbooks, Piano Learning eBooks often incorporate interactive multimedia features to enhance the learning experience. Interactive diagrams, audio examples, and video tutorials bring the lessons to life, providing a more immersive and engaging educational journey. This multimedia approach caters to different learning styles, making it easier for individuals to grasp complex concepts and techniques.\nTailored Learning Paths for Every Student\nPiano Learning eBooks excel in providing tailored learning paths to suit individual needs and skill levels. Adaptive algorithms within these digital resources assess the learner’s progress and adjust the difficulty of exercises accordingly. Whether you’re a novice building a foundation or an intermediate player seeking to expand your repertoire, Piano Learning eBooks ensure a personalized and effective learning experience.\nCost-Effective Learning Solution\nTraditional piano lessons can be costly, with expenses for instructors, travel, and materials adding up quickly. Piano Learning eBooks offer a cost-effective alternative, providing a vast amount of educational content at a fraction of the cost of traditional lessons. This affordability makes quality piano education accessible to a broader audience, breaking down financial barriers to musical learning.\nProgress Tracking and Goal Setting\nAnother notable feature of Piano Learning eBooks is the ability to track progress and set personalized goals. Built-in tools allow learners to monitor their achievements, identify areas for improvement, and celebrate milestones along the way. This element of self-assessment encourages motivation and a sense of accomplishment, contributing to a positive and fulfilling learning experience.\nEmbracing the Future of Piano Education\nIn conclusion, Piano Learning eBooks represent a transformative force in the world of piano education. With their convenience, comprehensive content, interactive features, personalized learning paths, and cost-effectiveness, these digital resources empower individuals to embark on a musical journey with confidence. As we embrace the digital age, Piano Learning eBooks stand at the forefront, unlocking the musical potential within every aspiring pianist. Whether you’re a beginner or a seasoned player, the world of piano education is now at your fingertips.", "domain": "music_and_dance"}
{"url": "https://altomusictherapy.ca/about/", "date": "2023-10-01T17:38:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510924.74/warc/CC-MAIN-20231001173415-20231001203415-00779.warc.gz", "language_score": 0.9710977673530579, "token_count": 281, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__88891907", "lang": "en", "text": "Nicholas Smith is a Certified Music Therapist, having passed the Certification Board for Music Therapists board exam on June 2nd, 2022. Nicholas also holds a Graduate Diploma in Music therapy from Concordia Unviersity, and a Bachelor’s degree in classical guitar performance from the Université de Moncton.\nNick played the piano, trombone, and sang in the choir when he was growing up, but did not find his real musical identity until he received a guitar for his 13th birthday. Immediately, Nick found that playing music on the guitar had a positive effect in all domains of his life. Fast forward 25 years, and Nick brings this experience to Alto Music Therapy – to help others in academic, cognitive, communication, emotional, motor, musical, and social domains.\nNick’s specializations in music therapy are in Autism Spectrum Disorder (ASD) and geriatrics. Nick’s clinical music therapy internships was with Esther Thane and Emily Naccarato from ET Music Therapy in North Vancouver, B.C., as well as with Mary Cobham of Mary Music Therapy. Following his internship experience, Nick decided to relocate to his hometown of Moncton, New Brunswick, in order to begin practicing as Alto Music Therapy and to bring greater awareness of the power and potency of music therapy to the Atlantic provinces.", "domain": "music_and_dance"}
{"url": "http://latinoartcommunity.org/community/OnlineCom/Transitions/Mendoza2008.html", "date": "2018-12-14T10:21:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376825512.37/warc/CC-MAIN-20181214092734-20181214114234-00250.warc.gz", "language_score": 0.9827651381492615, "token_count": 723, "dump": "CC-MAIN-2018-51", "global_id": "webtext-fineweb__CC-MAIN-2018-51__0__120069781", "lang": "en", "text": "Lydia Mendoza, 1916-2007\nLydia Mendoza, an early star of Mexican American music whose passionate, despairing songs about working-class life on both sides of the border made her a trailblazer for the Tejano genre, has died. She was 91.\nMendoza, whose singing career spanned more than 60 years, died Dec. 20 of natural causes in San Antonio, Texas, according to media reports.\nTexas Monthly magazine called her the \"greatest Mexican American female performer ever to grace a stage\" in a 1999 story that named her \"the voice of the century\" in Texas.\nLupe Saenz, president of the South Texas Conjunto Assn., told The Times that Mendoza was a \"pioneer of our musical heritage.\"\n\"She was a rebel, in that she did what no other woman artist singer had done before her; that is, she sang about the 'machismo' culture in a way that set the course for many women today,\" Saenz said in an e-mail.\nThe words for her first, and most enduring, hit came from her girlhood collection of gum wrappers that contained song lyrics. She put the words from one wrapper to a tune she had heard in concert in Mexico and first performed \"Mal Hombre\" (Evil Man), a song about false-hearted lovers, when she was 10.\nAfter Mendoza recorded the song -- a tango -- in 1934, it became a major hit throughout the Spanish-speaking community and launched her career.\nAccompanied by her signature 12-string guitar, Mendoza often sang about hardship and rejection in a powerfully sincere style that reflected the music developing along the U.S.-Mexican border. Her trilling voice earned her the nickname \"La Alondra de la Frontera,\" or Lark of the Border.\nIn 1935, she married shoemaker Juan Alvarado and continued to perform in an era when wives usually gave up their careers. By 1940, Mendoza had recorded more than 200 songs in a wide variety of musical styles that included boleros, rancheras and cumbias. She wrote many of them herself.\n\"People say I'm the mother of Tejano music,\" Mendoza told the Chicago Tribune in 1996, \"but I don't think I even heard the word, knew what it was, until many years after I started. . . . People watched what I was doing -- singing and playing guitar -- and that inspired them.\"\nShe was born May 12, 1916, in Houston to Francisco and Leonor Mendoza. Her family came from northern Mexico, and she and several siblings grew up moving between Monterrey, Mexico, and south Texas.\nHer mother played the guitar and sang Mexican songs, which made Mendoza wish for a guitar of her own. At 4, she made one out of a plank of wood, six nails and several rubber bands.\n\"The very sight of her was magical and could awaken a populist frenzy and collective pride in Mexicans,\" Yolanda Broyles-González wrote in her 2001 book, Lydia Mendoza's Life in Music.\nMendoza is survived by a daughter, Yolanda Hernández.\nExcerpted from \"Lydia Mendoza, 91; Singer was in the vanguard of Tejano music,\" by Valerie J. Nelson, Los Angeles Times online edition, December 30, 2007.", "domain": "music_and_dance"}
{"url": "http://www.iranart.ir/Section-music-8/24298-shahram-shokouhi-slashes-ticket-prices", "date": "2019-05-26T11:23:27Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232259126.83/warc/CC-MAIN-20190526105248-20190526131248-00417.warc.gz", "language_score": 0.9610323309898376, "token_count": 581, "dump": "CC-MAIN-2019-22", "global_id": "webtext-fineweb__CC-MAIN-2019-22__0__178689687", "lang": "en", "text": "TEHRAN.(Iranart) - C elebrated pop and flamenco singer, songwriter, composer and guitarist Shahram Shokouhi will hold a concert at the Ministry of Interior Auditorium in Tehran.\nOn August 16, Shokouhi will come on stage at the large hall to perform selected songs for his fans, Honaronline reported on its Persian website.\nThe concert is a postponed event after Shokouhi failed to appear in a concert planned on July 11 at Milad Hall of Tehran Expo Center. His absence from the scheduled event was due to a heart stroke while watching the Russia 2018 FIFA World Cup match between Iran and Portugal on June 25 which ended 1-1.\nIran lost a scoring chance in the last minute of the game that would let Iran advance to the Round of 16. However, the draw meant Team Melli wrapped up its fifth World Cup campaign again in the group stage, similar to the past four runs, but this time with four points, higher than the previous appearances.\nShokouhi, 43, is among the artists concerned about the worsening economic problems the people are facing, namely galloping inflation, steep decline in the value of national currency and shrinking purchasing power.\nHe has set a ceiling of 600,000 rials ($6) for the tickets to his concert. Many popular concerts have tickets up to 1.5 million rials ($15).\nPart of the Solution\nReferring to concerts cancelled recently by musicians due to the financial constraints, Shokouhi said, “As I said earlier, not holding concerts cannot solve economic problems. The concert will have no personal profit for me and the producer. Its returns will cover costs of the venue and wages.”\n“Once, artists bragged about the steep ticket prices of their concerts. I prefer to be called the cheapest singer.” The singer said “It’s been a while the idea of street concerts is under discussion.” One of the musicians pretty serious about holding such gratis performances is the traditional vocalist and player of tonbak and kamancheh Homayoun Shajarian, son of the master vocalist of Persian music Mohammad Reza Shajarian. Homayoun whose intention is to help boost public morale, has held meetings with relevant officials to hold street concerts.\n“If street concerts are authorized by the relevant bodies, I’ll be among those eager to hold such performances,” Shokouhi said.\nAt the August 16 concert, Shokouhi will be accompanied by an orchestra conducted by composer, music arranger and singer Adel Fallah.\nTickets to the event are available at Iranconcert.com. Ministry of Interior Auditorium is on Gomnam Street, north of Fatemi Square.\nsource: Financial Tribune", "domain": "music_and_dance"}
{"url": "https://velvetmusic.nl/en/page/artiest-national", "date": "2024-04-14T11:48:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816879.25/warc/CC-MAIN-20240414095752-20240414125752-00245.warc.gz", "language_score": 0.9854710698127747, "token_count": 283, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__126899001", "lang": "en", "text": "The National is an American indie rock band that formed in Cincinnati, Ohio in 1999. The band consists of vocalist Matt Berninger, guitarists Aaron and Bryce Dessner, bassist Scott Devendorf, and drummer Bryan Devendorf. The band's music is known for its intricate instrumentation, layered vocals, and emotionally charged lyrics.\nThe National has released eight studio albums, including \"Alligator,\" \"Boxer,\" and \"Trouble Will Find Me,\" which have all received critical acclaim. The band's music often deals with themes of love, loss, and identity, and their unique sound has drawn comparisons to bands like Joy Division and Leonard Cohen.\nThe band's most recent album, \"I Am Easy to Find,\" was released in 2019 and features guest vocals from a number of female artists, including Sharon Van Etten and Lisa Hannigan. The album was also accompanied by a short film directed by Mike Mills.\nThe National has received numerous award nominations for their music, including multiple Grammy nominations. They are known for their dynamic live shows, which often feature guest appearances and collaborations with other artists.\nOverall, The National is a critically acclaimed indie rock band known for their poignant lyrics, intricate instrumentation, and emotionally charged performances. They have carved out a unique space in the indie rock scene and continue to be celebrated by music fans and critics alike.", "domain": "music_and_dance"}
{"url": "https://www.myipo.gov.my/en/music-rights-sarawak-berhad-authorized-as-copyright-licensing-body/", "date": "2022-05-18T00:34:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662520936.24/warc/CC-MAIN-20220517225809-20220518015809-00313.warc.gz", "language_score": 0.9360188841819763, "token_count": 345, "dump": "CC-MAIN-2022-21", "global_id": "webtext-fineweb__CC-MAIN-2022-21__0__126726291", "lang": "en", "text": "MUSIC RIGHTS (SARAWAK) BERHAD AUTHORIZED AS COPYRIGHT LICENSING BODY\n26 February 2022 – Minister of Domestic Trade and Consumer Affairs (KPDNHEP), YB Dato Sri Alexander Nanta Linggi today handed over the certificate declaring Music Rights (Sarawak) Berhad (MRSB) as a licensing body recognized by the government to conduct royalty collection activities on behalf of singers, musicians in song recordings, music video makers and local recording companies involving local ethnicities in Sarawak.\nMRSB is one of the latest licensing bodies declared by the Copyright Controller under the Intellectual Property Corporation of Malaysia (MyIPO) to collect music royalties and represent the exclusive members of the owners and creators of music works, sound recordings and performances by native artistes and musicians in Sarawak.\nThe establishment and recognition of MRSB as a regulatory body will, among others, benefit its members in managing their royalty rights as well as safeguarding their welfare in the music industry. Among the members under this body are songwriters, lyricists, singers, musicians in song recordings, music video makers and recording companies.\nThe declaration certificate was handed over by Dato Sri Alexander to the Chairman of MRSB, Mr. Gibson Rentap.\nAlso present were MyIPO Board Members, Dato ‘Chua Tee Yong, Datuk Kamarlin Ombi, Datu Dr. Rashidah Bolhassan and Siti Norazlina Seni. Also present were MyIPO Director General, Abdul Haris Lakar and MRSB Managing Director, Puan Juliet Tan.", "domain": "music_and_dance"}
{"url": "https://blacklivesmatterpratt.com/sonic-explorations/", "date": "2022-12-09T06:25:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446711390.55/warc/CC-MAIN-20221209043931-20221209073931-00728.warc.gz", "language_score": 0.937808632850647, "token_count": 223, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__222275535", "lang": "en", "text": "Friday April 8 2016\n5:30-6:30 PM: Sonic Explorations\nWilliam Parker is a musician, improviser, and composer. He plays the bass, shakuhachi, double reeds, tuba, donso ngoni and gembri. He was born in 1952 in the Bronx, New York. He studied bass with Richard Davis, Art Davis, Milt Hinton, Wilber Ware, and Jimmy Garrison. He has taught at Bennington College, NYU, The New England Conservatory of Music, Cal Arts, New School University and Rotterdam Conservatory of Music.\nCooper-Moore is multi-instrumentalist, composer, storyteller, instrument-builder and educator living in East Harlem, New York City. Cooper-Moore’s approach to music goes beyond simple categorization. Though he is now informed by Creative Improvised Music and the jazz avant-garde, his ears are rooted in the Gospel, Blues and Bluegrass traditions from the place of his birth, rural segregated Virginia.\nLocation: Higgins Hall South 111", "domain": "music_and_dance"}
{"url": "https://www.africanexponent.com/bpost/4051-enter-afrobeat", "date": "2021-01-19T01:23:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703517559.41/warc/CC-MAIN-20210119011203-20210119041203-00501.warc.gz", "language_score": 0.9363331198692322, "token_count": 595, "dump": "CC-MAIN-2021-04", "global_id": "webtext-fineweb__CC-MAIN-2021-04__0__102683241", "lang": "en", "text": "With album sales eclipsing one million in its first week alone, it goes without saying that the release of Drake’s Views certainly marks one of the most hyped recent drops on the mainstream music scene. Despite mixed reviews from listeners and critics, Views destroyed all types of records, boasting more than 500 million streams on popular platforms such as Spotify and Apple Music. Yet for all the Canadian mega-star’s success in cornering the American hip-hop charts, it’s neither Drake nor his fellow hip-hop artists who are poised to reap the most long-term benefit from Views’ success.\nBy far the biggest of single off of Views, \"One Dance\" is notable for its role in confirming the mainstream’s desire to co-opt into has become perhaps the defining club music trend of the past 18 months: Afrobeat. Putting a Western twist on the classic compositions of legendary African artists such as Fela Kuti and King Sunny Ade, Afrobeat artists now find themselves leading, if not shaping, the East Coast's newfound obsession with Africa's sounds and face-to-face dancing.\nCurrently atop both the U.S. & UK charts, “One Dance” marks the second collaboration between Drake and Nigerian mega-star Wizkid, the first being Drake’s 2015 feature remix of Afrobeat smash “Ojuelegba.” And with \"One Dance\"’s Afro-infused melodies having taken over the airwaves heading into the summer months, we’ll be sure to see other American pop icons following the trend.\nSome, such as “Trap Queen” singer Fetty Wap already have, his “Your Number” collaboration with Yoruba artist Ayo Jay going viral as song of choice for Vine dance montages nationwide. This year alone has seen two other Afrobeat tracks make striking inroads into American DJ rotations with Davido’s “The Money” and Mr. Eazi’s “Skin Tight” both topping iTunes’ Most Downloaded list within the past six months.\nDJ’s aren’t the only ones taking note. Last summer, Rolling Stone magazine published a startling feature on DJ Tunez, a Nigerian-American DJ who has risen to notoriety as the architect of Afrobeat's newfound dominance on the East Coast.\nTo cap it all off? This past January, Davido, arguably the biggest artist on African soil, signed a monster $1 million deal with Sony Entertainment, capping off years of growing interest in African artists as means of tapping the region's rapidly expanding entertainment industry, especially as more initiatives are launched to connect Africans to the internet in greater numbers. And if recent social media posts are to be believed, fellow Afrobeat stalwarts Wizkid and Tiwa Savage aren't far behind.", "domain": "music_and_dance"}
{"url": "http://thenewyorkcitypost.com/tilak-bam-malla-the-most-demanding-nepalese-singer-in-the-usa/", "date": "2018-04-26T03:51:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-17/segments/1524125948064.80/warc/CC-MAIN-20180426031603-20180426051603-00034.warc.gz", "language_score": 0.9849826097488403, "token_count": 970, "dump": "CC-MAIN-2018-17", "global_id": "webtext-fineweb__CC-MAIN-2018-17__0__201045165", "lang": "en", "text": "– Rajan Thapaliya, New York\nMany Nepalese adults are curious about a question, who is the most demanding Nepalese singer in the USA? His name is Tilak Bam Malla. People better know him by his stage Name Parivesh. His Mega hit legendary song “MUTU CHUNE LUMLE KO HAWA LE” is one of the most popular Nepali songs.\nTilak Bam Malla is very honest, loyal and knowledgeable singer of Nepal. He is a well known established singer of Nepal. His original singing skills caught the attention of various audiences. His deep interest and admiration for commentating on music have allowed him to obtain a remarkable voice to reach out to Nepalese musical audiences.\nWherever he goes: most folks request him to sing this song. Nepali community recognized him as a “Stage king”. Especially when he sang a song in the folk genera.\nHe proved that he is one of the most dynamic singers of Nepal. We all know action speaks louder than the word. Even in his personal life, he talks less, but his work shows he is the versatile singer. Recently he performed in Queens, Long Island, New York, and Connecticut during the Nepali New Year. Frequently he performs in different states. His schedule is almost full until next July.\nAs for his personality characteristics, Mr. Malla is considered to have a cheerful and humble personality, also known for his boldness and utmost charisma that he shows in his music. Furthermore, he is incredibly brilliant at dealing with people and networking and always impressing others with his exceptional Himalayan folk music with his signature dazzling smile.\nHe believes in the principle “Do whatever you like – but remember, anybody can do things for themselves, but to do something for others is a great thing.” This principle motivated him to do some beneficial things to the society. Tilak believes in hard work, dedication, and honesty as his main principles. He is proud to be a man of his word.\nTilak Bam Malla had interest in singing from his childhood and used to sing in school’s programs without telling his family. When he turned 18, he had been thinking to record an album. With this aim, he went to Radio Nepal for voice test and passed it. After passing voice test from Radio Nepal he started singing contemporary popular songs and folk and in 1996 he sang his first song Yo Baadal Yo Barsha.\nHe first gained popularity in the late 90s for his second Lok Pop album Parivesh Vol.2 with all-time hit songs like Mutu Chune, Bhote Talcha, Haat Ma Rumal and Chaite Dashain, and was dubbed as the pioneer of Lok Pop genre in Nepalese music industry.\nMr. Malla is an owner of music “Parivesh recording studio”. Remembering the problems he faced in past, today he opts to seek and support talented and passionate music lovers who want to revolutionize Nepali music industry.\nThis legendary singer is the musical heart of many Nepalese youths. Mr. Malla is a humanitarian and has participated and spoken out for various social causes, especially during devastating earthquake of Nepal in 2015 and aftermath. He was also awarded by various honors and awards for contributing in the field of social work and welfare acts. Tilak Bam Malla has been involved in many social works. Malla is the very responsible person with responsibilities toward his society and country along with his singing profession.\nPioneer of folk’s pop music in Nepal Tilak, from Pokhara, he is the family members of Martyr Thir Bam Malla, has sung dozens of hit Nepali pop songs and people songs are nevertheless playing in Nepali young people’s heart. As a member of martyr circle of relatives, nobody in his circle of relatives had interest in song, singing or dancing, but as a contrary to this environment, Tilak Bam Malla had an eager interest in music, which grew along with his age. though there has been no apparent career opportunity in the music industry, at some point of that point, he decided to step in and observed his ardor in music.\nThere is no doubt that Tilak Bam Malla has established himself as one of the most prolific singers of Nepal has known. He has achieved many accomplishments within a very short span of time and will only continue to impress his people in the future. When asked the reason behind his success, Mr. Tilak Bam Malla replied, ‘Strong interest, Knowledge, and honesty to work’. It is with these words that all should seek inspiration to excel in their individual endeavors.", "domain": "music_and_dance"}
{"url": "https://oagirl.wordpress.com/2011/09/21/the-muscian/", "date": "2018-03-22T09:41:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-13/segments/1521257647838.64/warc/CC-MAIN-20180322092712-20180322112712-00597.warc.gz", "language_score": 0.9526296257972717, "token_count": 300, "dump": "CC-MAIN-2018-13", "global_id": "webtext-fineweb__CC-MAIN-2018-13__0__29600039", "lang": "en", "text": "I wish for one moment I could stop and hear the tune that You play in my heart.\nStop the busyness, stop the running, stop the plodding.\nSoftly, I hear…\nI hear the dissonance of a piano as the keys are strikingly touched one by one,\nechoing in my ears.\nYour song, a tune I hear not often.\nBut, it is there all the time.\nA funeral dirge is that what You are playing today, I ask?\nI know why?\nIn my work, I face times of frustration and confusion, anger and resentment.\nBut, yet You still play your song in my soul.\nIt is in this pain and hollow that my ears are opening to Your music.\nI hear Your song.\nEven though I feel inadequate and unworthy.\nI hear Your song, just for me.\nI hear you say there is a lesson to be learned, and that this will not last forever.\nThe song plays.\nComments, suggestions, thanks…Your song plays and raises my spirit.\nI always hated funeral dirges, but not now.\nI know that this is Your song being played through me.\nYour divine love.\nChanging my life.\nOld to new.\nDeath to birth.\nA new being emerges.\nI enjoy the music You play, knowing that you are near.\nIt never stops.\nAnd, now I listen.", "domain": "music_and_dance"}
{"url": "https://miamismoothjazzfest.org/news-updates/", "date": "2020-10-30T14:32:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107910815.89/warc/CC-MAIN-20201030122851-20201030152851-00060.warc.gz", "language_score": 0.9219117760658264, "token_count": 578, "dump": "CC-MAIN-2020-45", "global_id": "webtext-fineweb__CC-MAIN-2020-45__0__86309115", "lang": "en", "text": "Miami Smooth Jazz Festival 2019 Artist Performance Times_updated\nMIAMI SMOOTH JAZZ FESTIVAL 2020 GOES VIRTUAL\nFOR IMMEDIATE RELEASE\nInteractive Professional Media Group\nMIAMI, FL, October 25, 2020 – The Miami Smooth Jazz Festival is following the guidelines of health experts and Miami Dade County Officials by not holding a large gathering this fall. We will not take any risks that would endanger the health of music fans, artists, and our staff. We are grateful to the thousands of music fans who support our efforts and therefore we will keep the music playing this fall. We are looking forward to you joining us for the free Virtual Miami Smooth Jazz Festival 2020 on Saturday, November 7th at 7PM ET at www.MiamiSmoothJazzFest.org.\nOrganizer Cedric Allen says, “As we have seen so many other music festivals fall victim to the pandemic, we wanted to keep music fans safe but not allow the state of affairs to deny you the music you so richly deserve.” Allen added, “While it’s disheartening that we couldn’t be with you in person, we had to figure out a way to bring you the sound of music again this year, that’s why we decided to give you the Virtual Miami Smooth Jazz Festival.”\nAs with our first festival, this year the Virtual Miami Smooth Jazz festival 2020 will lead up to the Veterans Day holiday. We again will honor our nations’ veterans for their sacrifice to our nation. This year, we are also saluting first responders everywhere, as they are on the front lines fighting to keep others safe during the pandemic. We say thank you to our Heroic Veterans and our Front-line Heroes.\nWe are pleased to have as our host for the Virtual Miami Smooth Jazz Festival, the innovative and contemporary smooth jazz saxophonist, Marion Meadows. “The move to the virtual allows the Miami Smooth Jazz Festival to give you the music that binds us all so beautifully,” says Meadows. He adds, “I look forward to you joining us for an amazing evening of the healing sound of music, artist interviews, and our expressions of love for you during this pandemic.”\nWhile Covid-19 has a changed a lot. It will not stop the Miami Smooth Jazz Festival from sharing the universal sound of music. We will keep the music playing.\nAbout the Miami Smooth Jazz Festival\nThe Miami Smooth Jazz Festival launched in 2019 with an inaugural event that drew thousands. The top caliber talent that provided south Miami Dade County with the best musical performers in Jazz, Rhythm and Blues and Latin Jazz. The setting for the first festival was on the grounds of Zoo Miami. For more information visit www.MiamiSmoothJazzFest.org", "domain": "music_and_dance"}
{"url": "http://wpnsyear5.blogspot.com/2014/06/music-workshop.html", "date": "2019-07-17T10:28:51Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-30/segments/1563195525136.58/warc/CC-MAIN-20190717101524-20190717123524-00332.warc.gz", "language_score": 0.983688235282898, "token_count": 132, "dump": "CC-MAIN-2019-30", "global_id": "webtext-fineweb__CC-MAIN-2019-30__0__159489698", "lang": "en", "text": "Today we had a fantastic day with Year 6 and Mr Clark. We decided that we wanted to write a new school song and spent the day working on this. First, we worked on learning about how musicians go about writing a song; we looked at different examples and then Mr Clark taught us about major and minor chords.\nAfter playtime, we thought of lyrics to describe our school and looked at rhyming patterns.\nFinally, Mr Clark worked over lunch time and composed the melody and we worked on verse 2 and the bridge. We are going to spend the next few weeks learning the song before we perform it for everyone at the end of the year!", "domain": "music_and_dance"}
{"url": "https://newslj.com/gillette-residents-teach-and-learn-embody-square-dance-language", "date": "2024-04-23T18:38:08Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818732.46/warc/CC-MAIN-20240423162023-20240423192023-00404.warc.gz", "language_score": 0.961495041847229, "token_count": 1280, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__117035035", "lang": "en", "text": "Gillette residents teach and learn to embody the square dance language\nDandy Dan Hopper calls a square dance Tuesday, March 19, during a weekly lesson hosted by Levis and Lace Social Square Dance Club at the Rockpile Community Center in Gillette. Hopper’s been calling dances with the local club since the late 1980s.\nGILLETTE — A complicated language greets anyone visiting a square dance class for the first time.\nSlip the clutch. Spin the top. Do Paso. Allemande left.\nThe words ring out as music bops behind it, choreographing a pattern dancers seem to magically follow.\nWhat do they mean?\nSlip the clutch — someone having car trouble? Spin the top — play time with kids?\nDan Hopper’s role as a square dance caller explains the language and phrases to newcomers, opening the door of the square dance community to those taking lessons for the first time.\n“I’ll teach them the calls and then I’ll throw music on and we’ll do what’s called a patter, music with just calls,” he said. “Then you move onto a singing call, which has lyrics and calls. You do two of them and that’s called a tip.”\nHopper began in his role with the Levis and Lace Social Square Dance Club in Gillette in the late 1980s, shortly after learning square dance itself in 1985. In the beginning, he said the club’s dances brought out about 50 couples. Those numbers dropped throughout the decades and especially during the beginning of the COVID-19 pandemic.\nSocial distancing separated dancers and many venues where clubs met also temporarily closed down.\nLocally, the dance club still gives lessons to those who’d like to learn but the amount of interest has dipped. Shirley Study, a longtime club member, said this year was better, with about 10 signing up for lessons in November and 12 who recently joined lessons beginning in February.\nLearning the lingo\nOn Tuesday evening, the new students came into the Rockpile Community Center with a better understanding of the square dance lingo.\nSpecific phrases or words inferred turns, a trade of partners or quick releases in the square made up of eight dancers. As Hopper made the calls, many followed quickly into formations, moving smoothly to end up where they needed to go.\nIf they missed a step, Hopper was quick to fix the issue, speaking lightly into the microphone while music continued.\nHopper said he’s stuck with calling for the last three decades because he enjoys it.\n“I used to rodeo as a bull rider and this is what the old cowboys do when they quit rodeoing,” he said with a chuckle. “They become square dance callers.”\n“Give him a mic and he’s dangerous,” Jeff Kuray quipped.\nHopper steers dancers through calls each week that represent different movements. All together, there’s 68 calls or movements he can use in mainstream square dancing that dancers should know how to follow.\nThe number drops to about 50 calls if students learn only the social square dance movements. Once they learn the language, dancers simply have to keep up.\nHopper’s task is more multifaceted.\n“He hides his light under a bushel,” Kuray said. “Being a caller is a multi-tasking position. He has to watch the square, he has to sing a song and then he has to filter the calls in among the lyrics.”\nMost dances begin with a patter, where a caller will speak or chant the words in a pitch to give dancers a taste of what to expect. After the patter, Hopper transitions into music with lyrics, chanting the calls into tunes like “Fisherman’s Luck.”\nStudy said that once dancers know the calls the feet follow.\n“It’s really not too difficult,” she said. “You know where to go.”\nWillus Elsasser said dancers always keep their ears out for the calls because callers can chant them in whatever order they’d like, always changing sequences and keeping dancers on their toes.\nThe 84-year-old said keeping everyone in tandem — the eight dancers needed to make a square — is one of the most difficult parts of the dance.\n“You just kind of listen to him and then watch where to go with your arms,” he said. “It can just be so fun for this old man.”\nHe and Study said the square dance community remains one of the main factors that keeps them involved. Dancers will come to the center to watch the lessons and dance. They mingle with longtime friends. It’s a social time for younger dancers and seasoned vets.\nThose in the audience are also ready to jump into action if a single dancer needs a partner, something Heidi DeStefano said she appreciated about the group. DeStefano said she and her husband would see the group’s A-frame signs around town advertising the club throughout the years but finally decided to act on taking lessons last year.\nShe spoke to the mental effort it takes to follow a caller’s sequence.\n“A lot of it’s muscle memory because the calls are the same,” she said. “But you do have to concentrate, it’s good for the brain by the time you’re done.\n“It’s a workout for your brain for sure because you have to keep up with it and you can’t really talk because you just have to move.”\nAs DeStefano described the movement, dancers in two squares at the front of the room showcased the new skills they learned that evening. Feet moved swiftly and carefully around others, while arms led or followed the called out motions.\nThe once foreign language was becoming familiar.\nThis story was published on March 23, 2024.", "domain": "music_and_dance"}
{"url": "http://karayorgis.com/Pages/temp_pages/BostonGlobemi3.html", "date": "2018-10-17T19:15:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583511206.38/warc/CC-MAIN-20181017174543-20181017200043-00376.warc.gz", "language_score": 0.9532814025878906, "token_count": 557, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__208990763", "lang": "en", "text": "CAMBRIDGE -- The mi3 is a piano trio of a different color. Pandelis Karayorgis usually performs on acoustic piano, but in the mi3 he plays a Fender Rhodes electric keyboard using wah-wah and distortion pedals. The result by turn resembles organ, guitar, and science-fiction sound effects. Yet the mi3 is deeply rooted in the adventurous jazz piano tradition that is Karayorgis's metier.\nSunday night at the Zeitgeist Gallery, the trio featured not only Karayorgis's knotty compositions but also several lesser-known tunes by Thelonious Monk, as well as two by Hasaan Ibn Ali , a shadowy figure who recorded a single album in the mid-1960s under the auspices of drum legend Max Roach.\nThe loose-limbed and inventive drumming of Curt Newton and the agile, warm-toned acoustic bass playing of Nate McBride are essential to the mi3 sound. Colleagues for almost two decades, these three musicians are masters of give and take, with the ability to establish a deep swinging groove or float freely.\nKarayorgis's loping \"Betwixt\" featured squelchy, distorted Rhodes and McBride's dancing bass. An as-yet-untitled Karayorgis number was both angular and blurry, underlined by Newton's lurching drums.\nThe trio played Monk's \"Green Chimneys\" with a meaty swing. McBride's bass statement built to a solo reprise of the theme, leading to a rolling Newton solo. Monk's music dominated the set, which included a brief, lush version of his ballad \"Blue Light,\" a roller-coaster take on his early bebop number \"Humph,\" and a strolling \"Brake's Sake\" as an encore.\nWith the addition of the evening's two Hasaan tunes, McBride observed, the mi3 now has all of his recorded compositions in its repertoire. \"Pay Not, Play Not\" alternates double-time and relaxed episodes, and the trio had a field day running its obstacle course. \"Off My Back Jack\" began with bowed bass and lush swaths of color from Karayorgis, whose bell-toned solo kept returning to the tune's haunting first phrase.\nOpening and almost stealing the show was a set by the duo of saxophonist Charlie Kohlhase and virtuosic trombonist Jeff Galindo. Playing Kohlhase's compositions, the two ran the gamut of horn timbres and duo strategies in an exhilarating and witty game of musical cat-and-mouse.\n© Copyright 2006 Globe Newspaper Company.", "domain": "music_and_dance"}
{"url": "https://www.havenfellowship.org/events/christmas-musical/", "date": "2022-09-27T10:48:27Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030335004.95/warc/CC-MAIN-20220927100008-20220927130008-00713.warc.gz", "language_score": 0.9422168731689453, "token_count": 166, "dump": "CC-MAIN-2022-40", "global_id": "webtext-fineweb__CC-MAIN-2022-40__0__115087273", "lang": "en", "text": "Cookies & Carols 2021\nAlthough COVID has kept us from being able to host our traditional Christmas choir concert, it hasn’t stopped us from celebrating Christmas music together. We invite you to join us for a celebration of Christmas carols on Sunday, December 5th at 6:00 PM. We’ll have some special music by soloists and small groups and of course the opportunity for you to join in singing some of your favorite Christmas songs..\nStick Around for our Cookie Fellowship\nThe Fellowship Team will be hosting a cookie fellowship following the concert. They are asking the congregation to provide cookie/candy trays.\nPlease plan to bring your goodies ready to serve on a plate or tray on Sunday morning, December 5. Please label all plates/trays and leave them in the kitchen.", "domain": "music_and_dance"}
{"url": "https://entireleaf.com/music-pulse-board-exploring-the-magic-of-music/", "date": "2024-03-02T23:21:20Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476137.72/warc/CC-MAIN-20240302215752-20240303005752-00643.warc.gz", "language_score": 0.8934782147407532, "token_count": 540, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__35898045", "lang": "en", "text": "In the vast and ever-evolving realm of music, innovation knows no bounds. One such innovation that has taken the music industry by storm is the Music Pulse Board. In this article, we will delve into the captivating world of Music Pulse Boards, understanding what they are, how they work, and their profound impact on music creation and performance.\nWhat Is a Music Pulse Board?\nImagine a canvas that translates rhythm into art, where music takes shape visually. A Music Pulse Board is precisely that a unique platform where sound and visuals harmonize. These boards are revolutionizing the way musicians and artists perceive and interact with music.\nThe Anatomy of a Music Pulse Board\nLet’s dissect the components of a Music Pulse Board:\nAt its core, a Music Pulse Board relies on sensory input. Microphones, sensors, and even MIDI controllers capture audio signals, ensuring a seamless connection with the music being played.\nThe captured audio is then translated into mesmerizing visuals, providing artists with real-time feedback. This visual representation adds a layer of creativity to the music-making process.\nUsers can customize the visual elements, including colors, patterns, and shapes, allowing for a personalized experience that mirrors their musical style.\nThe Evolution of Music Creation\nWith Music Pulse Boards, the process of creating music reaches new heights.\nArtists can now compose music while simultaneously visualizing it. This unique approach encourages more expressive and innovative compositions.\nIn a live setting, Music Pulse Boards elevate the audience’s experience. As musicians play their instruments or sing, the visuals react dynamically, creating a multisensory spectacle.\nThe Impact on Music Production\nThe integration of Music Pulse Boards into the music production process has been game-changing.\nProducers and musicians can collaborate more effectively by sharing their creative vision through the visual representations of their music.\nInspiration and Creativity\nThese boards often serve as a wellspring of inspiration, helping artists break creative barriers and explore new musical horizons.\nMusic Pulse Board Technology\nTo bring this innovation to life, cutting-edge technology plays a pivotal role.\nMachine Learning Algorithms\nSophisticated machine learning algorithms analyze audio inputs and generate corresponding visual patterns, ensuring a seamless connection between sound and visuals.\nMusic Pulse Boards are designed to be compatible with various music production software, making them accessible to a wide range of musicians.\nMusic Pulse Boards represent a revolutionary shift in the world of music. They empower artists to transcend traditional boundaries and create music that engages not only the ears but also the eyes. As technology continues to advance, we can only anticipate even more exciting developments in this fascinating realm.", "domain": "music_and_dance"}
{"url": "https://magazinepro.co/bruno-mars-biography/", "date": "2024-03-01T18:23:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475422.71/warc/CC-MAIN-20240301161412-20240301191412-00679.warc.gz", "language_score": 0.9626419544219971, "token_count": 2127, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__26194982", "lang": "en", "text": "Bruno Mars was born Peter Gene Hernandez on October 8, 1985 in Honolulu, Hawaii. His father, Peter Hernandez, was a Latin percussionist from Brooklyn, and his mother, Bernadette San Pedro Bayot, was a Filipina singer. As a young child, Bruno was surrounded by music and performance.\nHe got his stage name, Bruno Mars, from a young age. As a child, Bruno was small in stature but had big personality and talents. This led his father to nickname him “Bruno” after wrestler Bruno Sammartino, while his friends called him “Little Mars” due to his high energy. He eventually combined the two nicknames into Bruno Mars.\nBruno grew up in a very musical family. He was exposed to wide array of music including reggae, rock, hip hop, and R&B. His uncle was an Elvis impersonator, which also influenced Bruno’s eclectic tastes.\nEarly Musical Experiences\nFrom a very young age, Mars showed great musical talent and versatility:\n- At age 2, he was impersonating Elvis Presley\n- At age 4, he was performing on stage with his family’s band\n- He taught himself to play guitar and piano growing up\n- He performed in Waikiki beach clubs as a child\nMars learned to play a range of musical instruments, dance, and perform impressions and comedy routines at a very early age. This early exposure to performing shaped his future career.\nMusical Career Beginnings\nAfter graduating high school, Mars moved to Los Angeles in 2003 to pursue a career in the music industry. He adopted the stage name Bruno Mars, after the nickname his father gave him as a child.\nInitially, Mars struggled to get signed as a solo artist. So, he began producing songs and co-writing hit singles for other major artists including Flo Rida, Travie McCoy, Brandy, Sean Kingston, and Sugababes. His work writing catchy hooks and melodies soon made him a highly sought after songwriter and producer.\nMajor Songwriting & Production Hits\nSome of Mars’ early major songwriting successes included:\n- Flo Rida’s #1 hit “Right Round” in 2009\n- Travie McCoy’s “Billionaire” in 2010\n- Brandy’s “Long Distance”\n- Sugababes’ tracks “Get Sexy” and “She’s a Mess”\nMars also produced singles for Sean Kingston and Alexandra Burke during this period. This behind-the-scenes success laid the foundations for Mars eventual emergence as a solo star.\nBreakout Success with Doo-Woops and Hooligans\nAfter years of producing and writing for other artists, Mars was ready to step out on his own. He released his debut solo EP titled It’s Better If You Don’t Understand in 2010. While the EP had limited commercial success, it set the stage for his first full album.\nIn October 2010, Mars released his hugely successful first studio album Doo-Wops and Hooligans. The album reached #3 on the Billboard 200 charts. It was an upbeat album that blended pop, R&B, reggae, and soul influences into catchy, dance-ready hits.\nMajor Hit Singles\nDoo-Wops and Hooligans spawned several smash single hits including:\n- “Just the Way You Are” – hit #1 on the Billboard Hot 100\n- Grammy Award for Best Male Pop Vocal Performance\n- “Grenade'” – received the Grammy for Best Pop Solo Performance\n- “The Lazy Song'”\n- “Marry Me'”\nThis breakout album announced Mars as a major solo pop artist on the music scene. The album was nominated for 7 Grammys, winning Best Male Pop Vocal Performance for “Just the Way You Are.”\nContinued Success with “Unorthodox Jukebox”\nFollowing up on his smash debut album, Mars released Unorthodox Jukebox in 2012. The album showcased Mars’ wide range of musical talents across different genres from reggae fusion to funk and soul influenced pop.\nUnorthodox Jukebox shot to #2 on the Billboard 200 charts, kept from #1 only by Taylor Swift’s album Red. The versatile album solidified Mars as one of the biggest names in pop music worldwide.\nMany singles from the album became international chart-topping smashes:\n|“Locked Out of Heaven”\n|#1 Billboard Hot 100 for 6 weeks\n|“When I Was Your Man”\n|#1 Billboard Hot 100\n|#5 Billboard Hot 100\n|#7 Billboard Hot 100\nWith its catchy songs showcasing Mars’ incredible vocals and musicality, Jukebox cemented him as one of the most talented contemporary pop stars on the planet. It won the Grammy for Best Pop Vocal Album in 2014.\nHalftime Super Bowl Show & Subsequent Success\nOn the heels of two hugely successful albums, Mars was chosen alongside Beyonce and Coldplay to perform at the Super Bowl 50 Halftime Show in February 2016. His high energy performance of “Uptown Funk” was considered a major highlight of the show.\n24K Magic Album\nIn November 2016, Mars released his third studio album called 24K Magic. It featured a fun, upbeat combination of R&B, funk and soul influences.\nThe album and its retro-flavored title track single “24K Magic” were both huge successes. The album reached #2 on the Billboard charts, while the single hit #4 and won Record of the Year Grammy. Other hit singles included “That’s What I Like” and “Finesse.”\nMars promoted the album with a 200-show world tour in 2017-2018 that grossed over $350 million total. It cemented his status as a premier live performer and 24K Magic also won the Grammy for Album of the Year in 2018.\nEven outside of releasing his own albums and singles in the late 2010s, Mars collaborated with many top artists for hit songs. These collaborative smashes included:\n- “Please Me” with Cardi B in 2019\n- “Wake Up in the Sky” with Gucci Mane and Kodak Black in 2018\n- Remix of “Finesse” with Cardi B added in 2018\nHe also was featured on hit singles by other artists like Lil Wayne, Major Lazer, Snoop Dogg and more over the last several years.\nIn 2021-2022, Mars has been busy in Las Vegas with his elaborate “Bruno Mars at Park MGM” residency concert series at Park MGM hotel. He is reportedly also working on a new fourth studio album expected to release at some point in late 2023 or 2024.\nSo at only 38 years old, Bruno Mars still has much more sensational music and live performances to deliver to his legions of fans in the coming decade.\nIn summary, over the span of just a decade plus several years, Bruno Mars has become one of the top musical entertainers in the world today. With his incredible singing voice and musical talents ranging from songwriting to playing instruments to dancing/performing, Mars delivers it all.\nHe has shown remarkable versatility across musical styles like pop, R&B, funk, soul, reggae, and more. Few artists can so masterfully blend together such an eclectic mix. Mars’ unique background – growing up in Hawaii immersed in all different genres – no doubt contributed to his ability to fuse styles into catchy pop hits.\nAlong with his prodigious natural talents, Mars also works extremely hard at his craft – tirelessly honing his voice, playing instruments, dance moves, songwriting, and live performances. His epic world tours featuring elaborate productions and seemingly endless energy have drawn rave reviews from critics and fans alike.\nBruno Mars has already packed an astounding amount of musical accomplishment into a short career so far. He has broken chart records, won major awards like 11 Grammys, delivered instantly iconic songs and live moments. And at only 38 years old, Mars clearly has many more years ahead to keep making magic happen through his music.\nFrequently Asked Questions About Bruno Mars’ Biography\nHow did Bruno Mars get his stage name?\nBruno Mars got the two parts of his stage name from childhood nicknames – “Bruno” came from his dad’s nickname referencing wrestler Bruno Sammartino, while friends called him “Little Mars” for his energetic stage presence. He eventually combined them into his catchy adopted stage name.\nWhat instruments does Bruno Mars play?\nThanks to a very musical upbringing, Bruno Mars plays multiple instruments adeptly including guitar, bass, piano, keyboard, drums and percussion. His musical talents help him write, produce and record much of his own solo music and songs for other artists.\nWhat were some of Bruno Mars’ biggest early songwriting hits for other artists?\nSome of Mars’ early successful songwriting cuts were Flo Rida’s #1 smash “Right Round”, Travie McCoy’s “Billionaire”, Brandy’s “Long Distance” and Sugababes tracks “Get Sexy” and “She’s a Mess.” These laid the groundwork for his own solo career.\nWhat is Bruno Mars’ highest song on the Billboard Hot 100 charts?\nBruno Mars’ highest charting Billboard Hot 100 single so far is “Just the Way You Are” which hit #1 for four weeks in 2010-2011. It was from his breakout debut album Doo-Wops & Hooligans.\nHow much money did Bruno Mars’ 24K Magic World Tour gross?\nBruno Mars’ massive 200-show 24K Magic World Tour spanned 2017-2018. It grossed over $350 million in total across North America, South America, Europe, Australia and New Zealand. It cemented his status as an elite global live performer.", "domain": "music_and_dance"}
{"url": "https://verynicequotes.com/international-dance-day-quotes-and-messages/", "date": "2024-03-04T11:53:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476442.30/warc/CC-MAIN-20240304101406-20240304131406-00599.warc.gz", "language_score": 0.9089799523353577, "token_count": 833, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__126579155", "lang": "en", "text": "The Dance Committee of the International Theatre Institute (ITI) established April 29 as International Dance Day in 1982 to highlight the amazing diversity and talent of dancers all over the globe.\nThis date was chosen because it marks the birthday of Jean-Georges Noverre (1727-1810), the creator of modern ballet.\nThe main purpose to celebrate this day is to attract the attention of the wider public to the art form of dance. Moreover, the International Theatre Institute invites its members along with dancers, choreographers, dance students, and enthusiasts to join them in a grand Gala Celebration.\nThis event is held in the chosen host city decided on by the Executive Council of the International Theatre Institute.\nTo make this event more recognized and appreciated on a large scale each year the International Theatre Institute selects an outstanding personality from the world of dance to be the Message Author for the event. In the message, it is hoped that the author can underline the relevance and power of dance.\nInternational Dance Day Quotes and Messages\nHappy World Dance Day\nHappy International Dance Day\n“Dancing is poetry with arms and legs.” – Charles Baudelaire\n“Dance is the hidden language of the soul” ( Martha Graham)\n“Dance first. Think later. It’s the natural order.” (Samuel Beckett)\n“Any kind of dancing is better than no dancing at all.” (Lynda Barr)\n“Dance for yourself. If someone understands, good. If not, no matter.” – Louis Horst\n“Dancing is a perpendicular expression of a horizontal desire.” (George Bernard Shaw)\n“Those who can dance to any tune are the ones who love dancing beyond conditions.”\n“When you dance, you can enjoy the luxury of being you.” (Paulo Coelho) Happy World Dance Day\n“Great dancers are not great because of their technique, they are great because of their passion. ”( Martha Graham)\n“Work like you don’t need the money. Dance like no one is watching. And love like you’ve never been hurt.” (Mark Twain)\n“Life is short and there will always be dirty dishes, so let’s dance.” (James Howe) Happy International Dance Day\nDance is like breathing, it is like catharsis. Enjoy it to the fullest and let your feelings flow. Happy Dance Day!\n“Let us dance in the sun, wearing wild flowers in our hair…”( Susan Polis Schutz) Happy World Dance Day\n“And those who were seen dancing were thought to be insane by those who could not hear the music.” ( Friedrich Nietzsche)\nDance is the way to express your emotions and feelings and dance is also the way to enjoy your body…. Wishing a very Happy Dance Day.\n“Life isn’t about waiting for the storm to pass…It’s about learning to dance in the rain.” (Vivian Greene) Happy International Dance Day\nOn the occasion of International Dance Day, I wish that you always dance to the tunes you love and live life at your own terms. Happy Dance Day!\nWhile I dance I cannot judge, I cannot hate, I can not separate myself from life. I can only be joyful and whole. This is why I dance.” – Hans Bos) Happy International Dance Day\n“To live is to be musical, starting with the blood dancing in your veins. Everything living has a rhythm. Do you feel your music?” (Michael Jackson) Happy World Dance Day\n“If theater is ritual, then dance is too… It’s as if the threads connecting us to the rest of the world were washed clean of preconceptions and fears. When you dance, you can enjoy the luxury of being you.” (Paulo Coelho)", "domain": "music_and_dance"}
{"url": "http://www.etextarea.com/826486.html", "date": "2023-12-09T20:59:42Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100972.58/warc/CC-MAIN-20231209202131-20231209232131-00074.warc.gz", "language_score": 0.9397281408309937, "token_count": 404, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__60331160", "lang": "en", "text": "SoundCloud, the online music streaming platform, has become a driving force in the music industry, revolutionizing the way musicians distribute and consume music. With its user-friendly interface and innovative features, SoundCloud has opened doors for independent artists to showcase their talent to a global audience. This digital platform encourages artists to share their tracks, connect with fellow musicians, and engage with fans, fostering a sense of community within the music industry.\nUnlike traditional record labels, SoundCloud enables musicians to retain creative control and independence over their work. This unique advantage has attracted a vast number of musicians from various genres, making SoundCloud a melting pot of diverse music styles and sounds. Moreover, the platform’s algorithms and discovery features help artists gain exposure to new listeners by suggesting tracks based on their individual music preferences.\nFor listeners, SoundCloud offers an immersive experience by allowing them to explore an extensive library of songs from well-established artists as well as hidden gems yet to be discovered. Whether it’s finding the next big hit or enjoying niche genres, SoundCloud empowers music enthusiasts by giving them the autonomy to curate their personalized playlists.\nSoundCloud’s influence on the music industry cannot be understated. It has provided a level playing field for up-and-coming artists to compete with established acts and gain recognition solely based on their musical talent. This democratization of the music industry has resulted in a surge of diverse and innovative sounds, challenging traditional notions of what defines popular music. SoundCloud has indeed become a breeding ground for creativity, fueling the emergence of new genres and diverse musical movements.\nIn conclusion, SoundCloud has become an essential platform for musicians and music lovers alike. Its user-friendly interface, creative freedom, and extensive music library have transformed the way artists connect with their audience. As the music industry continues to evolve in the digital era, SoundCloud remains at the forefront, enabling independent artists to shape the landscape of modern music and reach new heights in their careers.#22#", "domain": "music_and_dance"}
{"url": "https://theworstofperth.com/2013/07/23/royal-baby-scoop/", "date": "2019-05-27T03:05:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232260658.98/warc/CC-MAIN-20190527025527-20190527051527-00519.warc.gz", "language_score": 0.9641246199607849, "token_count": 396, "dump": "CC-MAIN-2019-22", "global_id": "webtext-fineweb__CC-MAIN-2019-22__0__107052889", "lang": "en", "text": "“Her voice is gently complimented by a carefully considered orchestration, with acoustic guitar, piano, flute and warm strings, creating an atmosphere of peace and tranquility…”\nFree and flattering tranquility is what we need after the epic news of the Royal birth. And what better news could we have than that of “Kiwi superstar” Hayley Westenra giving her latest CD gratis to every baby born on the same day as the Royal toddler?\nMy Woogling suggests that’s more than 800 CDs.\n“Hayley – who has sold over four million albums in her career and holds the accolade of the fastest selling debut classical album of all time– is known for her passion for children, and was one of the youngest ever ambassadors for UNICEF,” the release press said.\nAnd: “Embraced by Hayley’s beautiful tones, ‘Hushabye’ contains a special selection of songs, clinically proven to calm and soothe listeners of all ages.”\n“I have a pure sounding voice, which has apparently helped a lot of parents get their children settled, so I had faith I was up to the challenge,” said Hayley.\nNot forgetting: “Hayley has dedicated ‘Hushabye’ to all new parents and babies the world over, and it contains the new song, Sleep On, which has been specially written for the Royal Baby by the “UK’s favourite living composer” Paul Mealor, with the lyrics provided by world renowned composer Brendan Graham (lyricist for You Raise Me Up). Their Royal Highnesses The Duke & Duchess of Cambridge personally chose Mealor’s music for their wedding in 2011, so ‘Hushabye’ is the perfect accompanying gift to celebrate the Royal Couple’s new arrival.”", "domain": "music_and_dance"}
{"url": "https://sportowefakty.net/from-novice-to-virtuoso-transform-with-music-lessons/", "date": "2023-11-29T16:19:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100112.41/warc/CC-MAIN-20231129141108-20231129171108-00770.warc.gz", "language_score": 0.8863275051116943, "token_count": 819, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__42375541", "lang": "en", "text": "In a world filled with countless forms of self-expression, music stands as a universal language that transcends boundaries and connects people on a profound level. Music can remarkably transform lives whether you’re an aspiring virtuoso or a curious novice. The journey from novice to virtuoso is not only about mastering an instrument or honing vocal skills; it’s a path of personal growth, discipline, and self-discovery. You Find Music Lessons provide the roadmap for this transformative journey. This article will explore the incredible journey from novice to virtuoso through the lens of music education.\nThe Power of Music Lessons\nBefore diving into the transformative journey, here emphasize the crucial role of music lessons in this process. Music lessons are structured learning experiences that offer aspiring musicians valuable insights, techniques, and guidance. They provide a platform for individuals to explore their musical talents, regardless of age or previous experience.\nEmbarking on the Journey\n- Choosing an Instrument: The first step is choosing an instrument that resonates with you. Whether it’s the majestic piano, the versatile guitar, or the soul-stirring violin, the choice should reflect your connection to the sound.\n- Finding the Right Teacher: A skilled and patient teacher is essential to guide you through the initial stages of learning. They will provide structure, correct your mistakes, and offer invaluable insights.\n- Setting Goals: Clearly define your musical goals. Do you want to play for personal enjoyment, join a band, or perform on stage? Setting achievable goals will keep you motivated and focused.\nThe Novice Phase\nYou enter the novice phase once you’ve embarked on your musical journey. Here, you are introduced to the fundamentals of music and your chosen instrument. It’s a period of exploration and discovery.\nKey Milestones of the Novice Phase\n- Basic Technique: You will learn the foundational techniques for your instrument, such as proper hand positioning, finger coordination, and breath control for singers.\n- Music Theory: Understanding the basics of music theory is essential. You’ll grasp concepts like scales, chords, and rhythm, which form the building blocks of music.\n- Repertoire Building: You’ll build your repertoire by learning simple songs and pieces. These help you apply your newfound skills and gain confidence.\nThe Journey Continues: Intermediate Stage\nAs you progress, you’ll enter the intermediate stage. This phase is marked by increased proficiency and a deeper understanding of music.\nIntermediate Stage Highlights\n- Skill Refinement: Your technique becomes more refined, allowing you to tackle more complex pieces of music.\n- Music Exploration: You’ll explore various musical styles and genres, broadening your horizons as a musician.\n- Collaboration: This is the stage where many musicians collaborate with others, whether in a band, orchestra, or ensemble.\nThe Virtuoso Within\nReaching the virtuoso level is a testament to your dedication and passion for music. Here’s what characterizes this final stage of transformation:\nCharacteristics of a Virtuoso\n- Technical Mastery: Virtuosos are known for their impeccable technique and precision. They can effortlessly execute even the most challenging musical passages.\n- Expressiveness: Beyond technical skill, virtuosos infuse their music with deep emotion and expression, captivating their audience.\n- Innovation: Many virtuosos contribute to the evolution of their instrument or genre, pushing the boundaries of what is possible in music.\nThe transformative journey from novice to virtuoso through music education is a testament to the incredible power of music. You can Find Music Lessons to shape your musical abilities and nurture personal growth, discipline, and self-expression. So, if you’ve ever contemplated taking up an instrument or singing lessons, remember that you’re not just learning notes; you’re embarking on a journey of self-discovery and transformation that can enrich your life profoundly.", "domain": "music_and_dance"}
{"url": "https://music.harveyeyeballs.com/album/whole-nuther-record", "date": "2023-12-10T13:12:08Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679102469.83/warc/CC-MAIN-20231210123756-20231210153756-00353.warc.gz", "language_score": 0.854191780090332, "token_count": 264, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__239981463", "lang": "en", "text": "Streaming + Download\nIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.\nPurchasable with gift card\nWhole 'Nuther Record by Harvey Eyeballs\nreleased October 8, 2015\nFox Schwach - vocals\nKatherine Perkins - vocals\nDoug Bleek - guitar (tracks 1, 2, 3, 5 ,7), bass (tracks 4, 6)\nChris Doyle - bass (tracks 1, 2, 3, 5 ,7), guitar (tracks 4, 6)\nJacob Blumberg - keys\nDave Palazola - drums\nDylan Mandel - auxiliary percussion\nAaron Rourk - alto sax (tracks 1, 3, 5), flute (track 3), bass clarinet (tracks 4, 7)\nDanny Fisher-Lochhead - alto sax (tracks 1, 3, 7)\nRecorded at Mason Jar Studios by Dan Knobler and Jacob Blumberg\nMixed by Fox Schwach\nMastered at Bonati Mastering by Josh Bonati\nAlbum photo by Jonno Rattman\nAlbum cover design by Steve Baust\nAll songs written by Fox Schwach.\nAll songs arranged by the band.\nall rights reserved", "domain": "music_and_dance"}
{"url": "https://www.travelsignposts.com/Austria/sightseeing/mozarthaus-the-only-surviving-mozart-residence-in-vienna", "date": "2023-11-28T22:39:00Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100016.39/warc/CC-MAIN-20231128214805-20231129004805-00578.warc.gz", "language_score": 0.9720372557640076, "token_count": 584, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__36714811", "lang": "en", "text": "Mozarthaus at Domgasse 5 in Vienna’s Aldstadt is the only one of Mozart’s apartments in Vienna that still exists today. Mozarthaus was not the first of Mozart’s residences in Vienna. When he moved into this luxurious apartment on 29 September 1784, he had already been living in Vienna for three years, and had been married to his beloved Constanze for two.\nA Prolific Time at Mozarthaus\nWhen Mozart moved to Vienna, he had worked his way up from an unemployed artist to a respected and prosperous pianist, composer and music teacher. His time at Mozarthaus is thought to have been his happiest and most productive part of his Viennese period. He lived here in grand style to 1787 and Mozarthaus was certainly the longest place that he had ever lived at.\nIt was at Mozarthaus that Mozart composed eight important piano concerti, chamber music works, a horn concerto, the “Masonic Music”, the Goethe song “Das Veilchen”, the cantata “Davide penitente”, the comedy “The Impresario” and the famous opera “The Marriage of Figaro”. On top of this, Mozart also gave numerous concerts, threw wild parties and hosted illustrious colleagues.\nMozart’s Vistors at Mozarthaus\nSome of the famous visitors and friends who visited Mozart at this building included:\n- His friend and mentor Joseph Haydn\n- Johann Nepomuk Hummel who lived in the apartment for several months, as Mozart’s pupil, an experience which was to have a lasting impact on his career as a musician and composer.\n- The 17-year-old Ludwig van Beethoven travelled from Bonn to take lessons from his great role model. Unforutunately before this could happen Beethoven’s mother fell ill and he had to hurry back home.\nMozarthaus is not far from St. Stephen’s Cathedral in Vienna’s Aldstadt. Visitors to Mozarthaus can learn all about this much-loved composer during the time when he lived in this building, his most important works and get to know the family, friends and foes who surrounded him in late-Baroque Vienna. His life and works are presented on four levels of exhibition space and on the first floor you will be able to visit the actual apartment where he lived.\nMozarthaus is managed by Wien Museum and there is a range of special exhibitions, educational programmes and museum tours and events that visitors can enjoy here.\nOpening Times: Daily 10 am – 7 pm\nA-1010 Vienna, Domgasse 5, 1st district\nMap of Vienna:", "domain": "music_and_dance"}
{"url": "https://hagueschool1.wixsite.com/hagueschool/copy-of-art-and-design", "date": "2022-09-28T10:40:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030335190.45/warc/CC-MAIN-20220928082743-20220928112743-00071.warc.gz", "language_score": 0.9489712715148926, "token_count": 804, "dump": "CC-MAIN-2022-40", "global_id": "webtext-fineweb__CC-MAIN-2022-40__0__259484803", "lang": "en", "text": "Music at Stewart Headlam and Hague Schools Federation\nThe National Curriculum for music aims to ensure that all pupils:\n• Perform, listen to, review and evaluate music\n• Be taught to sing, create and compose music\n• Understand and explore how music is created, produced and communicated.\nAt Stewart Headlam and Hague Schools Federation, our music curriculum intends to inspire creativity, self-expression and encourages our children on their musical journeys as well as giving them opportunities to connect with others. We hope to foster a continuous love of music by exposing children to diverse musical experiences and igniting a passion for music. By listening and responding to different musical styles, finding their voices as singers and performers and as composers, all will enable them to become confident, reflective musicians.\n‘Music is a universal language that embodies one of the highest forms of creativity’ (The National Curriculum)\nThe aims of our Music curriculum are to develop pupils who:\nCan sing and use their voices individually and in a group\nCreate and compose music on their own and with others\nUse technology appropriately when composing\nHave opportunities to learn a musical instrument\nUnderstand and explore how music is created, produced and communicated\nListen to, review and evaluate the work of great composers and musicians from a\nrange of historical periods, genres, styles and traditions\nEnjoy and have an appreciation of a range of different musical styles e.g. Classical, Jazz, Hip Hop, Pop, Rock etc.\nUse and understand musical language and include musical features in their own work\nMake judgements about the quality of music\nHave opportunities to play a wide variety of instruments\nHave different opportunities to take part in performances\nThe music curriculum ensures students sing, listen, play, perform and evaluate. This is embedded in classroom activities as well as weekly singing assemblies and various concerts and performances including class assemblies, the nativity and year 6 end of year performances. During whole school or phase assemblies, music is carefully chosen to represent different styles and composers to ensure children are introduced to a variety of music genres and styles.\nAt SHH we use Music Express as our scheme of work for music. This allows us to teach musical elements in classroom lessons so that children are able to use the language of music to discuss it, and understand how it is made, played, appreciated and analysed.\nAs part of the scheme, children also learn how to compose focussing on different dimensions of music, which in turn feeds their understanding when listening, playing, or analysing music. Composing or performing using body percussion, vocal sounds and technology is also part of the curriculum, which develops the understanding of musical elements without the added complexity of an instrument.\nWhilst in school, children have opportunities to forge their own musical journey, which allows them to discover areas of strength, as well as areas they might like to improve upon. The integral nature of music and the learner creates an enormously rich palette from which a child may access fundamental abilities such as: achievement, self-confidence, interaction with and awareness of others, and self-reflection. As Oracy is a key part of our curriculum, we believe that singing supports children in finding their voice, in projecting and building confidence and resilience.\nMusic will also develop an understanding of culture and history, both in relation to students individually, as well as ethnicities from across the world. Children are able to enjoy music, in as many ways as they choose - either as listener, creator or performer. They can discuss music and comprehend its parts. They can sing, feel a pulse, add rhythms and create melodies in a group and they can further develop these skills in the future and continue to enjoy and embrace music in their lives.\nTo find out more, please visit our progression of music document here.", "domain": "music_and_dance"}
{"url": "https://www.thebeatsanctuary.co.uk", "date": "2024-04-13T15:55:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816820.63/warc/CC-MAIN-20240413144933-20240413174933-00142.warc.gz", "language_score": 0.9566887617111206, "token_count": 151, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__42270176", "lang": "en", "text": "About this site\nThis site is a small archive of house music – predominantly from the mid to late 1990’s. It was originally set up as an occasional ad-hoc internet house music radio station that enabled us to play some great music to some good friends.\nWe’re rarely live on air these days – Back then, it was just an opportunity for us to stream a few house music mixes here and there when the mood took us.\nIn the archive section, there are a few of our converted cassette tapes from London pirate radio stations such as Girls FM, Pleasure FM, Risk FM, Friction FM, Passion FM, Soundz FM etc. broadcasting on various frequencies throughout the mid to late 1990s and beyond.", "domain": "music_and_dance"}
{"url": "http://www.tropicalsweets.com/the-first-ever-digital-debut", "date": "2019-05-25T19:22:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232258439.57/warc/CC-MAIN-20190525184948-20190525210948-00050.warc.gz", "language_score": 0.7512314915657043, "token_count": 221, "dump": "CC-MAIN-2019-22", "global_id": "webtext-fineweb__CC-MAIN-2019-22__0__58223435", "lang": "en", "text": "Introducing the First Ever Digital Release...\nThe Tropical Sweets® Classical Music Video Adventure features award-winning Nature imagery, natural sounds, and painstakingly selected rare classical music recordings. The 25th Anniversary Digital Debut Collector's Edition is now available on DVD from Amazon.com, or as a digital download from iTunes, Google Play, or Amazon Video.\n10% of all proceeds from your purchase will support scholarships for talented young artists!\nFeatured Music Menu Selections:\n1. Delius: Daybreak from Florida Suite\n2. Saint-Saens: The Swan from The Carnival of the Animals\n3. Mendelssohn: Calm Sea from Calm Sea and Prosperous Voyage Overture\n4. Rimsky-Korsakov: Flight of the Bumblebee from Tsar Sultan\n5. Respighi: The Dove from The Birds\n6. Saint-Saens: Aquarium from The Carnival of the Animals\n7. Delius: Sunset from Florida Suite\n8. Beethoven: Moonlight Sonata (Adagio sostenuto)", "domain": "music_and_dance"}
{"url": "http://manufacturingcontent.com/songbird/", "date": "2021-11-29T09:36:55Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358702.43/warc/CC-MAIN-20211129074202-20211129104202-00529.warc.gz", "language_score": 0.9425532221794128, "token_count": 106, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__42061424", "lang": "en", "text": "Make lyric videos to your favorite songs and share them online!\nSongbird is a new type of app designed just for making lyric videos. Make colorful, dynamic videos with animated text just by tapping along with the lyrics to your favorite songs. From there you can edit fonts, colors, effects, and timing. Add backgrounds that change along with the music using solid colors, beautiful presets, or your own photos. When you're done, export your videos to share them. Songbird works with the songs in your Apple Music library.", "domain": "music_and_dance"}
{"url": "https://www.plushpartyband.com", "date": "2024-04-19T21:01:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817455.17/warc/CC-MAIN-20240419203449-20240419233449-00895.warc.gz", "language_score": 0.9316174387931824, "token_count": 223, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__119985081", "lang": "en", "text": "Plush Party Band is a high energy, dynamic, upscale band known for show-stopping performances and packed dance floors. Whether for weddings, galas, corporate events or private parties, we tailor our performances for each audience. All ages are entertained with everyone’s favorite songs, from boy bands to modern top 40, jazz classics to country, Motown, 80s rock ballads, 90s hip hop, and more.\nPlush is a Certified Original Lineup band; we always perform with the same core band members, so you know exactly what to expect. The people you see in our videos and at live showcases are the ones who will perform for you! Our videos below were all recorded live at an event, guaranteeing an authentic sound/visual.\nWe have multiple band sizes, packages and configurations available, and we can handle all your music needs from start to finish. No matter which options you choose, we’ll make sure you and your guests never forget your celebration!\nDo you have questions about booking Plush for your event? See our FAQ page or contact us.", "domain": "music_and_dance"}
{"url": "https://www.gofortheglow.com/post/new-music-you-should-be-listening-to", "date": "2023-09-23T10:20:20Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506480.7/warc/CC-MAIN-20230923094750-20230923124750-00603.warc.gz", "language_score": 0.9864487648010254, "token_count": 450, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__285535709", "lang": "en", "text": "Less than two weeks ago Maren Morris dropped a new album and if you haven't listened to it yet, what are you even doing? You don't have to be a country music fan to love this woman. Her music sings so much louder than her genre with messages anyone can enjoy.\nThe album is called GIRL and includes a song of the same name that is my absolute favorite. It is perfect for any girl who feels like she's been in her own head and not feeling the best about herself. Though it is more about insecurities and comparing yourself to others, for me it came when I was going through a really bad experience in my love life and I felt like I wasn't acting like me and I was feeling sorry for myself. This song made me sing for the first time in weeks. It helped me feel my worth again. If you are down and need an anthem to get you back up, the title track \"GIRL\" is the song for you.\nOn top of that there are some really amazing love songs. Some heavier, about going through a rough patch, and some about more casual relationships. My other favorite song on the album is called \"The Bones\" and uses a house as a metaphor for a relationship. She emphasizes that \"the house don't fall if the bones are good.\" I needed that these past few weeks. I felt like if I didn't have Maren Morris I wouldn't have felt ok at all. All of her music is really phenomenal so if you haven't heard of her you should check her out. You can start with her new album but don't ignore her older stuff because it BUMPS. If you are looking for a song to start with try \"My Church.\" It is about the music on the radio being her church and I FELT THAT. It's one of those jams you just have to belt in the car with the windows down.\nDid I mention GIRL had the most streams in a week by a female country artist ever?? The facts don't lie. This is a great album and you all need to listen to it now!\nHave you guys heard it yet? Tell me what you thought in the comments!", "domain": "music_and_dance"}
{"url": "http://jklm.studio/nomads.html", "date": "2019-04-21T05:16:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578530176.6/warc/CC-MAIN-20190421040427-20190421062427-00535.warc.gz", "language_score": 0.9545317888259888, "token_count": 843, "dump": "CC-MAIN-2019-18", "global_id": "webtext-fineweb__CC-MAIN-2019-18__0__126886477", "lang": "en", "text": "Nomads is an evening-length dance performance that explores the human-made forces that shape our habits, interactions, and patterns of movement—and the new possibilities that emerge in their absence. How does the constructed environment impact our understanding of one another, and of ourselves? Who do we become outside of our cities and highways?\nImagining an alternate mode of being human, Nomads is inspired by the desire to engage the moment of composition as it unfolds. Ensemble members forge the raw materials of self, space, and imagination in real time, offering the audience a transparent view of the characters' essential humanity and elemental intelligence.\nAccompanied by a soundscape from local musicians Serge Gubelman and Erin Jorgensen, as well as Virginia-based sound artists Stephen Vitiello and Molly Berg (courtesy of 12k), Nomads invites the audience on a journey to discover who we are on untamed ground.\nJonathan Lilly is a martial artist-turned-dancer based in Seattle. After training in aikido for more than twenty years, he was introduced to dance, and realized that the movement skills he had been developing in the martial arts could be applied instead for artistic creation. In the past four years he has trained with many different teachers of improvisational dance, with a particular focus on a physically-based dance form called contact improvisation. Jonathan sees the practice of improvisational dance as a way to hone one’s ability to respond physically and emotionally in any situation. In his day job, he is a researcher studying ocean physics, in which he holds an undergraduate degree from Yale University and a PhD from the University of Washington.\nKori Martodam was born in 1980 in Cincinnati, Ohio and grew up among a family of scientists. She began her studies of performance and dance at Denison University, and graduated in 2003 with a BFA in Theater and a minor in Contemporary Dance. Over the last 15 years Kori has studied theater, contemporary dance, architecture, yoga, anatomy, physiology, design, composition, and poetry. She enjoys skiing, backpacking, running, and other good reasons to get outdoors. She finds performance and improvisation particularly suitable media for the creative integration of inputs coming from these various sources. Working with Jonathan and the ensemble of Nomads marks the beginning of a creative practice Kori has long hoped to realize.\nSpring Cheng is passionate about improvisation with elements such as movement, music, theatre, voice and the alchemy of those. For three decades, she has been cultivating her life force, called Qi in her native Chinese culture, through movement traditions such as Qi Gong and Tai Chi. Currently Spring is pursuing channeling this life energy into creative expression in a way that resonates with the field of the audience and the larger collective. She has been performing and producing shows at Velocity Dance Center and Taoist Studies Institute. More at springcheng.com.\nCorina Iona Dalzell migrated to Seattle in the fall of 2013. Since then she has performed in the work of Shannon Stewart, Sarah Kathryn Olds, Kimberly Holloway, Hannah Simmons, Noelle Chun, and Pe|MO, Alyza Delpan Monley, and The Three Yells. Corina serves the Seattle inclusive arts community as a movement arts facilitator specializing in workshops for individuals with disabilities. Originally from the Appalachian foothills of southeastern Ohio, Corina holds a BA in dance and collaborative studies from Bennington College. More at www.corinadalzell.com.\nMolly Levy grew up in Berkeley, California where she trained at Berkeley City Ballet and Ruth Asawa San Francisco School of the Arts. She continued her education in New York at Ailey/Fordham, pursuing dance and education and graduated summa cum laude with a BFA in Dance in May 2016. Molly has also trained at LINES Ballet, Robert Moses Kin, Bates Dance Festival, and Northwest Dance Project’s LAUNCH. She recently returned to the West Coast and lives between Boise and Seattle dancing, with LED, Verlaine and McCann, and others. More at mollylevy.com.", "domain": "music_and_dance"}
{"url": "https://www.edwige.co.uk/", "date": "2021-09-20T13:15:19Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-39/segments/1631780057039.7/warc/CC-MAIN-20210920131052-20210920161052-00207.warc.gz", "language_score": 0.9575395584106445, "token_count": 202, "dump": "CC-MAIN-2021-39", "global_id": "webtext-fineweb__CC-MAIN-2021-39__0__44135955", "lang": "en", "text": "A Brief Introduction\nEdwige, (pronounced as Edueezh) , one of the most original and inspired artists currently on the acoustic circuit has just released her fourth album “The Fourth Angel”.\nA singer/songwriter, she is very highly spoken of not only for the quality of her songs but also for the uniqueness and beauty of her voice; whether soaring in the higher octaves, or gently flowing in the lower ranges , Edwige cannot fail to give goose bumps.\nInimitable, incomparable and exhilarating, she will lift your spirits.\nThe new album The Fourth Angel is out NOW\nFind out more about this groundbreaking album in the discography section of this website, including audio samples and lyrics.\nThe latest album by the critically acclaimed artist, Edwige is available now.\nThis is the fourth album from the endless talents of Edwige. She will be performing various gigs to promote the release. Check the tour dates here.", "domain": "music_and_dance"}
{"url": "https://mmsgstore.com/product/professor-peytons-miracle-elixir/", "date": "2023-10-05T01:36:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511717.69/warc/CC-MAIN-20231005012006-20231005042006-00366.warc.gz", "language_score": 0.8462297320365906, "token_count": 216, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__250381141", "lang": "en", "text": "(Not currently available in the USA. Please contact us for more information.)\nFor Fine Cleaning of Musical Instruments\n- Cleans, Polishes and Protects all wood, plastic and metal finishes\n- Fingerboards and strings feel better\n- Nourishes wood, rejuvenates strings, preserves brass, steel, aluminum, etc.\nAll in one cleaning and polishing\n- Developed and tested over 10 years by a master luthier.\n- Perfect for guitars, ukuleles, banjos, strings, brass, keyboards, woodwinds, guitar amps, speaker cabinets, instrument cases.\n- Blends 5 nourishing, cold-pressed essential oils and gently effective cleaners.\n- Fingerboards, keys, nylon and steel strings feel better than ever; no sticky, waxy or slick residues.\n- Cleans, polishes and protects fine wood finishes, plastics from bakelite to ivoroid, plated and unplated metals.\n- Contains no toxins, wax, silicone, paraffin or synthetics.", "domain": "music_and_dance"}
{"url": "http://www.emmajayne.me/2016/07/billy-elliot-musical-review.html", "date": "2017-05-24T06:12:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-22/segments/1495463607802.75/warc/CC-MAIN-20170524055048-20170524075048-00548.warc.gz", "language_score": 0.9721592664718628, "token_count": 308, "dump": "CC-MAIN-2017-22", "global_id": "webtext-fineweb__CC-MAIN-2017-22__0__125337841", "lang": "en", "text": "So on Wednesday July 27th, my mom and I went to see Billy Elliot The Musical, the hit musical from the West End, visiting Ireland for the first time. In short, it was incredible, and I would totally recommend you go to see it. Here's everything you need to know.\nWhere? The Bord Gáis Energy Theatre, Dublin.\nWhen? 26th July 2016 - 3rd September 2016\nHow Much? €45 - €68.50\nWhat's It About? The musical doesn't stray too far from the movie, with an amazing score by Elton John. It is essentially about a young boy, brought up during the mining strike in 1984/1985 in the north of England, who goes against the grain to achieve his dreams of becoming a ballet dancer.\nMy Favourite Scenes? Without a doubt, the scene mentioned above with Michael and Billy singing 'Expressing Yourself' which blew the whole audience away, and the scene where Billy, and his older self (portrayed by Luke Cinque-White) did a duet. This one in particular totally captivated me, with the technique and choreography being of such a high standard. All I wanted to do was get up and dance with them!\nWould I Recommend It? 100%. Please go see it while it's here!\nI hope you enjoyed this review, I'll be going to see Once The Musical on Monday, so if you'd like to see a review of that do let me know.", "domain": "music_and_dance"}
{"url": "https://denverchambermusicfestival.org/john-stulz/", "date": "2019-01-22T13:37:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-04/segments/1547583850393.61/warc/CC-MAIN-20190122120040-20190122142040-00027.warc.gz", "language_score": 0.8639774322509766, "token_count": 267, "dump": "CC-MAIN-2019-04", "global_id": "webtext-fineweb__CC-MAIN-2019-04__0__196702402", "lang": "en", "text": "John Stulz plays viola with Ensemble Intercontemporain in Paris, France and is the founding co-artistic director of VIVO Music Festival in Columbus, Ohio. John has performed with such organizations as the Marlboro Music Festival, Klangforum Wien (Austria), Ensemble Modern (Germany), Omnibus Ensemble (Uzbekistan), Talea Ensemble and What’s Next? Ensemble in Los Angeles which he founded and ran for seven years with the conductor Vimbayi Kaziboni.\nAs a teacher, John works regularly with students at the Écoles d’Art Américaines de Fontainebleau, the Lucerne Festival Academy and Alumni, IRCAM's ManiFeste Academy, the Conservatoire Nationale Supérieur de Musique et de Danse de Paris, and the Decoda Skidmore Chamber Music Institute. Prior to joining Ensemble Intercontemporain in 2015, John was a fellow of Carnegie Hall’s Ensemble ACJW and holds degrees from the University of Southern California and the New England Conservatory.\nJohn’s teachers include Donald McInnes, Kim Kashkashian, Roland and Almita Vamos, and Garth Knox.", "domain": "music_and_dance"}
{"url": "https://blog.bobshop.co.za/10-most-popular-south-african-songs-of-2013/", "date": "2024-04-12T12:05:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296815919.75/warc/CC-MAIN-20240412101354-20240412131354-00450.warc.gz", "language_score": 0.9415573477745056, "token_count": 544, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__111158197", "lang": "en", "text": "South Africa has richly diverse music genres, which range from rock to house, kwaito to mbaqanga, pop to hip hop and jazz to fusion. Our compilation of the 10 most popular South African songs in 2013 is a way of celebrating this diversity and of congratulating the local artists who shared their craft with us all year. The songs on this list became anthems at events and in clubs and were played on every local radio station.\nLet’s have a look:\nJika by Mi Casa\nThis groovy and energetic track is from Micasa’s latest album, Su Casa, which launched in August. You were gauranteed to find this song on almost every local DJ’s playlist.\nOne Million Views by Goldfish featuring John Mani\nThis is from Goldfish’s latest album, Three Second Memory, which launched in October.\nIfunaya by Zakes Bantwini featuring J Martins\nThis song, Ifunaya, was made in collaboration with Nigerian singer-songwriter J Martins.\nDie Volkslied by Die Heuwels Fantasties\nDie Volkslied means ‘the national anthem’ and comes off their latest album, Alles Wat Mal Is meaning ‘everything that’s crazy’.\nMilli by IFani\nMilli is one of IFani’s latest releases and was another favourite on local radio stations and the local hip-hop scene.\nHappiness by Mafikizolo featuring May D\nHappiness is a track from Mafikizolo’s comeback album Reunited.\nSpin My World Around by DJ Kent featuring The Arrows\nSpin my world around took South Africa by storm and you could not go anywhere without hearing it.\nP.A.R.T.Y by Jack Parrow featuring Margot Rothman\nThis energetic and fun mix of Afrikaans and English track is another banger from Jack Parrow.\nMemoriam by Toya Delazy\nA great song from the Pop superstar’s Due Drop album.\nDesperado by Pascal & Pearce featuring Locnville\nThis great summer song had people on their feet the whole day.\nNow, head over to the bidorbuy music section and order for some of – or all of the titles above. You won’t regret it, for the best sounds of 2013 are sure to entice you in 2014 and beyond.\nWhat were your favourite home-grown tunes in 2013? Let us know on the bidorbuy Twitter page, with the hashtag #Top102013.", "domain": "music_and_dance"}
{"url": "http://www.wagneropera.net/biographies/johan-botha.htm", "date": "2022-11-27T16:20:18Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710409.16/warc/CC-MAIN-20221127141808-20221127171808-00181.warc.gz", "language_score": 0.9085263609886169, "token_count": 106, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__7453513", "lang": "en", "text": "Johan Botha (1965–2016)\nJohan Botha as Siegmund at the Bayreuth Festival. Photo: Bayreuther Festspiele\nJohan Botha (19 August 1965 – 8 September 2016) has performed at leading opera venues around the world, such as the Bayreuth Festival, Metropolitan Opera, Vienna State Opera, Royal Opera House (London), La Scala and the Salzburg Festival. He died of cancer on 8 September 2016 at the age of 51.", "domain": "music_and_dance"}
{"url": "https://www.fbcmanassas.org/upcoming-events/2018/4/26/minister-of-music-arts", "date": "2019-08-21T19:50:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-35/segments/1566027316194.18/warc/CC-MAIN-20190821194752-20190821220752-00161.warc.gz", "language_score": 0.9143319725990295, "token_count": 155, "dump": "CC-MAIN-2019-35", "global_id": "webtext-fineweb__CC-MAIN-2019-35__0__98879612", "lang": "en", "text": "First Baptist Church, Manassas, VA is seeking a Dynamic and Creative Minister of Music & Arts. Candidate must be a Christian and demonstrate a strong commitment to enhancing a music and arts ministry that brings glory to God. Willing to encourage diverse musical expressions to match the diversity of the congregation from traditional to contemporary. Responsible for the overall accountability for the ministry.\nMust be musically trained with proven record of leadership experience working with choirs, ensembles, praise teams, directing people, and conducting musical productions. Degree in music and/or licensed minister preferred. Email all inquiries, resumes, and applications to FirstBaptist.HR@gmail.com . For the detailed Minister of Music Job Description, click here. For a job application, click here.", "domain": "music_and_dance"}
{"url": "http://fstmusic.com.au/index.php", "date": "2020-05-26T16:55:11Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-24/segments/1590347391277.13/warc/CC-MAIN-20200526160400-20200526190400-00197.warc.gz", "language_score": 0.7969233393669128, "token_count": 266, "dump": "CC-MAIN-2020-24", "global_id": "webtext-fineweb__CC-MAIN-2020-24__0__56792092", "lang": "en", "text": "FST Music is a musical instrument distributor based in Melbourne, Australia. We have been in business for over 15 years and are committed to offering our customers great quality instruments at affordable prices.\nTribute Acoustic Electric Guitar\nGreat value acoustic with on board active pickup and tune\nModel: TRI-1CEMore Info\nFaith Naked Venus Lefthanded Acoustic Electric Guitar\nAward winning construction and playability!\nModel: FKVLMore Info\nTribute Soprano Ukulele\nBeautiful Solid top with Zebrawood back and sides!\nModel: TRI-UKSEQMore Info\nTribute Tenor Ukulele Gig Bag\nProtect your Tenor Ukulele with this neat padded gig bag!\nModel: TRI-UKB10-26More Info\nTribute Tenor Ukulele\nAmazing sound and sustain from this value packed tenor ukulele!\nModel: TRI-UK5EQMore Info\nTribute Slimline Acoustic Guitar\nSlimline Acoustic Electric guitar with solid Englemann spruce top. Sapele back and sides make this guitar sound full without the bulk of a full size Acoustic. Inbuilt active pickup with on board chromatic tuner.\nModel: TRI-7SCEMore Info", "domain": "music_and_dance"}
{"url": "http://dancedynamicsmaryland.com/Home.aspx", "date": "2019-09-20T03:39:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514573827.2/warc/CC-MAIN-20190920030357-20190920052357-00169.warc.gz", "language_score": 0.8865150213241577, "token_count": 518, "dump": "CC-MAIN-2019-39", "global_id": "webtext-fineweb__CC-MAIN-2019-39__0__39008823", "lang": "en", "text": "Classes focus on listening skills, balance, rhythm, coordination, and motor skills. Classes are designed to introduce basic steps, creative movement, and dance vocabulary. Ages 2-5.\nBeginner Tap /Intermediate Tap/Advanced Tap\nClasses focus on progressive and technical tap development. Emphasis is placed on proper body placement, positioning, and various rhythm and styles. Ages 5 and up.\nClasses teach introductory tumbling skills while focusing on developing strength. Classes are an introduction to flexibility and basic gymnastics incorporating motor skill development. Ages 4-6.\nBeginner Acro/Intermediate Acro/Advanced Acro\nClasses will have an emphasis on increased flexibility, balance, strength, muscle control, and concentration. Classes will focus on fundamental acrobatics, concentrating on each student’s individual level of experience and ability. Ages 6 and up.\nClasses include the basics of jazz movement. Coordination skills will improve with learning beginning turns, leaps, and jumps. Classes include stretch and strengthening exercises, floor work, and across the floor progressions. Ages 5-6.\nBeginner Jazz/Intermediate Jazz/Advanced Jazz\nClasses will enrich and extend students’ technical skills through center and progression work. Students will continue learning proper dance technique through isolations of the body, improving performance quality, and developing complex rhythm and patterns. Ages 6 and up.\nClasses introduce a strong foundation in ballet as well as balance, coordination, dance vocabulary, and proper body placement. Ages 4-6.\nClasses introduces the fundamental principles of ballet. Students learn age appropriate warm ups and stretches. Center work includes skipping, hopping, jumping, and leaping.\nIntermediate Ballet/Advanced Ballet\nClasses place emphasis on proper posture, placement and body alignment. Ballet fundamentals and terminology are expanded.\nClasses combine basic techniques and skills from ballet, jazz, and modern. Students will explore how lyrical dance emphasizes interpretation of music lyrics to tell a story will fluid or abstract movement. Ages 9 and up.\nIntermediate Lyrical/Advanced Lyrical\nClasses will combine more advanced skills from ballet, jazz, and modern. Students will continue to build on music interpretation. Movement will become more complex and intricate.\nClasses will combine street dance with funk and jazz, similar to what you would see on a televised dance performance. Students will learn the important of isolations and dynamics in movement. Students must also take a jazz class to be eligible for Hip Hop. Ages 9 and up.", "domain": "music_and_dance"}
{"url": "https://fulltilt.productions/meet-at-sundown", "date": "2023-12-06T18:06:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100602.36/warc/CC-MAIN-20231206162528-20231206192528-00783.warc.gz", "language_score": 0.9728766083717346, "token_count": 156, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__146416299", "lang": "en", "text": "Meet At Sundown returns to release their heaviest and dirtiest album yet with their release of the “REBORN” EP!!!\nThe album is full of energy, passion and aggression. REBORN is the follow up to the 2011 self tilted EP and contains six songs that are brutally heavy yet incredibly southern.\nREBORN has already garnered pre-release radio play. The upbeat track “Eternal” was featured on Harrisburg rock station 105.7 the X and “I Left My Heart In Dixie” was played on Dickinson College’s WDCV-FM 88.3. For more info on Meet At Sundown check out their website, and to buy or listen to their music go to their Bandcamp page.", "domain": "music_and_dance"}
{"url": "http://orkestraprojekt.org/index.php/support-us", "date": "2019-03-22T04:35:34Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-13/segments/1552912202628.42/warc/CC-MAIN-20190322034516-20190322060516-00085.warc.gz", "language_score": 0.9443701505661011, "token_count": 283, "dump": "CC-MAIN-2019-13", "global_id": "webtext-fineweb__CC-MAIN-2019-13__0__106364549", "lang": "en", "text": "Orkestra Projekt is dedicated to helping people discover the unexpected treasure inherent in classical and contemporary music combined with other artistic disciplines.\nWhat We Do\nOrkestra Projekt creates and presents innovative, eclectic musical events in an informal atmosphere to enhance the Indy music scene. We encourage the engagement of people who are currently interested in, but not experiencing, classical music and people who want more from their classical experiences.\nWe believe that music was meant to be heard and alive. Our events focus on the music of composers who are currently living, with other works included to create a diverse program. Each event is a unique experience that incorporate music with other artistic elements, such as dramatic lighting, projections, recorded elements, actors, and dancers.\nOrkestra Projekt was founded in 2003 to bring diverse new music to the Indianapolis area. Our events have been recognized by both audiences and critics as being unique and ever changing. Artistic Director José Valencia has directed the artistic vision of Orkestra Projekt since its inception.\nEvents that go beyond the expected. Collaborating with other arts organizations to create unique experiences.\nEnvironments that provide opportunities to be up close and personal with the music and for musicians and audiences to interact.\nDramatic lighting, projections, and unique musical selections combine to create an event sure to engage your senses.", "domain": "music_and_dance"}
{"url": "https://thestroudcourier.com/2011/10/31/toby-keiths-red-solo-cup/", "date": "2022-11-26T11:55:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446706291.88/warc/CC-MAIN-20221126112341-20221126142341-00220.warc.gz", "language_score": 0.9809721112251282, "token_count": 473, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__131415812", "lang": "en", "text": "By Faith Parker\nRecently, country music singer Toby Keith has cut a song that will soon become the anthem for college students worldwide. Keith has released the song “Red Solo Cup” as the second single off of his new album titled Clancy’s Tavern which was released on Tuesday, October 25th. His first single from this new album, “Made in America” has already become a No.1 hit.\nAs soon as the music video for “Red Solo Cup” was released on you tube it went viral. It was released on October 10th and within a week it had well over a half a million hits. People love how ridiculous this song is. On a radio interview with XM’s “The Highway,” Keith admitted that this song was stupid and not meant to be judged for its lyrical content. It is just meant to be a fun anthem for people that party with a red Solo cup in their hand (which is probably just about the entire college population). The song’s chorus states, “Red solo cup, I fill you up, let’s have a party!” Other lyrics are meant to be purely ridiculous and create the image of the crazy things that happen when people start drinking.\nThe music video itself depicts Keith walking through a college house party and viewers see all of the different uses that college students find for red Solo cups. The video is shot using no fancy editing; it is simply a guy with a video camera following Keith through a house party as he sings. In the first line of the song Keith sings, “Now red Solo cup is the best receptacle for BBQ’s, tailgates, fairs, and festivals.” You then see red cups everywhere, used for stacking, drinking games, and by famous celebrities like Carrot Top. The video is funny and easily relatable for college students.\nThe song was originally created as a challenge by a friend of the band that said they could write a number one hit about anything. Keith challenged them to prove it by writing a song about a red Solo cup. Within the next few weeks we will be able to see who the winner of this little bet is. If you haven’t heard this song yet, you need to check it out.", "domain": "music_and_dance"}
{"url": "https://www.echolakestudios.com/", "date": "2022-12-03T11:21:47Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710931.81/warc/CC-MAIN-20221203111902-20221203141902-00282.warc.gz", "language_score": 0.9732936024665833, "token_count": 381, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__153783208", "lang": "en", "text": "Capture Create Collaborate\nYour music matters\nWhy Echo Lake Studios?\nEcho Lake Studio is a musician's oasis where ideas come to life. It's a place where we pay attention to detail, where we listen to you and where we help you create impressive sounding music that deserves to be heard!\nWe are a full service studio offering music production, mixing, engineering, live music and drum videos, voiceovers, classes and more. We like to work with artists and bands who are looking for some extra direction with their work (but if you're an artist or band who wants to come in fully ready to record, we can do that too).\nOwner Matt Taylor can help you write or refine parts, arrange song structure or add instrumentation (including playing parts you may need) and he can help set you at ease by steering you vocally in terms of performance, lyrics, phrasing or enunciation.\nMatt has 30+ years experience in recording and music production in Atlanta, NYC and Seattle and is a lifelong multi-instrumentalist and vocalist who thrives on transforming musical ideas into art. Got a question? Email us today and let's make some music!\nMatt Taylor - Owner\nA musician since he was a wee lad, Matt spent his time in studios and bands of every variety in FL, GA, NYC and now in Seattle where he's been since 2007. He also ran local businesses Band It and the Urban Music Farm where he brought together hundreds of local musicians to play in short term cover bands for many years. You can often find him singing or playing drums, guitar, and bass in bands or studios around town. His favorite thing though is drawing on his years as a songwriter, bandleader and arranger to help produce and mix some of the best bands in Seattle. Matt is in league with the muse and he likes it that way.", "domain": "music_and_dance"}
{"url": "https://musicforproductions.wordpress.com/2013/08/", "date": "2020-03-28T08:41:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-16/segments/1585370490497.6/warc/CC-MAIN-20200328074047-20200328104047-00195.warc.gz", "language_score": 0.9475083947181702, "token_count": 1067, "dump": "CC-MAIN-2020-16", "global_id": "webtext-fineweb__CC-MAIN-2020-16__0__204282665", "lang": "en", "text": "At Music For Productions we make it easy for our customers to find the perfect song to fit their production with our easy to use music library. There are a number of ways to search and find genres, artists and themes in our music library, that are right for any broadcast, film or television project:\nThe “Best of Library”\nMusic For Productions saves producers the time and hassle of searching for the perfect track with a list that contains only the “best of” a variety of categories including:\nThese “best of” lists are one of the fastest and easiest ways to find production quality tracks quickly and easily for your next project.\nClients can browse the song catalogue for high quality tracks from a variety of genres. This includes indie artists, newly released songs and a wide variety of labels and composers. There are thousands of songs to choose from that can fit any project from the background music in a suspense scene to pop music for a commercial.\nIf your production has something specific in mind and requires a completely unique score, Music For Productions has a team of experienced composers that create original scoring for broadcast and film. The composers are matched with the client based on the genre of music that is required, and composers work with customers until their tracks are perfect for their project’s requirements.\nMusic For Productions makes it easy for producers to find the perfect track for their project through our highly organized music library. Browse the collection of broadcast quality tracks today.\nToronto, Canada, August 21, 2013 — Music for Productions has just announced that they have added new production music for film and TV. The service offers tracks and original scores for broadcasting, film and television that maintain the quality and standards that are necessary for professional audio tracks. Music for Productions works with new and popular composers to bring the best stock music quality to their clients, and releases new production music for film and TV on a regular basis, to keep productions fresh and to offer the widest variety of production music on the market.\nSome of Music for Production’s newest tracks includes “Take My Hand Again,” which is a charming song with a child-like sweetness. This track features a delicately rich female vocal and unobtrusive beats. Instrumentation includes body beats, upright piano, ukulele and a light string section. Another new track is, “Day Dreamer.” This is a steadily building track with delayed guitar and piano lines.\nMusic for Productions was founded in April 2005, and is Canada’s first on-line full-service supplier of music that delivers production quality tracks. The company offers four types of services: production music libraries, a song catalogue, custom scoring and music supervision services. The Music for Productions website is designed with usability and convenience in mind. Tracks are available 24/7 and producers, editors and music supervisors can source and license music from the comfort of their offices and studios.\nMusic for Productions encourages questions and comments about their production music for film and TV. The company can be contacted directly.\nMusic for Productions\n12 Bonfield Avenue\nToronto, Ontario, Canada\nToll Free: 1-888-MFP-MUSIC\nTo find out more about Music for Productions and production music for film and TV visit, http://www.musicforproductions.com or http://www.2.musicforproductions.com\nView Press Release Source here: http://www.pr.com/press-release/510832\nMFP’s stock music has a number of advantages when it comes to music for film and TV productions. The music that is in a film or television project has to be clear, high quality and easy to work with. When our stock music is purchased for the purpose of TV and film projects, everyone from the editors that are working on the tracks, to the audience hearing the music, will benefit from our high quality stock music track.\nWhy Use MFP Stock Music for Film and TV?\n- Our Stock tracks are written and recorded with broadcasting in mind. They are high quality and sound crisp and clear.\n- Synchronization and dubbing is cost effective. Stock tracks are very easy to work with.\n- Conveniently downloadable. There is no waiting for delivery and tracks can be found and heard instantaneously.\n- Minimal work is required by the customer to obtain licensing. Stock tracks save time and hassle for producers and managers.\n- Makes the production process more seamless overall.\nOur online stock music libraries are ideal because the collection can be grown, changed and organized in exactly the right way for your production. These tracks can be shared with others on the project so that colleagues can offer their opinion or approve the tracks that have been selected. Our stock music has made it easier for film and TV productions to be produced and they are a more affordable option when compared to other high quality music alternatives out there.\nMore producers are using our stock tracks because they are so easy to obtain and work with. Anyone that hasn’t had the chance to hear a sample should consider trying our stock music to instantaneously hear the quality and to receive the benefits of this convenient and affordable way to production quality music.", "domain": "music_and_dance"}
{"url": "https://www.siaron.co.uk/", "date": "2022-05-29T01:30:54Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00632.warc.gz", "language_score": 0.9520766735076904, "token_count": 202, "dump": "CC-MAIN-2022-21", "global_id": "webtext-fineweb__CC-MAIN-2022-21__0__322157274", "lang": "en", "text": "Dance and Fitness Instructor\nMy name is Siaron Moore and I am a dance teacher with over 25 years’ experience teaching children of all ages and adults. I started out with my own dancing school (The Sevenoaks School of Dance) teaching ballet, modern, tap and jazz. After the birth of my son Archie I sold the school to one of my teachers who continues to run the school today. I began teaching street dance classes in Primary Schools in 2010 and continue to do so to all ages at St John’s Primary School, Sevenoaks. I am also a Zumba and Fitsteps instructor, with classes in Sevenoaks and Brasted.\nMy greatest love is to teach and I have found my perfect occupation, teaching dance and fitness to both children and adults. In my spare time I like to spin (yes more exercise!), walk the dog, play the saxophone, learn Spanish, read and watch TV.", "domain": "music_and_dance"}
{"url": "https://www.stgeorgesnashville.org/inexcelsis", "date": "2023-09-21T15:59:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506028.36/warc/CC-MAIN-20230921141907-20230921171907-00602.warc.gz", "language_score": 0.9253500699996948, "token_count": 1047, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__98017294", "lang": "en", "text": "Dedicated to bringing high-caliber offerings to St. George’s, the In Excelsis Concert Series provides diverse, unique, and sacred musical listening opportunities to our community.\nAll concerts and worship services are offered free of charge, no tickets required. Questions about our concert series? Contact Woosug Kang, Director of Music Ministries I 615-385-2150 x 254 or email@example.com.\nFriday, September 8, 7:00pm\nDr. Damin Spritzer, Organ Concert\n“Assured confidence and refined musicality.” —Classical Music Sentinel\nWe open our In Excelsis Series with the passionate and refined playing of renowned organist Dr. Damin Spritzer, performing on our new organ, Buzard Op. 48. Dr. Spritzer is Area Chair and Associate Professor of Organ at the University of Oklahoma, and she has performed with historic churches and instruments in Iceland, Germany, France, Brazil Italy, Israel, England, and Norway. She has been honored to contribute to regional and national convention performances and lectures for the American Guild of Organists in Austin, Kansas City, Denver, Dallas, Columbus, and Seattle. Dr. Spritzer will remain at St. George’s to accompany the St. George’s Choir and Choristers in Choral Evensong on Sunday, September 10.\nFriday, October 6, 7:00pm\nThe Saint Thomas Choir of Men and Boys\n“The nation’s premier Anglican choir of men and boys.” —The New Yorker\nIn Excelsis continues to bring the finest sacred choral music to Nashville, by welcoming one of the most prominent choirs in the nation, and their first visit under the direction of the Jeremy Filsell, Organist and Director of Music at Saint Thomas Church Fifth Avenue. Considered by many to be the leading American ensemble in the Anglican choral tradition, the Saint Thomas Choir of Men and Boys provides music for five choral services each week at Saint Thomas Church Fifth Avenue, New York City. The choir regularly appears in concert with period instrument ensembles in New York, and for the past three decades has also toured throughout the United States and Europe.\nSunday, November 5, 6:00pm\nRequiem by Maurice Duruflé with St. George's Choir and Orchestra\nRegarded as one of the most sublime settings of the requiem text, Duruflé’s Requiem will stir the souls of the listener with its powerful harmonic language rooted in ancient chant. St. George’s Choir and Orchestra will present this work with interwoven readings and prayers. We invite you to come and honor the saints who have gone before us through powerful music and text.\nSunday, December 3, 6:00pm\nA Service of Nine Lessons & Carols\nPrelude by Dr. Wilma Jensen at 5:30pm\nA beloved annual tradition at St. George’s, the Service of Nine Lessons and Carols shares the joy and wonder of the promised Messiah through profound Scripture readings, Advent carols, and beautiful choral anthems. This festive service features all of our dedicated choirs: St. George’s Choir, the Choristers of St. George’s, and St. Dunstan’s Choir. Dr. Wilma Jensen, our Organist & Choirmaster Emerita, will offer a 30-minute prelude for this special occasion. This service is a well-attended favorite, so please arrive early.\nFriday, January 26, 2024, 12:00pm\nMozart Birthday Concert with Roger Wiesmeyer and Friends\nCelebrating one of the most remarkable composers in history, the Mozart Birthday Concert has become the annual delight here at St. George’s. Led and organized by Nashville-based musician Roger Wiesmeyer, we enjoy the delightful music of Mozart, celebrating his legacy as a composer. Each year, donations are collected for a deserving nonprofit organization.\nSunday, February 4, 2024, 6:00pm\nAbraham Wallace, Organ Concert\nAbraham Wallace is the recipient of the 2023-24 Gerre Hancock Internship through the Association of Anglican Musicians, a national organization that promotes the development and growth of high-quality Anglican music. Named after the acclaimed church musician Gerre Hancock from Saint Thomas Church Fifth Avenue, this internship is awarded annually to an extraordinary young musician who demonstrates skill and passion for the music and worship of the Episcopal Church.\nSunday, April 28, 2024, 6:00pm\nHymn Festival with the Choir & Choristers of St. George's\nLast year, the In Excelsis series began with a triumphant Hymn Festival as the opening program for our organ dedication series. We continue the celebration of our beautiful and thrilling Episcopal hymns as St. George’s Choir and Choristers lead the congregation in joyful singing.", "domain": "music_and_dance"}
{"url": "https://fylm.fr/ada-worldwide-announces-global-distribution-deal-with-south-coast-music-group/", "date": "2024-04-16T01:13:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817036.4/warc/CC-MAIN-20240416000407-20240416030407-00159.warc.gz", "language_score": 0.9490863680839539, "token_count": 678, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__82911317", "lang": "en", "text": "ADA Worldwide, the independent label and artist services arm of WMG, has recently announced a new global distribution deal with South Coast Music Group (SCMG). This partnership marks an exciting collaboration between two powerhouses in the music industry.\nFounded by music industry veteran Arnold Taylor, SCMG has quickly become a breeding ground for up-and-coming hip-hop acts from the Carolinas. The label is home to a roster of talented artists including Dustystaytrue, DeeYounginn, Luclover, and Big Mali. Taylor, who founded SCMG in 2014, has a proven track record of success with launching the careers of artists such as DaBaby and Toosii.\nADA Worldwide, headed by Cat Kreidlich, is thrilled to support and grow SCMG’s business. With a shared passion for music, ADA is eager to help these talented artists break through and connect with fans worldwide. The partnership with SCMG further expands ADA’s already impressive list of partners, which includes Sub-Pop, VP Records, Mute, and more.\nThis collaboration is a significant milestone for SCMG as it marks their first partnership with a globally renowned distribution company. The deal with ADA Worldwide opens up new opportunities for the label’s artists, providing them with enhanced visibility and promotion on a global scale.\nIn addition to this exciting news, ADA has recently secured global deals with other independent labels such as 10K Projects and Rostrum Records. The company has also played a key role in supporting major releases from rising stars worldwide, contributing to their success on the charts. Notable partnerships, such as Daft Punk’s catalog with TikTok and Peloton, have further solidified ADA’s position as a leader in the industry.\nAs the music industry continues to evolve, collaborations like the one between ADA Worldwide and SCMG demonstrate the importance of building strong partnerships to support emerging talent and drive innovation in the field. With this new distribution deal, SCMG artists are poised for even greater success, reaching new audiences around the world.\n1. What is ADA Worldwide?\nADA Worldwide is the independent label and artist services arm of WMG (Warner Music Group).\n2. Who is South Coast Music Group (SCMG)?\nSouth Coast Music Group is a music label founded by Arnold Taylor in 2014. It is known for nurturing up-and-coming hip-hop artists from the Carolinas.\n3. Which artists are signed with SCMG?\nSCMG is home to talented artists such as Dustystaytrue, DeeYounginn, Luclover, and Big Mali.\n4. What is the significance of the partnership between ADA Worldwide and SCMG?\nThis collaboration marks SCMG’s first partnership with a globally renowned distribution company, providing their artists with enhanced visibility and promotion on a global scale.\n5. Who is the head of ADA Worldwide?\nCat Kreidlich is the head of ADA Worldwide.\n– Label: A company or organization that produces and distributes music recordings.\n– Artist Services: Support and services provided to artists by record labels or other music industry organizations to aid in the development and promotion of their careers.\n– Roster: The list of artists signed to a music label or agency.", "domain": "music_and_dance"}
{"url": "http://www.heychinaculture.com/list_1/1482.html", "date": "2023-06-06T05:48:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224652235.2/warc/CC-MAIN-20230606045924-20230606075924-00366.warc.gz", "language_score": 0.9698100090026855, "token_count": 657, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__23952207", "lang": "en", "text": "Elephant-Foot Drum Dance of the Dai People\nThe elephant-foot drum dance is one of the most popular and representative traditional dances of the Dai people, one of China’s 56 ethnic groups. Performing the dance requires a high level of skills and can involve one or two individuals, or a group of people. This form of dance was originally intended to ward off evil spirits and usher in a good year. In addition to the Dai people, it is also popular among other ethnic groups in China such as Deang, Jingpo, Achang to name a few. It was listed as a national intangible cultural heritage item in 2008.\nThe elephant-foot drum is an iconic Dai percussion instrument named after its elephant-foot-shaped design, and has served an important role in the folk culture of the Dai people. Many legends have been passed down about the origin of the drum: one tale says that it was made by a couple attempting to imitate the sound of a mango falling into water, while another ancient tale tells how it was made by a group of people with a piece of dragon skin to celebrate their courageous killing of the evil creature that was responsible for a flood. Despite the folk stories, the earliest historical record of the drum dates back to the Ming Dynasty (1368-1644).\nElephant-foot drums are generally made of Chinese toon trees. The wood is first soaked in a pond for at least one year to make it crack-resistant and moth-proof and help it produce a mellower tone that will not easily fade. After that, the wood is drilled, polished, colored, and finally covered with a drum skin. The outside of the drum is usually carved with decorations of flowers, elephants and other motifs.\nTraditionally the elephant-foot drum dance is a masculine dance performed by men, as its movements evolved from traditional Dai martial arts. For this reason, the requirement for anyone desiring to learn this art is to first learn martial arts, otherwise their physical ability and flexibility in the dance moves will not meet the standard. The dance is quite physically taxing for beginners as it requires them to be able to carry a drum, have good body coordination, and keep up with the rhythm.\nDuring a performance, dancers carry a drum on their left shoulders with the drum head in the front and the drum tail in the back. Dancers’ right hands beat the drum with their fists, palms, and fingers, while the left hand complements the action, and sometimes elbows, knees, heels, and toes are also involved. Because the drum has a long structure, dance moves are mostly performed by the dancer’s legs, including such movements as squatting, lifting one leg, kicking, and sometimes a slightly lunging from side to side. According to the length of the drum, the dance has been categorized into three types: long, medium, and small elephant-foot drum dances.\nThe Dai elephant-foot drum dance is a means for the Dai people to express their joy as well as a vivid reflection of their village culture. Whether strictly following their traditions or creating new forms of cultural expression, generations of Dai elephant-foot drum dancers continue to pass on this traditional art in their own way.", "domain": "music_and_dance"}
{"url": "https://www.kamarihelmi.fi/kamarihelmi-chamber-music-festival-2024/", "date": "2024-03-05T00:44:35Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476592.66/warc/CC-MAIN-20240304232829-20240305022829-00037.warc.gz", "language_score": 0.8716649413108826, "token_count": 482, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__78204017", "lang": "en", "text": "The Kamarihelmi Festival is being held for the 14th time in 2024. Young students of Espoo Music Institute, Music Institute Juvenalia and Musikinstitutet Kungsvägen perform key chamber music works together with visiting masters.\nInternationally performing master of classical saxophone from Vienna.\nProfessor of violin and chamber music at University of Arts, Zurich and Basel Music Academy.\nBaritone, University of Music and Performing Arts, Vienna.\nMonday 5.2.2024, 7pm\nMasters of classical saxophone Marko Dzomba (Vienna), Olli-Pekka Tuomisalo and Hilla Ruotsala, with young musicians representing Espoo Music Institute and Music Institute Juvenalia / In partnership with the City of Espoo.\nThe programme includes works by Domenico Cimarosa and Heitor Villa-Lobos arranged for saxophone ensemble by Olli-Pekka Tuomisalo, as well as young pianists performing The Carnival of the Animals by Camille Saint-Saëns.\nMonday 12.2.2024, 7pm\nAnna Gebert, (Basel), violin\nBenno Schollum (Vienna), baritone\nAntti Vahtola, piano\nand several young chamber musicians and singers from Espoo.\nProgramme includes works by composers such as Mozart, Schubert and Heinz Holliger.\nIn partnership with the City of Espoo, Espoo Music Institute, Music Institute Juvenalia, Musikinstitutet Kungsvägen, Sibelius Academy, University of the Arts and the Austrian and Swiss embassies in Finland.\nAs always, the 14th Kamarihelmi Festival will be hosted in co-operation with the City of Espoo, Espoo Music Institute, Music Institute Juvenalia, Musikinstitutet Kungsvägen, the Austrian Embassy in Helsinki and in february 2024 also the Swiss embassy in Helsinki.\nKamarihelmi has previously also been hosted as a joint project with the Sibelius Academy, University of the Arts and the University of Music and Performing Arts Vienna’s Erasmus exchange programme; Espoon Musiikkifestivaalit Yhdistys ry has also contributed.\nWelcome to our 2024 concerts!", "domain": "music_and_dance"}
{"url": "https://www.usradiolive.com/wamu-hd2-bluegrass-country/", "date": "2024-04-12T18:25:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816045.47/warc/CC-MAIN-20240412163227-20240412193227-00862.warc.gz", "language_score": 0.9123893976211548, "token_count": 298, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__100549798", "lang": "en", "text": "WAMU HD2 Bluegrass Country, 88.5 FM\nWAMU HD2 Bluegrass Country, 88.5 FM Radio is a sub-station built by listeners for listeners. It started more than 50 years ago at WAMU 88.5 FM in Washington, DC. The nonprofit Bluegrass Country Foundation is operating and funding this station. The station can be heard 24/7 on HD radio at 88.5FM (call sign: WAMU) Channel 2 in the Washington area, streaming worldwide at BluegrassCountry.org and via a free smartphone app (Apple iOS and Android devices). Its slogan is – Washington’s NPR Station (National Public Radio). It is usually hosted by a real live person, selecting the music from our incomparable song library, or a personal record collection that probably includes songs you’ll never hear anywhere else.\nThis Radio plays the whole range of bluegrass, old-time, classic country, folk, rare blues and jazz, zydeco, roots and modern Americana, and even a taste of Grateful Dead. Shows originate in Washington studio, as well as radio in stations and studios around the US and the world, and include live performances as well as records.\n- WAMU HD2 Bluegrass Country\nRecommended US Country Radio\nSUBMIT YOUR REVIEW BELOW\nAll Reviews For This Radio Station", "domain": "music_and_dance"}
{"url": "http://www.informatik.uni-hamburg.de/TGI/pnbib/h/haus_g2.html", "date": "2017-11-22T01:47:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-47/segments/1510934806447.28/warc/CC-MAIN-20171122012409-20171122032409-00175.warc.gz", "language_score": 0.8408387899398804, "token_count": 174, "dump": "CC-MAIN-2017-47", "global_id": "webtext-fineweb__CC-MAIN-2017-47__0__193183563", "lang": "en", "text": "In: IEEE Computer, Vol. 24, No. 7, pages 56-60. July 1991.\nAbstract: Scoresynth is a flexible program that uses Petri nets (PNs) and algorithms for describing, processing and synthesizing music scores in a manner closer to `music thinking and perception' than can be achieved with conventional music notation. The system employs music objects, which are any simple, complex or abstract musical entity, at PN nodes to describe information, with transformation rules and causal relationships between entities assigned to PN parameters and structures. Scoresynth algorithms enable the transformation of various parameters of sound and firing of notes during transitions of the PN.\nKeywords: Scoresynth; synthesis (of) music score (based on) petri net (and) music algebra; music composition.\nBack to the Petri Nets Bibliography", "domain": "music_and_dance"}
{"url": "http://hseed.info/music-downloads-knowledge-directly-from-the-experts/", "date": "2021-01-22T18:33:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703531335.42/warc/CC-MAIN-20210122175527-20210122205527-00290.warc.gz", "language_score": 0.9517782330513, "token_count": 605, "dump": "CC-MAIN-2021-04", "global_id": "webtext-fineweb__CC-MAIN-2021-04__0__271238847", "lang": "en", "text": "Have you ever wanted to listen to a song, but been unable to find a copy? Is there a song whose name you can’t remember? The Internet has made tracking down such information a snap. By using the various music downloading services, you can get your hands on almost any song ever recorded.\nIf you are looking for a cheap way to download music, try using a free service instead of downloading. Service such as Pandora or Slacker will let you listen to music from any device. You do not have to store the files on your phone or tablet; just listen to them streaming online.\nIt is a good idea to check iTunes if you are considering downloading music. There are lots of popular offerings there, and it is simple to download songs to iPhones and iPods. You can also find great deals and sales on iTunes.\nConsider joining an online forum of music enthusiasts. Many will share their downloads for free. This allows you to explore different genres of music or the latest cd from a known artist without committing a lot of time or money to the task, making it easier to build your library with an eclectic blend of tunes.\nIf you use iTunes, make sure to sign up for their email alerts. They often send out specials and discounted albums that are available at a lower price for a very limited period of time. If you do not sign up for the email alerts, you might miss out on these savings.\nCheck out the legal free music from established music download sites. Many big online music retailers like iTunes, MP3.com, Amazon,com, and more have free music sections. You can legally download these free tracks from some artists that you like or some new ones that you would like to listen to for the first time.\nWhen you are looking for websites for music downloads, be sure that you are downloading from a reputable distributor. There have been instances when users have downloaded malware along with the song tracks. This will not happen at established digital music distributors with a good reputation. Keep this mind before you click on the download button.\nWhen downloading music online, make sure that you only download files with the correct extension. Never download files with .exe file extensions. This extension can harm your computer. It can hijack your computer system and completely destroy it. Even worse, you could open yourself up to identity theft or other security issues.\nWatch the file sizes of your music downloads carefully. A normal music download will be somewhere between 2 megabytes and 5 megabytes. If you see something much less or much more, there could be something fishy about the file. It may be spyware and not the song you were hoping it was.\nMillions of songs are available online, and you can download most of them for less than a dollar. Many songs can be downloaded for free. However, finding the songs you want can be tricky if you do not know what you are doing. Use the tips you have just read to find the songs you want.", "domain": "music_and_dance"}
{"url": "https://www.tarantoswingfestival.com/team-member/cosimohotcoals/", "date": "2024-03-05T09:33:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707948234904.99/warc/CC-MAIN-20240305092259-20240305122259-00435.warc.gz", "language_score": 0.9395502805709839, "token_count": 283, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__32075482", "lang": "en", "text": "COSIMO AND THE HOT COALS\nConsidered among the new Italian swing and jazz stars and worldwide recognized on TikTok and Instagram, with more than 20 milioni views and appreciations from world-renowned artists like Michael Bublè, Cosimo and the Hot Coals are captivating the international audience with their unique style, able to combine their passion for ‘10s and ‘20s Hot Jazz and New Orleans Jazz with the charm and elegance of the italian songwriting.\nThe fascinating stage presence combined with the strong emotional drive and the band’s great compositional ability helped the guys gaining praises in all their Italian and international tours, that led them tread clubs and festivals stages in UK, Germany, France, Austria, Switzerland and Bahrein. The band has also a long list of collaboration with world famous brands like Coca Cola, Barilla, Gucci, Montblanc and Fendi and more.\nIn 2022 the band released its third album, “Mississippi Journal”, establishing a new partnership with Milan based music label Overdrive Records. The album, driven by the lovely single “Elena”, gained numerous praises all around the world, especially in Central and North America.\n“I think you guys are wonderful. Keep making great music! You make me a proud Italian” – Michael Bublè", "domain": "music_and_dance"}
{"url": "https://lossugarkings.com/bio", "date": "2024-02-25T22:39:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474643.29/warc/CC-MAIN-20240225203035-20240225233035-00106.warc.gz", "language_score": 0.9484168887138367, "token_count": 307, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__174721535", "lang": "en", "text": "Who Are Los Sugar Kings?\nSugar Kings is a Boston-based quartet known for their dynamic live performances, rich harmonies, intense musicianship and ability to transcend genres with an authenticity rarely heard. In their world, respect is paid to the forefathers and traditions of Afro-Cuban Son, Salsa and Rumba-Flamenca but Sugar Kings (named after a Cuban baseball team) also actively draw on influences from nearly every continent in their unique roots-rock-reggae repertoire. All are highly accomplished on their instruments, however the true magic of Sugar Kings is how these four individuals come together to put on a performance worthy of any festival, party, club or concert hall. Every show is an intimate dialogue between the band and their audience, with both sides communicating in a manner that is spontaneous, passionate, thoughtful and joyous.\n\"Patino Vazquez (vocals, guitar, tres), is a dynamic performer and singer who is at once approachable, intimate and completely mesmerizing. Add in the African-influenced undulations of Mikael Mersha (vocals, bass/contrabass), the soaring, take-you-for-a-ride solos and harmonic accompaniment by Daniel Abreu (saxophone, piano, vocals) and the soulful voice and talents of Tony Curtis Hall (drums, percussion, vocals) and it's impossible for a party to stop from breaking out, wherever Sugar Kings perform.\"", "domain": "music_and_dance"}
{"url": "http://alex-in-wonderland.com/MovieReviews/Domestic-B/BeniseNightsOfFire.html", "date": "2021-05-12T12:25:46Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-21/segments/1620243989693.19/warc/CC-MAIN-20210512100748-20210512130748-00445.warc.gz", "language_score": 0.9762352108955383, "token_count": 220, "dump": "CC-MAIN-2021-21", "global_id": "webtext-fineweb__CC-MAIN-2021-21__0__139075102", "lang": "en", "text": "Review Date: 5/18/06\nAstounding! The first time I saw Roni Benise, he was playing on the street in Downtown Disney. I was so impressed by his music (\"Shakara\" in particular) that I immediately purchased his \"Spanish Nights\" CD. Now, three years later, he and his band have graduated to a massive stage show, complete with dancers, strings, horns, percussionists, and a wide variety of musical guests. The production is top notch and all of the players are superb. The fusion of flamenco and rock is perfectly complemented by a dazzling light show, a huge video screen, and a beautiful stage. Quite possibly the finest concert videos I've even seen. Most notably, I never once saw a cameraman or a boom shadow in a shot, so it must have been filmed over several nights and meticulously edited. The video quality is also quite high, and the colors are sharp, bright, and vibrant. A truly amazing and emotionally charged performance matched by a flawless production. Definitely check it out if you get the chance.", "domain": "music_and_dance"}
{"url": "https://tuntreet.org/forsiden/2018/10/4/from-frikar-to-folknbspa-night-of-norwegiannbspdancenbsp", "date": "2019-09-17T17:15:51Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514573098.0/warc/CC-MAIN-20190917161045-20190917183045-00108.warc.gz", "language_score": 0.9682878255844116, "token_count": 986, "dump": "CC-MAIN-2019-39", "global_id": "webtext-fineweb__CC-MAIN-2019-39__0__192176080", "lang": "en", "text": "On a rainy Friday in mid-September, students and spectators gathered at Samfunnet i Ås to participate in an experience unlike any other: the Låvedans or “Hoedown”, the main event of the Åsbobla or “Ås Bubble” theme week. The evening was a celebration of Norwegian culture – specifically, the art of dance – and though the weather outside may have been stormy, the atmosphere inside was full of merriment.\nIt started with a violin.\nBeneath the dim lights of Aud. Max, the whispering crowd suddenly fell silent as the high-pitched strains of the lone instrument drifted from center stage and echoed across the darkened room.\nNext, the beatboxer appeared; and following him, the rap artist Per Skranglebein, known to many in the audience as a former contestant on the Norwegian talent show, Norske Talenter. Watching, those present waited with a sense of collective anticipation. As Skranglebein lifted the microphone to speak his first words, the beatboxer launched into a fast and furious rhythm, accompanied by the solo violinist. Moments later, three young men in traditional Norwegian outfits stepped onto the dance floor and began moving to the music.\nThe crowd roared excitedly; this is what they had been waiting for.\nThe FRIKAR show had begun.\nFor those who may be new to the Norwegian cultural dance scene, the FRIKAR Dance Company specializes in performing contemporary and traditional dance in Norway. The company has toured around the world and was featured in the 2009 Euro Vision Song Contest alongside the winning act. FRIKAR is known for incorporating various styles of dance and even acrobatics into its live performances, as demonstrated on this particular evening.\nA portion of the show was dedicated to contemporary dance, where a performer used silk ropes to climb and suspend himself several meters from the floor. Spinning and twisting high above the rapt audience, the artist performed a vertical dance that fully captured one’s attention. With its serene acrobatics, this aerial demonstration was a strong contrast to the energetic tone of the rest of the night.\nIndeed, for the most part, tonight’s show was all about the hallingdansen – a traditional Norwegian folk dance named for the valley of Hallingdal in eastern Norway. The dance typically consists of two or three young men performing, according to the Encyclopedia Britannica, “difficult leaps, kicks, and other acrobatic stunts to demonstrate vigor and virility.” This was done with the symbolic intention of outperforming one another in order to catch a woman’s eye.\nOne can say that these halling-dancers lived up to the hype, if the crowd’s applause was any indication. The spectators were treated to a show featuring many of the moves associated with the traditional dance. Among them was the hallingkast, where a hat is hung at the end of a long stick raised 2-3m above the ground, with the dancer supposed to leap into the air and kick the hat away. This stunt was done several times throughout the show, met with loud cheering each time.\nThe FRIKAR performance was only the first part of the evening. It was followed by a lively few hours of dancing in Festsalen, where students paired up and tried their hand at Norwegian traditional dances. Some had taken part in the folk dance lessons offered the week before, while others had simply shown up this evening ready to jump in and have a good time. Grooving along to the upbeat songs played live by the band Myllargutens Gammaldansorkester, the crowd was full of smiling faces as everyone practiced their best folk dancing moves.\nIt was a fitting second half for this event. Sponsored by Landkreditt Bank and the Stiftinga for Folkemusikk og Folkedans (Council of Folk Music and Folk Dance), the evening had showcased a wide spectrum of Norwegian dance styles ranging from modern fusion to traditional folk.\nFor this journalist, who happens to be an international student, the night was also another example of the strong sense of Norwegian cultural pride that seems to exist here at NMBU. From the various regional-based foreninger (groups or associations) to the national costumes worn by students during last month’s matriculation ceremony, many interesting things can be said about the traditions that have taken root and blossomed here in our so-called tiny “Ås bubble”.\nBut that is perhaps a discussion for another time.\nFor now, let us simply add dancing to the list. The style is up to you.\nJournalist og Fotograf: Chiara Magboo", "domain": "music_and_dance"}
{"url": "http://lso.is/tonl_e.htm", "date": "2022-05-17T14:32:52Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00576.warc.gz", "language_score": 0.8098458051681519, "token_count": 1400, "dump": "CC-MAIN-2022-21", "global_id": "webtext-fineweb__CC-MAIN-2022-21__0__162265888", "lang": "en", "text": "Tuesday July 5th at 8:30 pm\nÞóra, Jóna, Kristín and Eggert\nWas it a Dream?\nJóna G. Kolbrúnardóttir soprano,\nKristín Sveinsdóttir mezzo-soprano,\nEggert Reginn Kjartansson tenor and\nÞóra Kristín Gunnarsdóttir piano.\nWith song cycles by Dvořák, Sibelius and Beethoven, the audience\nis invited to immerse themselves in the multifaceted complexity of\nlove as envisioned by three master composers from different\nPísně Milostné (Love Songs) op. 83 by Antonín\nDvořák, Five Songs, op. 37 by Jean Sibelius and\nTo the distant Beloved, op. 98 by Ludwig van Beethoven.\nTuesday July 12th at 8:30 pm\nKristina and Ásta\nÁsta Soffía Þorgeirsdóttir and\nKristina Farstad Bjørdal akkordeon duo.\nProgram with Norwegian and Icelandic dance and folk tunes\nleading to Baroque works such as movements from the Goldberg\nVariations by J.S. Bach. Also works from 20th century when the\naccordian was at its peak of its popularity. The final piece\nof the concert will be a beautiful Icelandic tango, which\nperformers consider to be an uniquely precious\nexample of 20th century Icelandic music heritage.\nTuesday July 19th at 8:30 pm\nSteiney and Vera\nSummer Music with Duo Edda\nVera Panitch violin and Steiney Sigurðardóttir cello.\nEight Duets for Violin and Cello op. 39 by Reinhold Glière,\nSonata for Violin and Cello by Maurice Ravel and Johan\nHalvorsen's Passacaglia in G minor on a Theme by Georg Friederich\nSaturday July 23rd and Sunday 24th!-- at -->\nTwo concerts with works by the late, and much forgotten, Czech composer Erwin\nSchulhoff with introduction by Dr. Alexander Liebermann. Performers:\nHlíf Sigurjónsdóttir violin, Slava Poprugin piano,\nAdrien Liebermann saxophone, Martin Frewer viola and\nÞórdís Gerður Jónsdóttir cello.\nBy Schulhoff: Sonata for Violin and Piano op. 7 (WV 24),\nSonata for Violin and Piano (WV 91), Hot Sonata (WV 95) for\nsaxophone and piano and Fünf Pittoresken für Klavier (WV 51).\nBy Alexander Liebermann: Coming to Light (Snót) for solo violin,\nSaxophone Sonata and string trio Seen from the Sky.\nTuesday July 26th at 8:30 pm\nBryndís, Pamela and Guðríður\nBryndís Guðjónsdóttir soprano,\nPamela De Sensi flute and\nGuðríður St. Sigurðardóttir piano.\nPassionate Italian and Spanish songs performed\nagainst delicate romantic French music.\nCompositions from the late 19th and early 20th century.\nTuesday August 2nd at 8:30 pm\nKristín, Hekla, Anna og Hjörtur\nJourney through the Wonders of the Flute\nKristín Ýr Jónsdóttir flute,\nHekla Finnsdóttir violin,\nAnna Elísabet Sigurðardóttir viola and\nHjörtur Páll Eggertsson cello.\nFlute Quartett no. 1 in D major K. 285 by W.A. Mozart,\nThrenody I and II (In memoriam of Igor Stravinsky and\nBeatrice Cunningham) by Aaron Copland, Assobio\na Játo (The Jet Whistle) by Heitor Villa-Lobos and String Quartet\nno. 12 in F major American by Antonín\nDvořák, arranged for string quartet.\nTuesday August 9th at 8:30 pm\nDiddú and the Boys\nDiddú and the Boys\nSigrún Hjálmtýsdóttir soprano,\nSigurður Snorrason and Kjartan Óskarsson clarinets,\nEmil Friðfinnsson and Þorkell Jóelsson horn,\nBrjánn Ingason and Snorri Heimisson bassoon.\nWind Sextetts by Wolfgang Amadeus Mozart and Antonio Salieri and arias\nsoprano and winds. Also Icelandic solo pieces, by e.g.\nAtli Heimir Sveinsson.\nSunday August 14th at 8:30 pm\nGréta, Diljá, Sigríður and Vigdís\nSpúttnik String Quartet\nSigríður Bjarney Baldvinsdóttir and\nDiljá Sigursveinsdóttir violins,\nVigdís Másdóttir viola and\nGréta Rún Snorradóttir cello.\nString Quartet no. 2 in D major by Alexander Borodin,\nIntermezzo for String Trio by Zoltán Kódaly and\nNearer, My God, to Thee by Sarah Fuller Flower Adams.\nPerformed on instruments by violin maker Jón Marinó Jónsson,\nwho will give an introduction to his work. The wood he used came from the wreck of the\nJamestown, which stranded at Reykjanes peninsula in 1881.", "domain": "music_and_dance"}
{"url": "https://www.lupefuentes.com/about-1", "date": "2020-03-31T22:52:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-16/segments/1585370504930.16/warc/CC-MAIN-20200331212647-20200401002647-00442.warc.gz", "language_score": 0.9563982486724854, "token_count": 694, "dump": "CC-MAIN-2020-16", "global_id": "webtext-fineweb__CC-MAIN-2020-16__0__181508336", "lang": "en", "text": "AN UNDERDOG HAS A LOT TO PROVE, MUCH TO DELIVER,AND ALL THE HYPE IN THE WORLD WON’T CHANGE THAT\nTalent without commitment means nothing and Lupe set her sights on a life that would transcend the confines of race, geography and economics. Only one thing in the world can instantly equalize and unite us all and that amazing gift is of course, music.\nLupe Fuentes has secured her shining star on the electronic music landscape by earning her right to be there. Talent and passion for house music is paramount to her success, she lives by the beat and is always challenging her own ability to do better than she did yesterday. House music icons champion her as being the real deal with the gifted ear of a DJs DJ.\n“Lupe was born to make music and be a DJ. Stay tuned… she’s fire!” (Junior Sanchez)\n“Lupe is very talented and has exacting musical taste. She is one of the new breed of underground DJs that live and breathe house music. I see she is totally committed and can’t wait to hear what beats she has in store!” (Roger Sanchez)\nLupe busted through the boys club by doing things her way. As a producer, she’s one of the most prolific and respected ones working today. Upfront labels clamor for her releases with imprints like; InHouse Records (Todd Terry), Brobot Records (Junior Sanchez), Undercool Productions (Spain), Nervous (NY) Positive Music (Spain), WIN Music, SAFE Music (Spain) Guesthouse Records and Defined all releasing Lupe Fuentes original music. Her own imprint, ‘In The Loop,’ is her go to brand for most of her own music, but Lupe also champions new talent as a way to keep herself inspired and pay it forward.\nIt’s all about the vibe and what music can do for people that makes house music (in particular), so special. Lupe channels house music and all you need is to experience one of her sets to know she’s something very special. You can’t fake it as a house DJ, and she owns the place when she plays. Dancefloors don’t lie.\n“Female DJ really if you only knew. Lupe rocks out like a dude. She gets it -she is there to make you dance. Not just another pretty face …. Welcome to Miss Fuentes, House Music Baby.” (Todd Terry)\nLupe Fuentes now makes her home in LA where she’s a fixture on the US club circuit. Exchange, Pacha and all clubs in between are showcasing Lupe as the next level of house music superstar, but for Lupe, she is humbled by her success.\n“I don’t do this for any other reason than I love house music, I love to DJ and I’m compelled daily to produce. Everything else become like white noise. My joy is being able to DJ and to expose the music I love to people who want to dance. Be it one person or 50,000 on the dancefloor, I’ll make sure they feel like I’m playing just for them! “ - Lupe Fuentes", "domain": "music_and_dance"}
{"url": "https://southafricanthings.co.za/unveiling-the-top-djs-in-south-africa-the-masters-of-music/", "date": "2024-02-27T10:39:17Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474674.35/warc/CC-MAIN-20240227085429-20240227115429-00083.warc.gz", "language_score": 0.9578447341918945, "token_count": 3406, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__148451479", "lang": "en", "text": "Are you ready to delve into the world of mesmerizing beats and infectious rhythm? South Africa, known for its pulsating music scene, is home to some of the most talented DJs in the world. These individuals have not only captured the hearts of the nation but have also made a significant impact globally. In this article, we will uncover the top 10 best DJs in South Africa, highlighting their exceptional skills, achievements, and contributions to the music industry. So, let’s tune in and explore the masters of music in South Africa!\nTable of Contents\nSouth Africa’s music scene is a kaleidoscope of diverse genres, constantly evolving, and reaching new heights. One vital element that has played a pivotal role in shaping the industry is the presence of extraordinary DJs. These musical geniuses have not only mesmerized audiences with their creative mixes and technical prowess but have also broken barriers and gained international recognition.\nDJ Black Coffee: Reigning Supreme\nEnter DJ Black Coffee, whose name resonates with excellence and innovation in the world of music. Born Nkosinathi Maphumulo, DJ Black Coffee effortlessly blends various genres, including house, soul, and jazz. His infectious beats and soulful melodies have captivated audiences worldwide, paving the way for his global success.\nWith a career spanning over two decades, DJ Black Coffee has released several chart-topping albums and collaborated with renowned artists like Alicia Keys and Drake. His deep understanding of music and ability to connect with his audience on an emotional level sets him apart as a true musical maestro.\nDJ Fresh: The Radio Icon\nIf there’s one DJ whose voice has become synonymous with South African airwaves, it’s DJ Fresh. Born Thato Sikwane, DJ Fresh has taken the radio industry by storm with his infectious charm and magnetic personality. His morning show, “Fresh Breakfast,” has become a staple for music lovers, showcasing the best local and international hits.\nAside from his radio prowess, DJ Fresh is also a skilled DJ and producer, known for his incredible live performances. With a passion for various music genres and an ability to read the crowd, DJ Fresh has undoubtedly etched his name in South Africa’s music history.\nDJ Zinhle: Queen of Afro-House\nEnter the dynamic and talented DJ Zinhle, a true force to be reckoned with in the Afro-house music scene. With her infectious energy and uplifting beats, DJ Zinhle has become the reigning queen of the genre. She has captivated audiences with her unique style, blending traditional African rhythms with contemporary electronic music.\nHer dedication to her craft and resilience in a male-dominated industry has not only made her an inspiration to aspiring DJs but also solidified her position as one of South Africa’s finest musical talents. DJ Zinhle’s contribution to the music industry is immeasurable, making her a true icon in the world of Afro-house music.\nDJ Shimza: The Multi-Talented Maestro\nVersatility is DJ Shimza’s middle name. Born Ashley Kholofelo Raphala, DJ Shimza has earned a reputation as a multi-talented DJ, producer, and entrepreneur. Known for his energetic stage presence and ability to seamlessly blend various music genres, DJ Shimza has become a household name in South Africa.\nFrom hosting his annual “One Man Show” event to spreading the joy of music through his foundation, DJ Shimza has touched the lives of many. His commitment to using music as a tool for unity and empowerment has solidified his position as one of South Africa’s best DJs.\nDJ Kent: Setting the Dancefloors Ablaze\nWhen it comes to igniting dancefloors and creating an electrifying atmosphere, DJ Kent is unmatched. With his unique ability to read the crowd and curate seamless mixes, DJ Kent has become a true sensation in the South African music scene.\nHis passion for house and dance music, combined with his exceptional technical skills, has earned him a vast fan base and numerous accolades. DJ Kent’s distinct style and ability to transport his audience into a transcendent musical experience make him one of the top DJs in South Africa.\nDJ Tira: Bridging Cultures Through Music\nBridging cultures and uniting people through music is DJ Tira’s ultimate goal. Born Mthokozisi Khathi, DJ Tira is a legendary figure in the South African music industry, known for his infectious beats and vibrant personality. As the founder of the record label Afrotainment, DJ Tira has provided a platform for many emerging artists, helping to shape the music industry.\nHis fusion of various music genres, including kwaito and gqom, has struck a chord with audiences across the nation. DJ Tira’s commitment to nurturing talent and promoting South African music on a global scale makes him a true icon in the industry.\nDJ Euphonik: Master of the Turntables\nWhen it comes to technical expertise and innovation, DJ Euphonik stands in a league of his own. Born Themba Mbongeni Nkosi, DJ Euphonik has continually pushed boundaries and explored new sonic territories. His ability to seamlessly mix tracks and create unique sounds has garnered him international recognition.\nDJ Euphonik’s passion for music goes beyond the DJ booth, as he is also a talented producer and radio host. Whether performing on stage or producing hit tracks, DJ Euphonik’s commitment to delivering exceptional music sets him apart as one of South Africa’s best.\nDJ Oskido: Pioneer of Kwaito Music\nEnter the godfather of kwaito music, DJ Oskido. Born Oscar Bonginkosi Mdlongwa, DJ Oskido has played a pivotal role in shaping the kwaito genre since its inception. With his infectious beats and unique style, he has captivated audiences across South Africa and beyond.\nDJ Oskido’s keen ear for talent has led to the discovery of several prominent artists in the music industry. His dedication to promoting South African music and showcasing it on a global scale has made him an influential figure in the industry.\nDJ Tbo Touch: A Force to Be Reckoned With\nWhen discussing influential figures in the South African music industry, one cannot overlook the impact of DJ Tbo Touch. Born Thabo Molefe, DJ Tbo Touch is not only a renowned DJ but also a media personality and entrepreneur. His ability to adapt and innovate within the music industry has earned him widespread recognition.\nFrom hosting his popular radio show to founding his record label, DJ Tbo Touch’s contribution to the music scene is commendable. He continues to inspire aspiring DJs and entrepreneurs, showcasing the limitless possibilities within the industry.\nDJ Maphorisa: The Hitmaker\nKnown for his distinct style and ability to produce chart-topping hits, DJ Maphorisa has taken the South African music industry by storm. Born Themba Sekowe, DJ Maphorisa has collaborated with international artists such as Drake and Wizkid, propelling him to global acclaim.\nHis production skills and knack for creating infectious beats have transformed the South African music landscape. DJ Maphorisa’s dedication to his craft and unwavering passion for music make him one of the leading DJs in the country.\nDJ Sbu: A Boundless Entrepreneur\nDJ Sbu, born Sibusiso Leope, is a visionary DJ, entrepreneur, and philanthropist. With a career spanning over two decades, DJ Sbu has achieved remarkable success in both the music and business realms.\nBesides his skill behind the turntables, DJ Sbu has founded multiple successful ventures and mentored aspiring entrepreneurs through his inspirational talks. His tenacity and determination have pushed boundaries and inspired many, making him a true icon in the South African music industry.\nDJ Black Motion: Blending Sounds with Soul\nEnter the duo that has mastered the art of blending sounds with soul, DJ Black Motion. Composed of Thabo “Smol” Mabogwane and Bongani “Murdah” Mohosana, DJ Black Motion has taken the house music scene by storm. Their infectious beats and undeniable talent have captivated audiences across the globe.\nDJ Black Motion’s distinctive style and ability to evoke emotions through their music have earned them critical acclaim and numerous awards. Their dedication to their craft and continuous exploration of sonic landscapes have solidified their position as masters of music.\nDJ Dimplez: Impacting the Urban Music Scene\nWhen it comes to impacting the urban music scene, DJ Dimplez is at the forefront. Born Tumi Molekane, DJ Dimplez has become a household name, known for his mixtape series and collaborations with notable artists.\nHis ability to curate seamless mixes and introduce emerging talent to the industry has garnered him a loyal fan base. DJ Dimplez’s influence and contribution to the urban music scene in South Africa make him a prominent figure in the industry.\nDJ Spartacus: Defying the Norms\nWith a passion for music and an unwavering desire to challenge norms, DJ Spartacus has carved a niche for himself in the South African music scene. Known for his diverse mixes and eclectic selection of tracks, DJ Spartacus takes listeners on a musical journey like no other.\nHis ability to seamlessly blend genres and incorporate distinctive elements into his sets has earned him recognition among music enthusiasts. DJ Spartacus’s determination to push boundaries and defy the norms makes him a standout DJ in South Africa.\nDJ Ganyani: A Legend in the Making\nKnown as a pioneer in the house music scene, DJ Ganyani has made a significant impact on South Africa’s music landscape. With a career spanning decades, DJ Ganyani has consistently delivered hits that have stood the test of time.\nHis signature sound and ability to create infectious beats have earned him a special place in the hearts of music lovers. DJ Ganyani’s commitment to his craft and his influence in shaping the house music genre make him a true legend in the making.\nDJ Mujava: Innovating the Dance Music Genre\nEnter DJ Mujava, an innovative maestro who has revolutionized the dance music genre in South Africa. Born Tshepo Molefe, DJ Mujava is best known for his track “Township Funk,” which became an international sensation.\nHis unique fusion of kwaito and electronic dance music has earned him praise from both local and international audiences. DJ Mujava’s creativity and ability to push the boundaries of music have solidified his place as an influential figure in the industry.\nDJ Sumbody: The Vibrant Groove Aficionado\nOn the quest for vibrant and infectious grooves, one cannot miss DJ Sumbody. Born Oupa John Sefoka, DJ Sumbody has taken the South African music scene by storm with his vibrant personality and exceptional musical skills.\nFrom his electrifying performances to his chart-topping hits, DJ Sumbody continues to captivate audiences with his unique blend of house and amapiano music. His ability to connect with his audience and create a joyous atmosphere is what sets him apart from the rest.\nDJ Cleo: Merging Tradition with Modernity\nMerging tradition with modernity, DJ Cleo has become a trailblazer in the South African music industry. Born Cleopas Monyepao, DJ Cleo has perfected the art of fusing traditional African sounds with contemporary beats, creating a completely unique and captivating experience.\nHis commitment to showcasing African music on a global scale has earned him recognition and respect from both his peers and fans. DJ Cleo’s ability to bridge the gap between tradition and modernity through his music makes him a standout DJ in South Africa.\nDJ Clock: The Timeless Beatmaker\nWhen it comes to timeless beats and infectious rhythms, DJ Clock knows how to create magic. Born Kholile Elvin Gumede, DJ Clock has consistently delivered hits that have stood the test of time, earning him a dedicated fan base.\nHis ability to produce captivating tracks across various genres has garnered him critical acclaim and industry recognition. DJ Clock’s music has become the soundtrack to many memorable moments, making him an indispensable figure in South Africa’s music scene.\nDJ Bongz: Champion of Durban Beats\nEnter the champion of Durban beats, DJ Bongz. Known for his infectious energy and signature dance moves, DJ Bongz has become an iconic figure in the South African music industry.\nHis unique blend of Afro-house and gqom music has made him a household name, both in South Africa and beyond. DJ Bongz’s ability to create music that brings people together and gets them moving has solidified his status as one of the best DJs in the country.\nDJ Speedsta: Shaping the Future of Music\nWhen it comes to shaping the future of music, DJ Speedsta is a driving force to be reckoned with. Born Lesego Nkaiseng, DJ Speedsta has made significant strides in the music industry, renowned for his ability to discover and nurture emerging talent.\nHis keen ear for new sounds and innovative approach to music have garnered him a loyal fan base. DJ Speedsta’s determination to push boundaries and support up-and-coming artists has solidified his position as a tastemaker and trendsetter.\nDJ Zan D: Elevating the Hip Hop Culture\nElevating the hip hop culture in South Africa is DJ Zan D, a true ambassador for the genre. Known for his explosive performances and impeccable selection of tracks, DJ Zan D has become a prominent figure in the local hip hop scene.\nHis dedication to showcasing local hip hop talent and providing a platform for emerging artists has earned him respect within the industry. DJ Zan D’s commitment to elevating the hip hop culture and promoting local talent makes him a standout DJ in South Africa.\nDJ Sox: Spinning the Story of House Music\nEnter the maestro who spins the story of house music, DJ Sox. Known for his exceptional technical skills and ability to curate memorable sets, DJ Sox has become a household name in the South African music scene.\nHis passion for house music and ability to transport his audience into a euphoric state on the dancefloor have solidified his place as a top DJ. DJ Sox’s dedication to his craft and his ability to create unforgettable moments through his music make him a true icon in the industry.\nDJ T-Man: The Rising Star\nRising through the ranks, DJ T-Man has made a remarkable impact on the South African music industry. Known for his energetic stage presence and infectious beats, DJ T-Man has quickly gained recognition for his unique blend of amapiano and house music.\nHis dedication to perfecting his craft and consistently delivering exceptional performances has earned him a devoted fan base. DJ T-Man’s relentless pursuit of excellence and his undeniable talent make him a rising star to watch.\nFAQs About the Best DJs in South Africa\nQ: Who is considered the best DJ in South Africa?\nA: While opinions may vary, DJ Black Coffee is widely regarded as one of the best DJs in South Africa, with his exceptional talent and global success.\nQ: Which DJs are known for their innovative styles?\nA: DJ Mujava and DJ Cleo are known for their unique and innovative styles, challenging traditional norms in the South African music scene.\nQ: Who has made a significant impact on the kwaito music genre?\nA: DJ Oskido is often credited as a pioneer who has made a significant impact on the kwaito music genre in South Africa.\nQ: Which DJ has mastered the art of blending traditional African sounds with contemporary beats?\nA: DJ Cleo has perfected the art of merging traditional African sounds with modern beats, creating a distinct and captivating musical experience.\nQ: Who is known for their contribution to the Afro-house genre?\nA: DJ Zinhle has become the queen of Afro-house, known for her vibrant energy and uplifting beats in the genre.\nQ: Which DJ has had international collaborations?\nA: DJ Maphorisa has collaborated with international artists such as Drake and Wizkid, gaining recognition on a global scale.", "domain": "music_and_dance"}
{"url": "http://www.moritasschoolofdance.net/Moritas_School_Of_Dance/Home.html", "date": "2014-07-28T12:19:19Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2014-23/segments/1406510259834.25/warc/CC-MAIN-20140728011739-00287-ip-10-146-231-18.ec2.internal.warc.gz", "language_score": 0.9081677794456482, "token_count": 290, "dump": "CC-MAIN-2014-23", "global_id": "webtext-fineweb__CC-MAIN-2014-23__0__113236324", "lang": "en", "text": "Celebrating our 46th Anniversary!\nMorita's School of Dance offers professional dance instruction to students ages 3 through adult in Central Maine. Tap, Ballet, Jazz, Contemporary, Hip Hop, Ballroom & Fitness classes are offered throughout the year. Private lessons and custom wedding reception dance choreography sessions are scheduled as needed.\nEstablished in 1968, we have shared our love of dance with hundreds of children and adults. We take this responsibility very seriously. Our mission is to provide dancers of all ages a program of progressive training in all forms of dance. Through our outstanding dance program, we teach discipline, hard work and responsibility in developing dance proficiency and skills which last a lifetime. Offering a positive, non-competitive atmosphere ensures our students gain confidence both on and off the stage. All students are valued for their own abilities and uniqueness as we strive to share the joy of dancing through the mental, physical and spiritual sides of the body.\nFestival of Lights Parade\nDecember 7, 2013\nHoliday Performance (Old Town)\nDecember 14, 2013 @ The Old Town Recreation Department\nHoliday Performance (Hermon & Bucksport)\nDecember 15, 2013 @ Hermon High School\nHoliday Performance (Milo)\nDecember 21, 2013 @ the Milo Town Hall\nNew Years Eve Gala - Sr. Dance Team\nDecember 31, 2013 @ Morgan Hill Event Center for Hermon's Bicentennial Kick Off", "domain": "music_and_dance"}
{"url": "http://support.acadsoc.com/guide-to-learning-to-play-guitar-online-6-238-834.html", "date": "2017-12-12T08:37:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-51/segments/1512948515311.25/warc/CC-MAIN-20171212075935-20171212095935-00131.warc.gz", "language_score": 0.9678452610969543, "token_count": 1265, "dump": "CC-MAIN-2017-51", "global_id": "webtext-fineweb__CC-MAIN-2017-51__0__45337429", "lang": "en", "text": "A Newbies Guide to Learning to Play Guitar Online\nYou've been saying it for a while, but now you've just about decided that you want to learn to play the guitar. Whether your dream is to enter Julliard or simply to entertain friends around a bonfire, it’s never too late or too early to learn guitar. But how to learn to play the guitar? Here are a few tips and methods that beginning guitarists should know.\nPicking the Right Guitar\nWhen it comes to picking the right guitar, price is not always the best guide. With many things, such as TVs and cellphones, you often get what you pay for. But with guitars, choosing should be more about the feel and tone than the price tag. Sometimes, a guitar that costs between $150 and $250 will actually be better than a guitar that is $800-$1000. As a beginner, you might not know what the right guitar would feel like, but here are a few basics that anyone can do:\n• Test multiple guitars\n• Strum the open strings and find the tone you like\n• Make sure the strings are not too high off of the fret board\n• Turn the tuners to make sure that they all work\nThe very first thing you must decide is what type of guitar you want to play. There are three choices which all have their own set of advantages and disadvantages. They are acoustic, electric and classical.\nAcoustic guitars are most popular for beginners for a few reasons. First, they have natural amplification and do not need an electric amplifier. This means that acoustic guitars are easily transported and can be played anywhere. However, acoustic guitars use thick, steel strings which are quite painful to play until callouses are formed.\nElectric guitars, on the other hand, use steel strings that are thinner than acoustic guitars, which makes them much easier to play. Since electric guitars are not hollow like acoustic guitars, striking the strings will produce a very quiet sound. Thus, a guitar amplifier is needed. While this adds an extra expense and can limit immovability, guitar amplifiers can be adjusted to make a variety of different sounds.\nFinally, classical guitars differ from both acoustic and electric guitars in that three of the strings are made of nylon with the other three being nylon wound in steel. As far as play ability, classical guitars find themselves squarely between acoustic and electric. However, classical guitars are rather specific for playing classical music only. If you are learning to play the guitar for the long haul, the techniques learned from a year or two of classical training will definitely translate to acoustic or electric styles.\nNow that you have the guitar of your choice, you want to spend some time getting familiar with the instrument. Guitars are basically divided into three parts: the head, the neck, and the body. In addition to these three, the strings are anchored to the bridge on the body, run across the frets on the neck, and are then tied to the tuners on the head.\nBecause acoustic and classical guitars are hollow, they have a sound hole cut into the body of the guitar, which is used to amplify the sound. In contrast, electric guitars have pickups under the strings on the body that transfer the sound to the amplifier.\nOnce you actually pick up the guitar, practice using each of your fingers on the neck. The goal is to find a comfortable hand position. Just be careful not to wrap your hand around the neck too much to where your thumb comes over the top. The thumb should be used to pinch the strings to the fret, even though using your palm might feel more natural at first.\nLearning the Guitar Through YouTube\nYou, like countless other people, are now asking the Internet how to learn to play the guitar. Whether you are looking for how to play a certain song, you want to learn scales, or just basic beginner instruction, there are more videos on YouTube than you could watch in a lifetime.\nSince learning to play the guitar takes patience and practice, YouTube is an invaluable tool. Find the video you want and re-watch it as many times as you need to in order to match it perfectly. Pause and rewind it at the difficult points and be sure to focus on both the left and right hands. The best types of videos to use are ones that have a split screen that focus on each of the hands at the same time.\nYouTube is also great for online guitar tutorials. Many up-loaders will have playlists that cover all the basics and move toward more advanced lessons. While YouTube cannot offer the personal instruction that one-on-one guitar tutoring does, it’s a real help to find a channel that can teach beginning techniques, such as scales, chords, and strumming.\nOne-On-One Guitar Tutoring\nIf you cannot find what you are looking for on YouTube, there are other ways to find guitar tutors online. Finding a specific website that hosts guitar lessons can also offer other resources. However, if you want one-on-one instruction, there are guitar teachers everywhere. Again, the Internet becomes a great tool for finding and contacting guitar tutors in your area.\nIn-person guitar tutoring will build a newbie’s ability in a short time, but at a cost. For basic beginning instruction, you should plan on spending about $20-$30 for a half-hour with a private guitar tutor. This may sound like a lot, but the feedback of a trained guitarist is worth it. That said, you cannot rely simply on the tutor’s skill. You must be willing to put in the practice needed outside of the time with the tutor. If you feel like you aren't having the success you hoped for after a few months of private tutoring, consider finding another instructor that takes a different approach.\nThere are many ways to learn to play the guitar. Some people with natural musical ability might be fine using only YouTube to learn while others might need one-on-one instruction. Learning to play the guitar is a commitment and won’t be picked up overnight. Any way you learn to play guitar will involve three things: practice, practice and practice.", "domain": "music_and_dance"}
{"url": "https://www.stepdupage.org/", "date": "2024-04-21T20:28:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817819.93/warc/CC-MAIN-20240421194551-20240421224551-00674.warc.gz", "language_score": 0.9373109340667725, "token_count": 179, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__28524078", "lang": "en", "text": "Growing in Skill, Growing in Character\nWho We Are\nThe Suzuki Talent Education Program of DuPage serves DuPage County with high quality violin education in the Suzuki method. Trained, dedicated teachers provide a nurturing environment for your child to thrive in music. Private lessons, combined with group class, offers students the opportunity to develop skills through Suzuki's \"mother toungue\" method. This method fosters a high level of music ability, good relationships, self-confidence, dedication and determination, and at its core fosters a beautiful heart.\nThe STEP program has two locations:\nImmanuel Lutheran Church\n2317 S. Wolf Rd., Hillside IL 60162\n21w075 Monticello Rd., Lombard IL\nPrivate lessons are held at both locations. Groups and orchestra are held in Hillside. String Serenade is held in Lombard.", "domain": "music_and_dance"}
{"url": "http://www.dlsph.utoronto.ca/event/u-of-t-chinese-magazines-new-year-concert/", "date": "2019-02-23T06:37:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550249490870.89/warc/CC-MAIN-20190223061816-20190223083816-00398.warc.gz", "language_score": 0.944118082523346, "token_count": 189, "dump": "CC-MAIN-2019-09", "global_id": "webtext-fineweb__CC-MAIN-2019-09__0__65816517", "lang": "en", "text": "- Isabel Bader Theatre\n- External Events\n- January 30, 2016 from 7:00pm to 10:00pm\nChinese Magazine, a not-for-profit student organization at the University of Toronto, is holding their 10th annual charity concert.\nThe concert series have spread charms of classical music to more than four thousand students, professors and young professionals in Toronto and all the net proceeds were donated to charitable organization like UNICEF Canada (over $20,000 combined).\nThis year’s notable performers, include: Ricker Choi, Toronto Chinese Orchestra and SPIRE with their performances that blend eastern and western instruments and music, and Samantha Chang (Executive Director of the Canadian Flute Association) with her elegant flute performance.\nThe net proceeds of the concert will be donated to Watsi to help fund essential healthcare treatments for patients around the globe.\nTickets available at UTChinese Magazine Booth in Sydney Smith.", "domain": "music_and_dance"}
{"url": "https://2021.poesiefestival.org/en/artists/rosaceae/", "date": "2023-03-26T09:07:08Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945440.67/warc/CC-MAIN-20230326075911-20230326105911-00492.warc.gz", "language_score": 0.8986718058586121, "token_count": 279, "dump": "CC-MAIN-2023-14", "global_id": "webtext-fineweb__CC-MAIN-2023-14__0__204105029", "lang": "en", "text": "Rosaceae is a music project by Leyla Yenirce. It works with elements of noise and ambient music and uses speech samples and self-written texts that are installed in multilayered and dramaturgically-arranged soundscapes. Rosaceae’s debut album “Nadia’s Escape” was released on the Hamburg label Neoprimitive in 2019, followed by “Efia” from Pudel Produkte and “Ava” on the London label xquisite in 2020, and in Winter 2020 by a collaborative album with Ladonna, also on Neoprimitive. Another album on Pudel Produkte, “DNA”, is coming out soon. Thematically, Rosaceae concentrates among other things on figurations of resistance and confrontation with sound aspects of military, media and cultural dominance structures. Rosaceae’s works have been performed at such festivals as Noisexistance in the Hamburg Kampnagel and Pop-Kultur in Berlin and include audio-visual as well as performance elements.\nEfia. Album. Pudel Produkte, 2020.\nAva. Album. Imprint xquisite, 2020.\nNadia’s Escape. Album. Neoprimitive, 2019.", "domain": "music_and_dance"}
{"url": "https://events.nova.wine/event/live-music-with-first-class-big-band", "date": "2023-12-04T19:12:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100534.18/warc/CC-MAIN-20231204182901-20231204212901-00632.warc.gz", "language_score": 0.9194480776786804, "token_count": 188, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__224595652", "lang": "en", "text": "The BLOCK by Nova Destinations is proud to present Live Music with First Class Big Band!\nCome out Friday, December 15th for a night of fun! First Class Big Band is a 15 piece Brass Band that plays classics from the Prohibition Era.\nFirst Class Big Band will be bringing the entertainment and we will take care of the food & drinks!\nThe show will be from 7:30-9:30 and doors will open at 6 pm.\nWhether you just want to sit back and hear some GREAT music or dance the night away, this event is perfect for you!\nTickets will be $10/person and will take place in our event space on the 2nd floor of the BLOCK in Sharon, PA.\nWe will be providing food and drink service at your table for the evening, so all you have to do is get your tickets and enjoy a night at the BLOCK by Nova Destinations!", "domain": "music_and_dance"}
{"url": "http://infocenter.nlb.by/eng/kultura-i-iskusstvo/muzykalnoe-iskusstvo/", "date": "2023-09-25T16:45:25Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233509023.57/warc/CC-MAIN-20230925151539-20230925181539-00512.warc.gz", "language_score": 0.7147848010063171, "token_count": 1219, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__5079878", "lang": "en", "text": "На Міжнародным фестывалі Юрыя Башмета ў Мінску. Фота А. Манчук. БЕЛТА\nAt the Yury Bashmet International Festival in Minsk. Photo by Oksana Manchuk. BELTA\nКанцэрт хору ім. Г.І. Цітовіча ў Гомелі. Фота С. Халадзіліна. БЕЛТА\nConcert choir them. G.I. Tsitovich in Gomel. Photo by S. Kholodilin. BELTA\nСвята музыкі ў Заслаўі. Фота А. Манчук. БЕЛТА\nHoliday music in Zaslavl. Photo by O. Manchuk. BELTA\nМузычны форум \"Мінская вясна-2015\". Фота А. Манчук. БЕЛТА\nMusic Forum \"Minsk Spring-2015\". Photo by O. Manchuk. BELTA\nКанцэрт аркестра М. Фінберга на МТЗ. Фота А. Пакумейкі. БЕЛТА\nConcert orchestra of M. Finberg at MTZ. Photo by A. Pokumeyko. BELTA\nНа\"Славянскім базары\". Віцебск. Фота А. Хітрова. БЕЛТА\nOn the \"Slavonic Bazaar\". Vitebsk. Photo by A. Khitrov. BELTA\nModern Belarusian music aims to preserve rich national traditions developing popular musical styles and directions. The pieces of Belarusian music along with world classic and pop music are performed by professional and amateur musicians.\nBelarusian musical art is characterized by a high professional level. The country has unique school for composers and performers: the Belarusian Academy of Music and the Belarusian State University of Culture and Arts.\nThe Belarusian State Philharmonic Society is the main concert organization of our country. It’s a birthplace of academic, folklore, orchestra, choral, choreographic, jazz, pop and chamber bands.\nBelorusskij soyuz muzy'kal'ny'x deyatelej (The Belarusian Union of Musicians) and Belorusskij soyuz kompozitorov (the Belarusian Union of Composers) promote the development of country’s musical and concert life.\nMusical and theatrical life of the country is connected with the activity of the National Academic Bolshoi Opera and Ballet Theater of the Republic of Belarus and Belorusskogo gosudarstvennogo akademicheskogo muzy'kal'nogo teatra (the Belarusian State Academic Musical Theater). They stage the plays of Belarusian, Russian and West European composers.\nThe most popular musical bands of the country are:\n- Gosudarstvennaya akademicheskaya xorovaya kapella im. G. Shirmy' (Grigory Shirma State Academic Choir of Belarus)\n- National Academic Concert Orchestra of Belarus named after M.J. Finberg\n- Presidential Orchestra of the Republic of Belarus\n- State Academic Symphony Orchestra\n- Vokal'naya gruppa «Chisty'j golos» (Vocal band \"Chisty Golos\")\n- Vokal'ny'j ansambl' «Kamerata» (Voice band \"Kamerata\")\nBelarusian show business has different styles and stylistic directions: pop music (performers – Inna Afanasieva, Irina Dorofeeva, Nikolay Skorikov, Petr Elfimov, Iskui Abalyan, Alyona Lanskaya and others), rock music, folk and ethno music.\nNational musical instruments accompany the performances of numerous contemporary artists.\nThe musical life of Belarus is famous for its festivals, opening to their listeners new names and performers, defining the direction of development of the art of Belarusian music and popularizing musical culture in general.\nThe genre palette of festivals is diverse. In addition to events dedicated to pop music, blues, jazz, rock and roll, there are festivals of sacred, organ, chamber and academic music.\nAmong numerous music events the most significant are \"Belarusian Musical Autumn\", Yuri Bashmet International Music Festival, International Music Festival \"Golden Hit\" in Mogilev, Festival of Chamber Music \"Muses of Nesvizh\" and, of course, International Festival “Slavonic Bazaar” in Vitebsk.", "domain": "music_and_dance"}
{"url": "http://liberty.albany.k12.or.us/2016/12/02/liberty-singers-shine/", "date": "2018-10-23T02:18:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583515564.94/warc/CC-MAIN-20181023002817-20181023024317-00290.warc.gz", "language_score": 0.9549092054367065, "token_count": 129, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__154044009", "lang": "en", "text": "The Liberty Singers, under the direction of music teacher Steve Herb, put on a superb performance on Thursday, Dec. 1. The chorus, composed of students from grades 3-5, sang a variety of selections based on a winter theme. Parents, grandparents, siblings and friends watched the group performed in the school’s cafeteria. The group dazzled the audience with their finale, “Hot Chocolate”, which featured a salsa beat and a variety of movements. The group will be recording a CD in the near future which will be for sale to the general public. Interested parties should contact Mr. Herb at the school.", "domain": "music_and_dance"}
{"url": "https://tdotwomen.ca/teens-new-musical-talent/", "date": "2022-09-25T21:18:42Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030334596.27/warc/CC-MAIN-20220925193816-20220925223816-00393.warc.gz", "language_score": 0.9901923537254333, "token_count": 588, "dump": "CC-MAIN-2022-40", "global_id": "webtext-fineweb__CC-MAIN-2022-40__0__55711787", "lang": "en", "text": "Jessica Oppermann, a 17 year old francophone high school student from Ancaster, Ontario, has been singing on stage since she was 2 years old. This honour roll student, who speaks three languages, has used her love of music to help her get through the stress of the pandemic.\n“I’m a student at a francophone high school and during the pandemic, classes went online for the first time in my educational history,” said Jessica in an online interview. “This was very a difficult (adjustment) because having access to a social outlet is key during an adolescent’s life. I found myself feeling like I was “locked-up” in my room, always doing schoolwork. Since I was a little girl, I loved to sing. My parents would find me singing and dancing in the house, and it’s something that’s always made me happy. One day, I started thinking I should write down my ideas so that someday I could turn them into songs. Within a 4 month period, I had surprised my family by writing and composing melodies to 14 songs.”\nJessica’s father, who plays guitar and has been involved in music since a young boy, had built a recording studio in the family basement, but Jess always seemed disinterested in recording herself. “I was a competitive dancer before. That being said, I didn’t have the time to focus on music,” added Jessica.\nAfter she presented her family with a small living room concert (with her sister’s gentle prodding) she impressed her family so much that her father joined her to help lay down the tracks for the vocals, including the harmonies. She creates all her music and lyrics on the ukulele. “Sometimes, I get on the drums to add percussion to my songs,” she added, “My music has started changing my life to deal with the stress and anxiety of being home during the pandemic. It also helped with any boredom I was feeling since there was nothing much to do.”\nJessica is definitely very creative. She has asked her English teacher if she can record a song and video to present as a final project, which is something she is currently working on. You can listen to that song here: https://youtu.be/hBUYjCvHer0 .\nShe ended our interview by saying, “COVID has had various negative effects on my mental health, and I tried to turn a difficult situation around by developing my musical talents.”\nJessica’s new, “Covid Talent” is something that is worth looking out for. She is hoping to have her tracks online soon. We can’t wait to hear a lot more from her in the future. Go Jess!!", "domain": "music_and_dance"}
{"url": "https://seandgolden.wordpress.com/2016/01/19/an-eagle-soars/", "date": "2022-08-10T01:36:11Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882571097.39/warc/CC-MAIN-20220810010059-20220810040059-00480.warc.gz", "language_score": 0.9657900333404541, "token_count": 277, "dump": "CC-MAIN-2022-33", "global_id": "webtext-fineweb__CC-MAIN-2022-33__0__138969436", "lang": "en", "text": "I have a heavy heart typing this. Glenn Frey has passed away. Glenn Frey and Don Henley were responsible for a large fraction of the soundtrack of my high school years. My best friend and I would crank up the radio with every Eagles song and sing at the top of our lungs as we cruised around town in my ’64 Impala or his Maverick. Songs like “Peaceful Easy Feeling” set the tone for my burgeoning love life. And it was songs like “Desperado” that resonated with my broken heart, time after time.\nAs I type this, I have “Tequila Sunrise” playing on my iTunes. Not by deliberate action, it’s on random song selection, so I’ll take it as an omen. A message, if you will.\nIt is our legacies that give us our only chance to push back the inevitability of mortality. Glenn’s genius will live on for a long time to come. And in that small way at least, so will he.\nSo long Glenn. Your music, in a very real and compelling way, shaped my life, and the lives of my friends and family. You will be missed. You sent me, and all of us, the best of your love. And we are the better for it.", "domain": "music_and_dance"}
{"url": "http://emilycrossland.com/about.html", "date": "2024-02-28T16:09:00Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474737.17/warc/CC-MAIN-20240228143955-20240228173955-00410.warc.gz", "language_score": 0.9761486053466797, "token_count": 525, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__18606748", "lang": "en", "text": "Emily hails from Portsmouth but has lived in Yorkshire since starting her BA in Music at the University of York. She graduated with first-class honours in 2007, having spent an enjoyable three years nurturing interests in composition (with Thomas Simaku), Javanese gamelan (with Neil Sorrell) and medieval music (with Nicky Losseff). She subsequently returned to the University to study with Bruce Cole for an MA in Community Music, for which she was awarded a Distinction in 2010. Emily is still involved in academic life at York, working as the Director of Gamelan Sekar Petak and as a tutor on the MA and BA Community Music programmes. She is also a visiting lecturer for York St John University and Director of the University of Leeds Golden Thread Gamelan Ensemble.\nAs a composer, Emily's work is shaped by her passion for collaboration - with amateurs and professionals, across genres, and with other art forms. She is interested in the theatricality of music and has developed scores for dramatic productions, as well as composing works that are inherently theatrical in their own right. She is also interested in the musicality of words, creating performance poetry and responding to text commissions from fellow composers, including Judith Ring, David Bremner and Peter Moran. Her compositions have received performances across the UK and internationally, at the National Concert Hall Dublin and as part of Gaudeamus Muziekweek. She has recently been commissioned through the BBC Performing Arts Fund and as part of Hull City of Culture 2017, and has spent several years in residence with multi-arts performance ensemble Engine Room Theatre. In 2010, Emily was one of six composers selected to take part in Adopt A Composer (run by Sound and Music, PRS Foundation and Making Music, in association with BBC Radio 3) and in 2018 she was delighted to return to the scheme as a Mentor.\nEmily is an experienced educator and community musician, interested in inclusive and facilitative approaches to music-making. She spent 8 years looking after the Learning & Participation programme of the National Centre for Early Music and, as a freelancer, has delivered projects for clients including Hallé, National Concert Hall Dublin, Jessie’s Fund and Castaway Accessible Music Theatre. She is currently leading on Yorkshire-based youth gamelan programme The Sound of Bronze and continues to run the Northern Gamelan Network, which she founded in 2015. She also delivers gamelan courses for Converge York and Good Vibrations, working with adults with mental health conditions and people living in criminal justice settings.", "domain": "music_and_dance"}
{"url": "http://luicollins.com/marketplace/agora.cgi?p_id=301&ppinc=1a", "date": "2018-04-20T22:15:13Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-17/segments/1524125944742.25/warc/CC-MAIN-20180420213743-20180420233743-00247.warc.gz", "language_score": 0.9575956463813782, "token_count": 391, "dump": "CC-MAIN-2018-17", "global_id": "webtext-fineweb__CC-MAIN-2018-17__0__182723576", "lang": "en", "text": "Please use the links in the sidebar to order or see details about other items, or use the links below to place your order or to return to the Catalogue page.\nShipping charges for CDs and books are as follows: $2.25 for the first item, $3.25 for two, $4.25 for three, and $ 4.95 for four-seven items. Shipping for eight or more items is free.\nElectronic delivery of PDF documents (such as \"Blessed\" SATB score) is free.\nShipping charges will be calculated and added in the checkout process.\nA four-part choral arrangement for this much-requested song, available by download in two pdf's. Part 1, for mezzo-soprano soloist, has the lyrics written out with music for all four verses; Part 2, the Score with SATB parts, has guitar chords and piano accompaniment.\nOnce your order and payment is received, Lui will send the Blessed sheet music to you as pdf email attachments. Please be patient, as she's not always right by her computer, but she will send them along as soon as she can.\nThe cost for both pdf’s is $10. If you choose to perform the song with a choir or choral group, additional parts may be printed as needed, with a requested royalty fee of $1 per additional part printed. Thanks for your interest in singing Blessed!\nIf you love Lui's music, check out her Kids' Jam Curriculum. Created for teachers and home-schoolers, it includes music Lui uses in the Kids' Jam classes she teaches. Lui is joined on the recordings by Anand Nayak, of Rani Arbo & daisy mayhem. The music is fun for kids and enjoyable for adults - it's a great way to introduce your kids or grandchildren to the music you love!", "domain": "music_and_dance"}
{"url": "https://idolsmasher.bandcamp.com/album/idol-smasher-victims-of-the-cave-split-7", "date": "2017-08-20T11:27:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-34/segments/1502886106465.71/warc/CC-MAIN-20170820112115-20170820132115-00372.warc.gz", "language_score": 0.8075189590454102, "token_count": 133, "dump": "CC-MAIN-2017-34", "global_id": "webtext-fineweb__CC-MAIN-2017-34__0__11816089", "lang": "en", "text": "Record/Vinyl + Digital Album\nIdol Smasher: Barbara EP\nVictims of the Cave: \"Cold & Grey\" & \"The Wolf\"\nIncludes unlimited streaming of Idol Smasher/Victims of the Cave Split 7\"\nvia the free Bandcamp app, plus high-quality download in MP3, FLAC and more.\nships out within 3 days\nStreaming + Download\nIncludes high-quality download in MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app.\nreleased December 4, 2015\nAll Music by Idol Smasher & Victims of the Cave\nall rights reserved", "domain": "music_and_dance"}
{"url": "http://maghery.com/archive/archiveitem.asp?id=363", "date": "2022-12-04T19:48:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710978.15/warc/CC-MAIN-20221204172438-20221204202438-00203.warc.gz", "language_score": 0.975237250328064, "token_count": 288, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__17545822", "lang": "en", "text": "Only Filipino band in NI performing in Maghery\n04 April 2008\nThe only Filipino band in Northern Ireland, Below Zero, performing in Maghery community hall\nfrom Lurgan Mail, 04 April 2008\nTHE community hall rocked to the beat of Abba with a twist recently.\nThe social event, which saw members of the Filipino community travel from as far as Omagh and Derry, was a fundraiser for Below Zero, the only Filipino band in Northern Ireland.\nThe band members, who reside in Dromore and Craigavon, play various contemporary songs as well as traditional Filipino music.\nWhile currently holding practice sessions in ‘a small bedroom’, they hope to grow and be able to play bigger audiences across Northern Ireland.\nThe evening of entertainment was much welcomed as a helping hand to the band who pay for all equipment and transport costs out of their own pockets.\nJohn Alfante, spokesman for the Filipino community here, and a Maghery resident, spoke of his motivation for events such as this. He said, “I want very much to integrate members of the Filipino community into Northern Irish life”.\nChairperson of the community hall, Kevin Fox, said, “The hall is there to provide for all sections of the community and the Filippino’s use of the facility is more than welcome”.", "domain": "music_and_dance"}
{"url": "http://dunfanaghyjazzandblues.com/", "date": "2017-04-29T17:36:54Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123549.87/warc/CC-MAIN-20170423031203-00527-ip-10-145-167-34.ec2.internal.warc.gz", "language_score": 0.9029165506362915, "token_count": 387, "dump": "CC-MAIN-2017-17", "global_id": "webtext-fineweb__CC-MAIN-2017-17__0__280085081", "lang": "en", "text": "Hello and thanks for visiting the Dunfanaghy Jazz & Blues Festival website.\nThe 9th annual Dunfanaghy Jazz & Blues Festival will take place from Thursday 8th September - Monday 12th September 2016. The Dunfanaghy Jazz & Blues Festival will feature a series of free live gigs from 24 bands in 10 different music stages in pubs and bars throughout the village of Dunfanaghy.\nThe Henry Girls will open the 2016 Dunfanaghy Jazz & Bluees Festival with Ted Ponsonby on Thursday 8th September.\n** Tickets for The Henry Girls are now sold out\n** We can confirm that we have teamed up with St Michael's GAA Club who have kindly agreed to allow their grounds and facilities for camping over the full jazz and blues weekend (Sept 8 to 12).\n» GAA Camping Facilities - Book Online Now\nJazz & Blues T-shirts and Hoodies for Sale in the workhouse\n- €12 per T-shirt\n- €40 per Hoodie\n- Available from The Dunfanaghy Workhouse\n- The Jazz & Blues t-shirts are being supplied by BC Embroidery this year.\n- All proceeds go towards the running of the festival.\nThe information kiosk will be in the square again this year to provide information on the festival and the Sheephaven Bay area. It will have information on other events happening during the year and you might be able to find another great excuse to return to the picturesque seaside village of Dunfanaghy.\nFor all enquiries please call Donald on +353 (0)86 173 5109 or\nWe are delighted that Fintan Moloney is sponsoring the festival again this year. We would like to extend our thanks and appreciation to Fintan for all his support throughout the years.\nStrut your stuff at the The Dunfanaghy Jazz & Blues 2016 ....", "domain": "music_and_dance"}
{"url": "http://www.hawparmusic.org/post/vocal-jazz-for-adult-beginners", "date": "2020-08-08T00:48:18Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-34/segments/1596439737233.51/warc/CC-MAIN-20200807231820-20200808021820-00260.warc.gz", "language_score": 0.8763519525527954, "token_count": 351, "dump": "CC-MAIN-2020-34", "global_id": "webtext-fineweb__CC-MAIN-2020-34__0__27787788", "lang": "en", "text": "Online Vocal Jazz For Adult Beginners\nUpdated: Apr 29\nJazz Up Your Voice And Swing With The Melodies!\n“It doesn't mean a thing if you ain't got that swing” - Duke Ellington\nWe often hear this famous quote but how do you actually swing in vocal jazz? In this introductory course for beginners, you will learn about the basics of vocal jazz techniques, harmony formations, rudiments and improvisations. Stay home and swing with us online!\nLesson Date: 9/5 - 13/6 (Every Sat)\nTime: 12:00 - 1:00pm\nEligibility: 1+ year of music reading / singing lesson or choir experience\nFaculty: Jessica Zuch\nCanadian-born Jazz pianist and songwriter, Jessica holds a Master’s degree in Jazz Composition and Arranging from the University of Nevada, Las Vegas, USA. She obtained her Bachelor’s degree in Jazz Music Performance from Capilano University in North Vancouver, British Columbia, Canada where she later served as a faculty member and program coordinator. She is well-known for her innovative, upbeat teaching style and customized lesson plans.\n\"Music Must GO ON\" special: $1200 / 6 lessons* (Original Price: $1500)\n*Additional Special offer\n- Price inclusive of one free concert organised by Haw Par Music upon purchase, this offer is valid until 31 October 2020.\n^Lessons will be held online, the online software user guide will be emailed to participants upon completion of application and payment\nOnline Application Form: bit.ly/39sIM6g\nFor enquiries, please contact us by:\nTel: 3165 1235", "domain": "music_and_dance"}
{"url": "http://www.desoliver.com/", "date": "2013-05-22T18:35:47Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368702298845/warc/CC-MAIN-20130516110458-00067-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.938266932964325, "token_count": 401, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__204718183", "lang": "en", "text": "\"I found his music utterly compelling, Oliver is plainly a man to watch\"\n- Martin Anderson, Tempo Magazine\nComposer Des Oliver (b.1976) was born in Bedfordshire and studied composition at the Guildhall School of Music and Drama with Dr Robert Saxton and Simon Bainbridge. In 2000 he won a Scholarship to study with Steve Martland at the Royal Academy of Music in London and has had Master classes with Tom Adés, Nicholas Maw, Paul Patterson, the BBC Singers, Paavo Heininen, Paul Rouders and Simone Fontanelli. At present he is working towards his Doctorate in composition (DPhil) at Worcester College, Oxford.\nHis music has been performed at the British Music Information Centre (B.M.I.C), the South Bank Centre as part of the Park Lane Group Young Composer's Symposium, The Sheldonian Theatre, Chelmsford Music Festival and Huddersfield Contemporary Music Festival. Commissions include a piece for the Oxford Philomusica, a work for Clio Gould and the Royal Academy of Music Soloists as part of the Arvo Pärt in profile Festival. His short Opera 'Miss Treat', with a libretto by Meredith Oakes, was performed by the Tête á Tête Opera Company at the Bridewell Theatre receiving rave reviews from the Observer, Independent and Telegraph. International performances include Wegelius Hall in Helsinki, Pärnu Music Festival in Estonia, Hudebni Akademie Muzickych umeni (in Prague) and at the II Música Nueva Málaga Internacional Festival in Spain (2009) in association with soloist Emil Sein, Composer/Professor Dino Ghezzo and choreographer Lisa Naugle.\nDes has also taught composition at Brunel University and is currently a Senior Lecturer at the Academy of Contemporary Music (ACM), Guildford.", "domain": "music_and_dance"}
{"url": "http://www.thecontrapuntist.com/2013/02/01/dream-theater-to-release-new-live-show-live-at-luna-park/", "date": "2018-02-25T08:02:13Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891816178.71/warc/CC-MAIN-20180225070925-20180225090925-00370.warc.gz", "language_score": 0.8360227346420288, "token_count": 369, "dump": "CC-MAIN-2018-09", "global_id": "webtext-fineweb__CC-MAIN-2018-09__0__217714226", "lang": "en", "text": "Progressive metal titans Dream Theater released the trailer today for Live at Luna Park, which features performances from two nights in South America. The concert will be available in every imaginable format – 2 DVD, Blu-ray, Digital Video, 2 DVD/3 CD, Blu-ray/3 CD, and a deluxe edition (2 DVD/Blu-ray/3 CD) in May of 2013.\nDream Theater chose to film these particular concerts because of the ultra-enthusiastic South American fan base.”The fans are extremely passionate about Dream Theater,” keyboard wizard Jordan Rudess said in the trailer, “They love Dream Theater like nobody else.”\nLive at Luna Park was the culmination of the band’s 15-month, 35-country world tour. “This is without a doubt the closest the viewer at home will come to experiencing a live Dream Theater concert,” said guitarist John Petrucci. “Between the hi-def and 3-D video, the huge audio mix and the documentary style behind the scenes footage, you are truly transported to the arena and completely immersed in the entire live experience.”\nLive at Luna Park is Dream Theater’s seventh live video album and fifth live audio album. It also marks the debut tour for the band’s new drummer, Mike Mangini.\nYou can check out the trailer below.\n- Dream Theater’s Jordan Rudess Rocks NAMM (VIDEO EXCLUSIVE) (noisecreep.com)\n- DREAM THEATER Keyboardist Jordan Rudess Announces Benefit Concert To Support UMass Lowell Music Scholarships (bravewords.com)\n- DREAM THEATER Keyboardist Talks Next Album In New Video Interview (blabbermouth.net)", "domain": "music_and_dance"}
{"url": "https://www.ongea.biz/festivals-markets/call-for-registration-vis-a-vis-kenyan-edition/", "date": "2020-10-22T00:53:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107878662.15/warc/CC-MAIN-20201021235030-20201022025030-00334.warc.gz", "language_score": 0.9567677974700928, "token_count": 360, "dump": "CC-MAIN-2020-45", "global_id": "webtext-fineweb__CC-MAIN-2020-45__0__98984041", "lang": "en", "text": "Spanish public diplomacy institution Casa Africa in collaboration with the Kenyan Ministry of Sports, Culture and Heritage is calling on performing soloists and bands to register to audition for the Kenyan leg of the Vis a Vis project. The winning artists will tour Spain in July.\nNow in its 11th edition, the project seeks to promote a greater knowledge of African music in Spain and create a space for dialogue, which could result in new programmes to strengthen relations between Spain and Africa.\nEach year, two bands from the same country are selected to tour and perform at major festivals in Spain. African countries that have previously participated in the project include Senegal, Cape Verde, Tanzania, Ethiopia, Ivory Coast, Ghana, Equatorial Guinea and Angola.\nVis a Vis Kenya will be implemented by the Permanent Presidential Music Commission of Kenya (PPMC) and the Spanish and Kenyan embassies in both countries.\nOnce the registration window is closed, the Spanish music producers and programmers will select 12 bands that will audition between 2 and 5 April in Nairobi, Kenya. The location and venue for the performance will be announced at a later stage.\n“We look forward to receiving many applications,” Casa Africa head of culture and education Juan Jaime Martinez said. “The Spanish festival bookers will then shortlist the 12 bands that perform at the two-day event in Nairobi,”\nPPMC director Donald Otoyo said: “We are delighted about this exchange between Kenya and Spain. The festival directors will come to experience the live music scene and connect with the music business and our hospitality as Kenyans. In return, two of Kenya’s outstanding bands shall have an opportunity to spread Kenyan music in Spain by participating at 10 to 15 festivals.”", "domain": "music_and_dance"}
{"url": "http://remixmicpet.blogspot.com/2008/09/remix-contest-is-now-closed.html", "date": "2018-06-19T03:04:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267861752.19/warc/CC-MAIN-20180619021643-20180619041643-00519.warc.gz", "language_score": 0.9368042349815369, "token_count": 151, "dump": "CC-MAIN-2018-26", "global_id": "webtext-fineweb__CC-MAIN-2018-26__0__106977007", "lang": "en", "text": "Sunday, September 21, 2008\nRemix Contest Is Now Closed!\nMochipet's Remix Contest For \"Microphonepet\" is now closed. Thank you every who submitted remixes. They sound amazing. It will be very hard for us to pick one from the steller tracks we have recieved. We will announce a winner soon. Till then, stay happy and make music! Of course if you would still like to make a remix you are still welcomed to. Just scroll down to the bottom of this page and download the acapellas for Microphonepet. And if you could send us a copy of remix we would still love to hear it.\nDaly City Records, Creaked and the Mochipet Family.", "domain": "music_and_dance"}
{"url": "https://crackend.com/x-djing-music-mix-maker/", "date": "2023-12-08T00:19:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100705.19/warc/CC-MAIN-20231207221604-20231208011604-00585.warc.gz", "language_score": 0.8050101399421692, "token_count": 181, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__298745282", "lang": "en", "text": "X Djing – Music Mix Maker Cracked For Mac\nX DJing is a DJ software that lets you easily mix music, set loops, and hot cues and play with audio effects.\nPOWERFUL TOOL FOR YOUR FIRST PERFORMANCE\nCreated according to all the latest industry standards. No matter if you’re a beginner DJ or an experienced artist, you will find everything to create a professional mix.\nADVANCED DJ TOOLS\n- 8 powerful audio effects\n- Automatic beatmatching and synching\n- 4 hot cue points\n- 3-band equalizer\n- Parallel waveforms\nRecord your DJ set and save it to your hard drive.\nStart your DJ career with X DJing!\nIn-App Purchases: Full Pack!\nSupported Operation Systems:\nmacOS 10.12 or later\nSimilar Apps For Windows OS:", "domain": "music_and_dance"}
{"url": "https://www.uccnorwichny.org/music/", "date": "2023-09-24T17:28:35Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506658.2/warc/CC-MAIN-20230924155422-20230924185422-00134.warc.gz", "language_score": 0.9457942247390747, "token_count": 149, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__270343517", "lang": "en", "text": "Our Music Department is very active in the life of the church. Twice a year we designate Music Sundays when the worship service features the gifts and talents of our musicians and vocalists.\nWe have sponsored Water from the Well - a workshop with a well-known church composer for people involved in church music and a Christmas Cantata with singers from other churches and the community. Our choir and musicians participate in ecumenical and community services.\nWe love to have new people join the Choir and the Hand Bell Choir. For information, contact Mary Williams.\nChoir rehearses Wednesdays at 7:00 p.m. in the Nave.\nHandbell Choir rehearses Sundays at 11:30 a.m.", "domain": "music_and_dance"}
{"url": "http://www.fourplayjazz.com/?p=4951", "date": "2017-04-24T15:07:13Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119637.34/warc/CC-MAIN-20170423031159-00483-ip-10-145-167-34.ec2.internal.warc.gz", "language_score": 0.9522805213928223, "token_count": 2763, "dump": "CC-MAIN-2017-17", "global_id": "webtext-fineweb__CC-MAIN-2017-17__0__55313818", "lang": "en", "text": "Harvey Mason is among the most recorded and in-demand drummers of all-time. A legendary, multi-GRAMMY® nominated session drummer, producer, composer & recording artist, he has worked with a pantheon of musical giants, including Barbra Streisand, James Brown, Herbie Hancock, Beyonce, Christina Aguilera, Usher, Jennifer Hudson, Frank Sinatra, Ray Charles, Bjork, Carlos Santana, Michael Jackson, John Legend, Seal, and the London Symphony Orchestra. He has composed and written songs recorded by artists ranging from Nancy Wilson and Mary J. Blige to The Notorious B.I.G., Lupe Fiasco, Nelly/P. Diddy and T.I.\nChameleon, Mason’s April 29, 2014 solo debut for Concord Records and 10th solo project overall, adds one more remarkable chapter to his legacy. A blend of R&B, urban and cutting-edge jazz, Chameleon takes its inspiration from the title track, which Mason co-wrote with Herbie Hancock, and is a knowing nod to Mason himself, aptly dubbed the “Chameleon” for his uncanny ability to perform so many styles of music. The album updates classic tracks that Mason either wrote or actually played on, such as Hancock’s “Chameleon,” Grover Washington’s “Black Frost,” Patrice Rushen’s “Before the Dawn,” Donald Byrd’s “Places and Spaces” and Mason’s own “Either Way.” Look for Mason to hit the road with his new band Chameleon to support his Concord release.\nBorn in Atlantic City, New Jersey, Mason began taking formal drum lessons at age seven, playing in school bands and finally buying his first drum set at the age of 16. He continued his education first at the Berklee School of Music, then attended the New England Conservatory of Music on full scholarship, studying performance, composing, arranging, percussion and mallets. In 1970, he graduated from NEC with a B.A. in Education and Performance. He received immeasurable preparation for orchestral work from the legendary Vic Firth, timpanist with the Boston Symphony.\nIn the’70s and ’80s, “Mase” was king, working on Donald Byrd’s commercial breakthrough album Black Byrd and a series of successful crossover albums for Blue Note Records. This led to his seminal work on Herbie Hancock’s jazz masterpiece Head Hunters (1974), which featured the hit “Chameleon” (co-composed by Mason) and Mason’s own arrangement of Hancock’s “Watermelon Man.”\nA string of recordings comprising a “Fusion 101″ class for aspiring drummers soon followed, including performances on Grover Washington Jr.’s Mister Magic, Bob James’Three (featuring “Westchester Lady”), Lee Ritenour’s Captain Fingers, and many more. The icing on the cake for this phenomenal ’70s output was Mason’s contribution to George Benson’s triple-platinum selling Breezin’ album.\nMason’s precision playing has graced movies for such renowned composers as Michael Giacchino (Cars 2, Mission Impossible 1, 2, 3 & 4, Up , Star Trek, Speed Racer), Michel Colombier (Prince’s Purple Rain), Michel Legrand, Miles Davis’ (Dingo), Dave Grusin (Three Days of the Condor, The Fabulous Baker Boys and On Golden Pond), John Williams (Hook), and Lalo Schifrin (Rush Hour 1,2 & 3 and The Enforcer), Harvey Mason (Dreamgirls, Get On Up) to name only a few.\nMason is a founding member of Fourplay, and he continues to flex his writing, playing, arranging and production skills with partners Bob James, Nathan East and Chuck Loeb. Fourplay’s most recent recording, Esprit De Four, was released on Heads Up, a division of Concord Music Group, and debuted at #1 on Billboard’s Contemporary Jazz chart, receiving a GRAMMY® nomination.\nWith a commitment to broaden his solo career, Mason says that he’s finally found a good balance. “It’s become more evident to me how much I love playing live and having interaction with band mates and music fans. I’m not a smooth jazz player or a straight-ahead jazz player. I’m more than all of that, I am the Chameleon.” He adds, “The best is yet to come.”\nChameleon, the scintillating Concord Records debut from multi-GRAMMY® nominated Harvey Mason, finds him drawing upon the rich jazz-funk legacy of the 1970s and recasting seven of that era’s most enduring classics with an early 21st-century sheen. A legendary session drummer, producer, composer and recording artist, Mason is among the most recorded and in-demand musicians of all-time.\nCo-produced by Chris Dunn, Sr. Director of A&R for Concord Music Group, Chameleon features some of the brightest young jazz talents on the scene today. NEXT Collective alumni such as trumpeter Christian Scott, bassist Ben Williams, pianist/keyboardist Kris Bowers, guitarist Matthew Stevens enliven Chameleon. Bringing more young firepower to the fore are trombonist/vocalist Corey “CK” King, saxophonist Kamasi Washington, vocalist Chris Turner and keyboardist Mark de Clive-Lowe.\nHelping Mason steer this cooperative are some of his contemporaries – bassist and co-founder of the legendary Yellowjackets, Jimmy Haslip; percussionist and founder of Los Hombres El Caliente, Bill Summers; and bassist Paul Jackson. Summers and Jackson worked with Mason on Herbie Hancock’s 1973 landmark LP, Head Hunters.\nThe lead composition, “Chameleon,” from Head Hunters serves, in part, as the signifying reference for Mason’s disc. Not only did Mason provide the rhythmic spank for the jazz-funk staple, he co-wrote it with Hancock along with several other bandmates – Jackson and reedist Bennie Maupin.\nThe other part of the equalization for the disc’s title comes from “chameleon” being a nickname, given to Mason, because of his incredible versatility. As a first-rate session musician and live performer, his brilliance resides not only in jazz. He’s demonstrated musicianship in R&B, pop, country, Latin and European classical music; Mason also has played on an astounding number of recordings, movie and TV scores and commercial jingles.\nAfter two decades of playing with the GRAMMY®-nominated ensemble Fourplay – with which he’s still a member – Mason decided to reignite his solo career by forming a band based on the first edition of Hancock’s Head Hunters ensemble. Mason took the combo to Japan and received rave reviews. That reception, along with serious encouragement from his manager, inspired him to record Chameleon. “I came back [from Japan] and my manager spoke with Chris Dunn, who was real excited about it. He championed the idea with Concord,” Mason recalls.\nDuring the sessions, Mason was surprised about how strongly ’70s jazz-funk resonated with today’s more cutting-edge jazz artists. “It’s funny because a lot of those records, I may have listened to them maybe one time since I recorded them,” Mason explains. “As a musician, you’re always trying to evolve. When I listen to my drumming back then, it sounds dated. Now my sound is more opened. Back then, I had only one head on the toms, so they didn’t ring as much. They had a darker sound. I’ve modernized my drumming to accommodate the music that’s happening now. So when I listen to the old stuff, I just say, ‘Wow! That’s really something. That’s what they want to hear now.’”\nAfter witnessing Dunn’s passion for the project, Mason took his lead in terms of repertoire and sound quality. “I said to myself that there might be something to this that I might not be seeing. So I trusted his instincts,” Mason says. “As we put it together, I saw where he was coming from.”\nA tour-de-force destined become a new hallmark in Mason’s illustrious career, Chameleon begins with a smoldering rendition of Grover Washington, Jr.’s “Black Frost,” arranged by King. It features Kamasi Washington blasting a searing tenor sax solo across an evocative sonic terrain crafted by Bowers and Corey King keyboard and synth chords as Steven’s bluesy guitar accompaniment helps the rhythm section give it more funky momentum.\nLike most of the songs on the disc, Mason participated in the recording sessions of the original version of “Black Forest.” That 1974 date was of his first opportunity working with CTI Records and Creed Taylor. He recalls that except for Bob James (who co-wrote and arranged the song), many of the other musicians initially gave him the cold shoulder. “I remember no one would speak to me except for Bob because I was this hotshot making all these hits in L.A.,” Mason says, “Bob was very welcoming to me. We instantly became friends. When we started playing, everything sort of opened up and things were cool after that. Those guys became some of my greatest friends.”\nThe disc continues with an imaginative take on Bobby Hutcherson’s “Montara,” which has become a hip-hop gem thanks to people like the Roots and Madlib sampling it. On Chameleon, Mason handles the vibraphone part but allows Stevens, who arranged the makeover, to emerge as the lead voice on the melody, before passing the baton to de Clive-Lowe on Fender Rhodes.\nMason wasn’t on the original version of “If I Ever Lose This Heaven,” a soul-jazz ballad classic on Quincy Jones’ 1974 LP, Body Heat. But Dunn insisted on including it on the disc; he suggested Turner, who croons a simmering rendition of the lyrics, originally sang by Minnie Riperton and the song’s co-writer, Leon Ware. Arranged by King with vocals produced by Mason’s son, the new version retains the sensual vibe of the original, yet it shimmers with a modern, after-hours appeal.\nChameleon then breaks into one of its three sensational interludes. The first one, “Going Back” provides an ideal vehicle for showcasing de Clive-Lowe’s arranging and instrumental prowess on the keyboard as he tickles a hypnotic groove alongside Mason and Jackson.\nThe disc then slides into Bowers’ stunning arrangement of Rushen’s jazz-funk gem, “Before the Dawn,” which is graced by impressionistic horn chords from Scott, Washington and King.\nDonald Byrd’s classic “Places and Spaces” arrives next, first with a haunting prelude, before it launches into a swaggering groove, enlivened by Scott’s electrifying trumpet solo. King, who arranged the strutting down-tempo makeover, also lends his suave vocals on lead.\nAfterward, Mason’s wistful ballad, “Either Way” arrives. Originally appearing on Dave Grusin’s 1979 LP, Mountain Dance, the song became famous in hip-hop circles after being sampled on Biggie Small’s 1994 rap tune, “Everyday Struggle.” Bowers deftly taps into that hip-hop/jazz connection with a melancholy arrangement.\nThe title track comes as a grand finale with an imaginative arrangement from reedist (and Concord labelmate) Ben Wendel of Kneebody. For the new arrangement, Mason invited Summers to reprise his famous hinedewho intro to “Watermelon Man” from Hancock’sHead Hunters LP as a suspenseful teaser. It works like a charm as “Chameleon” moves into its trademarked stuttering melody and humpback groove.\nThe disc is a true testament to the enduring vitality of ’70s jazz-funk, and to Mason’s incredible musical flexibility. He’s a musician intent on constantly pressing forward. So Chameleon is hardly caught up in shallow nostalgia; it’s undeniably contemporary. “The music sounds different than it did back then,” Mason says. “But you get the same feeling and vibe. “", "domain": "music_and_dance"}
{"url": "https://www.huglifenf.com/about.html", "date": "2018-12-15T19:46:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376826968.71/warc/CC-MAIN-20181215174802-20181215200802-00321.warc.gz", "language_score": 0.9527639746665955, "token_count": 269, "dump": "CC-MAIN-2018-51", "global_id": "webtext-fineweb__CC-MAIN-2018-51__0__156849765", "lang": "en", "text": "About Niva Flor\nHuglife Wellness Studio was founded in 2015 by ethnomusicologist, vocal artist, and sound healing practitioner Niva Flor, Ph.D. as a creative intervention and rhetorical celebration of radical self-love.\nBorn into a Southern working class family in a leafy small town in the Jersey suburbs, Niva's earliest memories of music were at home. The guttural earthy tones of classic soul singer Gladys Knight and the virtuoso cosmic wails of Chaka Khan, were like comfort food for her soul. Their voices felt like freedom -- freedom is love. And where there is love there is healing.\nDeeply inspired by the Afro diasporic musical traditions and sounds of Brazil, West Africa, the Caribbean, Latin America, India and North American Blues and Soul, Niva's uses her voice and musical instruments to create a soundscape for healing, infusing the ancient with the contemporary as a mode of healing in powerful ways.\nNiva Flor received her B.A. in music from Spelman College, and her M.A. and Ph.D in Ethnomusicology from the University of California Los Angeles. Niva received her certification in the Sound, Voice and the Healing Arts program at the California Institute of Integral Studies in 2016.", "domain": "music_and_dance"}
{"url": "http://ammalcolm.blogs.plymouth.edu/2010/04/19/cmafest/", "date": "2018-06-23T15:58:54Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267865098.25/warc/CC-MAIN-20180623152108-20180623172108-00172.warc.gz", "language_score": 0.955172598361969, "token_count": 221, "dump": "CC-MAIN-2018-26", "global_id": "webtext-fineweb__CC-MAIN-2018-26__0__122888842", "lang": "en", "text": "Every year in June Nashville, TN holds a huge 4-day concert event, the CMA Festival. This CMA festival consists of top country names (e.g. Jason Aldean, Billy Currington, Lady Antebellum, Carrie Underwood, Alan Jackson, Miranda Lambert, and Tim McGraw). Each day their is 2 different concerts (one during the day and one that night).\nNow this concert is a lot different than most because the artists that come to perform receive no profit. Half of the proceeds go to charity's that various artists chose. Also, the tickets are very reasonable for a 4-day event. Ticket prices range from $120-$320 and no matter where you sit you will be able to see the show!\nThe artists are around all day and night and there are a lot of meet and greets people can go to! A lot of people get autographs and pictures taken while in the meet and greet! If you are a country fan, this is the ultimate experience there is! I can't wait to go and experience it for the first time!", "domain": "music_and_dance"}
{"url": "http://worthingtonlibrary.blogspot.com/2013/01/music-together-comes-to-worthington.html", "date": "2018-10-21T06:21:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583513760.4/warc/CC-MAIN-20181021052235-20181021073735-00185.warc.gz", "language_score": 0.9248610138893127, "token_count": 116, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__226481977", "lang": "en", "text": "Saturday, February 16 at 11:30am, the Worthington Library will be hosting a free session of Music Together, taught by Sondra Lewis. Music Together is a music and movement program for children 1 - 6, their parents and caregivers. Its premise is that children have the same capacity to learn music as they do to learn language. Families will enjoy a fun-filled, experiential 45 minute session. Sign up at the library, email email@example.com, or call 413-238-5565 to reserve your space.", "domain": "music_and_dance"}
{"url": "http://virtuosostrings.co.nz/", "date": "2018-02-21T13:18:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891813622.87/warc/CC-MAIN-20180221123439-20180221143439-00777.warc.gz", "language_score": 0.8764058351516724, "token_count": 134, "dump": "CC-MAIN-2018-09", "global_id": "webtext-fineweb__CC-MAIN-2018-09__0__124420071", "lang": "en", "text": "Virtuoso Strings Charitable Trust\nThe Virtuoso Strings Charitable Trust (established in 2013) provides free instruments and free tuition to students at low decile schools in Porirua. The Trust also runs the Virtuoso Strings Orchestra which rehearses each week in Cannons Creek, Porirua. The orchestra does not hold auditions and is open to any member of the public.\nPLEASE NOTE: We are getting a new website created for us soon. To find out more information about us in the meantime, please check out our Facebook page: https://www.facebook.com/SistemaPorirua/", "domain": "music_and_dance"}
{"url": "https://opliammusic.com/2018/12/04/spotlight-on-opliam-and-the-indigenous-peoples-march-in-the-loop/", "date": "2023-06-04T20:10:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224650264.9/warc/CC-MAIN-20230604193207-20230604223207-00554.warc.gz", "language_score": 0.9649983644485474, "token_count": 225, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__91543440", "lang": "en", "text": "There’s a lot to be said about the inspiring music created by OPLIAM, the stage name of Columbia Music Business student Liam McDonald. For one, his upbeat mix of hip-hop, rock and roll, and reggae is both catchy and funky enough to get anyone’s toes tapping. But OPLIAM’s music goes farther than just infectious rhythms and enticing melodies: he uses his talent to make impactful statements about the struggles that indigenous people continue to go through. OPLIAM’s family on his father’s side comes from the Kahnawake Mohawk reserve outside of Montreal, and the artist takes inspiration from his roots in order to bring attention to issues of prejudice that have effected his family and his community generation after generation. His recently released third album, MEDICINE WOMXN, features a cover with a picture of his grandmother, a traditional Mohawk medicine woman who was..\nSource: SPOTLIGHT ON: OPLIAM and the Indigenous Peoples March | In The Loop\nAppreciaate this blog post", "domain": "music_and_dance"}
{"url": "http://palmpheonsongs.com/station/pink-ep/", "date": "2022-01-20T19:48:29Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320302622.39/warc/CC-MAIN-20220120190514-20220120220514-00063.warc.gz", "language_score": 0.9732112288475037, "token_count": 336, "dump": "CC-MAIN-2022-05", "global_id": "webtext-fineweb__CC-MAIN-2022-05__0__250555153", "lang": "en", "text": "Following the success of their previous albums, Blue, Yellow, and Silver, they finalize the color/mood scheme with their fourth album PINK, which symbolizes feminism and is also the name of the woman who the album is based on.\nFeaturing five tracks, PINK tells the story of a boy that falls in love with a dancer and the ups and downs of their relationship. The first three songs maintain an upbeat tempo with a cheerful tone reflecting the butterfly stage of the relationship. “You and I” is a lively track that depicts a conflict with his business partner’s disapproval of his relationship and the love he has for his significant other. When his love is put to the test, he proves that love triumphs all.\nHowever, the second half of the album transitions into a more personal and intimate vibe, with a slower tempo representing the stage that reality kicks in. “Seattle” is a somber track inspired by a friend’s break-up when his relationship is forced to an end because his girlfriend moves to Seattle. Although breakups can be difficult, the song emphasizes appreciating the good memories shared with someone. The album concludes with a smooth interlude with intentions to convey that you win some and you lose some, but love is never lost.\nPINK is sure to impress fans and solidify Twelve’Len in the South Florida music scene.\n“Their music inspires me to embrace my creativity and motivates me to stay original, and I can’t wait to hear what they have in store for 2016,” said Vanesha Gonzalez, a fan of the group.", "domain": "music_and_dance"}
{"url": "https://www.latest-news.today/amit-trivedi-turns-42-eleven-songs-that-prove-why-his-music-is-here-to-stay/", "date": "2021-06-15T10:56:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-25/segments/1623487620971.25/warc/CC-MAIN-20210615084235-20210615114235-00608.warc.gz", "language_score": 0.8979285955429077, "token_count": 436, "dump": "CC-MAIN-2021-25", "global_id": "webtext-fineweb__CC-MAIN-2021-25__0__174594192", "lang": "en", "text": "In the age of remixes and recreations, if there’s one artiste who provides us hope, it has to be Amit Trivedi. The reluctant composer has been round for over a decade, and managed to give us music that stays with you. So be it rock fashion or qawwali, love ballads or folk-fusion, his tunes seamlessly discover manner into our system, each time he touches a musical notice.\nAmit was to make his musical debut in Bollywood with Dev.D (2009). But due to manufacturing delays, he arrived with Aamir (2008). And then, there was no wanting again. Amit makes music his personal manner. No marvel his creations are uncooked, unique and modern. He’s turned music composer for movies like Wake Up Sid, Aisha, Ishaqzaade, Ek Main Aur Ekk Tu, Kai Po Che, Lootera, Queen, Udta Punjab, Highway, Shaandaar, Dear Zindagi, Manmarziyaan and Andhadhun, to title just a few.\nAs the gifted music director turns 42 as we speak, we choose his greatest songs through the years that proceed to stay earworms.\nIktara – Wake Up Sid (2009)\nLondon Thumakda – Queen (2014)\nSawaar Loon – Lootera (2013)\nNayan Tarse – Dev.D (2009)\nManjha _ Kai Po Che (2013)\nGulaabo – Shaandaar (2015)\nNaina Da Kya Kasoor – Andhadhun (2018)\nGal Mitthi Mitthi – Aisha (2010)\nDaryaa – Manmarziyaan (2018)\nLove You Zindagi – Dear Zindagi (2016)\nUd-daa Punjab – Udta Punjab (2016)\nPaayaliya – Dev.D (2009)\n(Because we can’t choose only one track from Dev.D)\nIsn’t an Amit Trivedi playlist a go-to assortment for you?", "domain": "music_and_dance"}
{"url": "https://sonofkirk.newgrounds.com/reviews/audio", "date": "2017-10-22T17:09:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-43/segments/1508187825399.73/warc/CC-MAIN-20171022165927-20171022185927-00872.warc.gz", "language_score": 0.9786244034767151, "token_count": 3048, "dump": "CC-MAIN-2017-43", "global_id": "webtext-fineweb__CC-MAIN-2017-43__0__173910517", "lang": "en", "text": "First time I check newgrounds in a longass while and boom a Jonus track on the main page. So glad to hear you play again.\nI see you've changed style a bit. Do you listen to some \"Djent\" bands? Periphery much? I swear there are some influences here! Love it!\nSOK! Long time man! Yeah I am a BIG fan of Periphery. But not much other \"Djent\" bands lol. Glad you dig it!\nMan your organ and keyboards playing is wonderful. Love it.\nYour family is awesome, I hope my children will be musicians when I have children haha, must be great jamming with the boys!\nProps to Logan, great sense of melody!\nWell you are still young yet...so ...haha. Thanks very much, man. :)\\m/\nLove it !\nYou took my song to another level thanks for that! Really pro sound you got there, the lyrics are great too. I listen to it about 5 times a day, I just can't get tired of it :D. I'm looking forward to working again with you. Thanks for all <3\n<3. It is always awesome to work with you. I'm sorry I'm slow. Like...shortbus slow...but I really look forward to any projects we do. Thanks dude!\nThis is beautiful\nWhoah... what an intro! This was wonderful, reminds me of metallica's S&M and of Anathema. When the acoustic guitar starts, I immediately though of Porcupine Tree. This plus the vibrato flanger on the electric guitar sounds very much like PT, it's awesome!\nThe drums sounds good, I like the natural sound it has. Though, it would seems it goes slightly out of beat, sometimes (2:24), especially during the breaks and fills. I assume you were playing the drums on an electronic drum kit? This is not a big problem since you have to listen really carefully to notice this little thing. I have started taking drums lessons this year so I know how hard to play well drums are :). I must say you are a very good drummer.\nWhen the electric guitars kick in with all the layers, it's pure epicness. It's impressive how you managed to arrange a 6 minutes song with a single chord progression without getting boring.\nI love it :)\nHey Sonofkirk, thanks for the lengthy review! Yeah this song definitely has PT and Anathema written all over it in terms of layering. Have you checked out Anathema's new album that was produced by Steven Wilson? It's friggin' brilliant, i'm in love with it.\nFor the drums, I always try to aim for fairly neutral sounding drums in my mix, I don't like to over-process them to much. I just like a natural kit with some nice room ambiance and enough compression to make sure the transients on the snare and kick pop during mixdown. The drums were performed live through a midi kit, though time adjusted later. There was also some additions programmed manually, such as one or two really fast fills that I just can't perform smoothly my self (yet! i'm getting better ;)) I love to drum, i'm just not good enough to do it without major editing afterwards in my music hahaha. This song was fun as hell to drum though with all the cymbal/kick work.\nThe progression is quite repetitive, it's actually a bad compositional habit I have, which I sometimes try to hide with layering guitar over the backing harmony to create a sort of new melody which becomes quite obvious near the end. It worked for this song, but I am trying to break away from this style of writing because it can get boring for the listener!\nAnyways, this is getting long, seems my replies to you always are haha, cheers for the review man!\nI'm not much of a \"techno\" guy, I usually listen to rock or metal music but I was really surprised in a good type of way when I listened to it.\nI enjoyed the fusion of the 8-bits sounds and the techno sounds. I must say that anything with 8-bit instrument sounds cool, it reminds me of the old video games, this is priceless :). Though I assume it must have been challenging to mix up those two genre; so kudos you provide us with something very interesting.\nI liked the chords progression, especially when the strings play it around 0:45 for example, that's beautiful. The transitions are really smooth, enjoyed how the \"transe\" synth comes in around 1:05. Nice bass line too! Though I have a complaint about the drums, especially the snare drum. I would have enjoyed something very 8-bit-ish or some something really techno-ish but the snare you used here was kinda in the middle of those two sounds... It sounded too natural to me, I would have expected some highly processed snare here.\nAs BUCHANKO previously said, the song lacked of energy, you could use some post production plug ins such as Waves MultiMaximizer which is an awesome limiter. You could also work on the bass drum sound and add some distortion and fatness to it :).\nOther than that, I enjoyed this song, which is not always the case when it comes to electronic music! :) I fived it.\nHey, thank you so much for the constructive suggestions, Sonofkirk! It'll be a favor to work on all the things you've mentioned. I'm always glad to get helpful reviews like this! :)\nWhat an ambiance!\nDude this is priceless!! It's like I'm listening to some early Porcupine Tree on Newgrounds, when they were really into ambient stuff. I'm digging this song so much.\nThe first part was beautifully arranged, you have some skills in using synths. That's something I'd like to be able to do and my lack of ability in this field shows on my own songs :P. What plug-ins are you using? those synths sound beautiful. I liked how the bass is playing an ostinato and how the chords over it change, give a enjoyable dark mood to the song.\nAnd wow! I had an eargasm when the drums and guitars kicked in around 3:35! This is just epic. That's a nice guitar tone you got ear, I think I'll try Amplitube someday and do the comparison with guitar rig. Anyway, brilliant tone. Ah I recognize Addictive drums here, I assume you are using a Tama kit? At least the snare is? Anyway, it sounds great I liked how you kept a natural sound to it. Though I would advise you to polish some licks, especially the hi hat hits. For example at 1:49, those 32th notes were too \"straight\", you should lower the volume of the two first hits to make it sound more realistic. See what I mean? Also nice use of the 3/4!\nWhat can I say? This song is brilliant, nice arrangement and composition. And over all, incredible taste in music, I mean Porcupine Tree was sent by god! ;).\nHey man, thanks for the awesome and lengthy review.\nI don't remember 100% but I was either using Atmosphere or Sampletank (might've even been a combination of both). They're really the only two synth vst's I ever use anymore since they seem to cover what I want to do most of the time. But yeah theres nothing fancy with the synth going on in this song, just 2 (or 3) different pads playing single notes with some filter automation, thats it.\nI'd highly suggest amplitube. I was a GR user for a long time too but even GR never sounded real to me as good as it was. If you were to blind test me with amplitube and real amps i'd be hard pressed to tell you which was the real thing! Amp sim tech has come so far..\nAbout the hihats, yeah, I hate those 32nd quick fills too, when I was all in depth mixing and mastering this I had never noticed it, and then a week later when I listened to the song I was like, wtf was I thinking.. Another thing that bugs me is some balance issues between the drums and the bass. But really it doesn't bother me enough to go through the process of editing and re-mastering the whole thing, i'm awesome lazy like that ;).\nThe drums are indeed Addictive Drums using a custom preset I made which utilizes kit pieces from both the Retro and Jazz adpaks (I think i'm XLN audios best customer, lol). I think the only original piece of kit from stock AD i'm using is the kick drum (tama) otherwise everything else is from an adpak. I hate the stock sound of most of AD's drums if only because they're just so overused these days, ESPECIALLY the presets.. (if I hear that 'startup' preset in one more commercially made song, I might stab somebody).\nAnyways, thanks for review man, I appreciate it, hope some of my comments on the vsts has been helpful.\nAnd hell yeah, Porcupine Tree is ear sex.\nIt was very interesting to listen to this piece, I enjoyed the different parts of it and the way the song was in a constant evolution.\nThe first part with the acoustic guitar reminded me of the music from those games I used to play when I was younger in which you have to build a city during the Antiquity and stuff, like Civilization as Tadashiini said. I really like it, it would really sound perfect for one of those game. By the way, I assume you didn't play the guitar and you programmed it? If it's the case, it sounds absolutely beautiful and realistic, and I must say the other instruments you used sounded brilliant.\nThen comes another part at 1:43. This one sounded epic! The chord progression was pretty simple but the way you arranged it with the low octave played by the piano, the strings and the piano melody made it sound just epic. Though I would have enjoyed a bit more rhythm on it, you know to make it sound more lively.\nAnother part at 2:17 starts, I think it was my favourite. Loved that bluesy lick played by the flute, I think. I must say I didn't expect that coming but it created a nice element of surprise. And the guitar behind it was rocking, acoustic guitar + rock-ish riff = win. The repeat myself, this part deserved more percussion too but maybe that's my metal guy influences that want that :).\nOverall I enjoyed this one very much. Though there were a few thing that I would have expected such as more present drums (percussion) but that's a matter of taste so I won't penalize you for that. Great job on this, keep going :). And check my songs if you have some time ;)\nGave it a 5.\nFirst off, thanks for the awesome review. These are few and far between nowadays it seems. So it is always appreciated when someone gives a lengthy and well thought out reaction to something I've written.\nAs for the song itself, I'm glad you enjoyed it so much. As you mentioned the piece really begins to gain energy at the 1:43 mark, and doesn't really look back after the 2:17 mark. I really REALLY liked that final section with the flute so I decided it would be perfect to just add one last bridge and then let it repeat itself with a fadeout. It just seemed the most appropriate way to end the song.\nOnce again I'm glad you enjoyed the tune, and thanks for the wonderful review. :-)\nThe funny thing is that I used to watch Inspector Gadget when I was a kid... in French obviously, so once again it's cool to see how it does sound in another language.\nNice voice performance, you managed to literally change your voice tone to a dark and deep scary voice, the illusion is perfect - unless it's your regular voice ;P. It was good for a 6 seconds clip, though I expect to hear a bit more material from you next time.\nAnd I won't comment on the equalisation, you know it all.\n*Review Request Club*\nYeah, the six second part was a little banter between myself and Bahamut in the Levelup! Lounge. Basically, it culminated with me recording this first thing on a week day morning, so I recorded it and published it straight away. Not the best thing, I'll admit, but this will change when the new Mic arrives :)\nMan I dig this shit! I was impressed by the guitar tone from the very first second, it was very precise sharp. And the bass tone is sexy as fuck, one of the best tone I have ever heard, honestly. Overall, it seems you worked more on the tones than in your previous songs, even though it's a rough mix.\nThe vocals were fucking great, the first verse reminded me of Dream Theater, something from the previous album, when the drummer and Labrie sing together, it's great! The chorus was catchy as hell, I think it's stuck in my head for this day :P. I love the melody of it and your prog-ish type of voice on it.\nThe solo was enjoyable as well, the tapping part was killer. Then you don't play too many notes but you just play the right ones so it sounds better than any other speed guitar solo. You should have the copyrights on that lick at 3:18, I think you use it in all your solos haha.\nI can't really help for the vocals but I promise I'll send you a melody played on the guitar ifI come up with something interresting. That's one of your best song, no doubt.\n4.23 / 5.00 (+ 0.014)\nYou are right about the solos. haha. I always play that...jump up that bit of that scale sounds 80'ish, but it can lead up to a crescendo or bring down from one. Diverse, yet simple. haha.\nGlad you dig it. I'm working pretty hard on all the aspects. :D\nANyways dude, always pleases me to have you stop by and leave your review and <3. You are a kick ass artist, and your support is appreciated. :D\nnewgrounds.com — Your #1 online entertainment & artist community! All your base are belong to us.", "domain": "music_and_dance"}
{"url": "https://northwestdharma.org/group_member/dance-mandal/", "date": "2020-10-29T14:49:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107904287.88/warc/CC-MAIN-20201029124628-20201029154628-00199.warc.gz", "language_score": 0.8158814311027527, "token_count": 209, "dump": "CC-MAIN-2020-45", "global_id": "webtext-fineweb__CC-MAIN-2020-45__0__156078183", "lang": "en", "text": "Emphasis is on the sacred arts particularly of Vajrayana Buddhism, and focusing mainly on a style of vajra dance from the Nepalese lineage of Newar Buddhist priests. Dance classes and performance offerings are held regularly at the Newar Buddhist temple of Nritya Mandala Mahavihara. Dance Mandal also offers presentations, workshops, and performances for dharma centers, universities, schools, museums, etc.\nM-F, 8am-9am- morning meditation and ritual\nSat., Su- 9am-10am- morning meditation and ritual\nLast Sunday of the month, 10:30am-1pm- Mudra Yoga Workshop\nFirst Saturday of the month, 10:30am-1pm- Meditation Movement Workshop\nContact us for information about weekly dance classes, and to be on our\nemail list for dharma teachings, Sanskrit, music and dance offerings, etc.\nPrajwal Ratna Vajracharya\n1405 Southeast 40th Avenue Portland Oregon 97214 United States.", "domain": "music_and_dance"}
{"url": "https://houstonpianocompany.com/blog/the-advantages-of-buying-a-digital-piano-and-how-the-roland-digital-piano-meets-your-needs/", "date": "2024-04-16T17:28:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817103.42/warc/CC-MAIN-20240416155952-20240416185952-00282.warc.gz", "language_score": 0.9185275435447693, "token_count": 658, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__150235407", "lang": "en", "text": "The Advantages of Buying a Digital Piano and How the Roland Digital Piano Meets Your Needs\nDigital pianos have revolutionized the music industry by offering a convenient and cost-effective alternative to traditional acoustic pianos. There are several advantages to choosing a digital piano over an acoustic one, including affordability, portability, versatility, and advanced features. Roland, a leading manufacturer of musical instruments, has distinguished itself in the digital piano market by consistently delivering high-quality instruments that cater to the needs of musicians at all levels.\nSpace and Portability\nUnlike their acoustic counterparts, digital pianos are known for their compactness and portability. They are an ideal choice for smaller living spaces or for musicians who need to transport their instrument regularly. Roland digital pianos take this a step further with sleek designs that can fit into any room aesthetic.\nGenerally, digital pianos are more affordable than acoustic pianos. They offer beginners and budget-conscious individuals a more accessible entry point into the world of piano playing. Roland, in particular, provides a range of options that cater to different price points without compromising on quality.\nDigital pianos require minimal maintenance compared to acoustic pianos, which need regular tuning and can be affected by environmental factors like humidity. With a Roland digital piano, you get the added benefit of durability and long-term reliability.\nVariety of Sounds and Features\nDigital pianos come equipped with a range of sounds and features that expand the player’s musical palette. Roland digital pianos are renowned for their rich library of sounds, including various piano tones, which mimic some of the finest grand and upright pianos.\nVolume Control and Headphone Option\nFor those practicing in shared spaces or apartments, the ability to control volume and use headphones is a significant advantage. Roland pianos excel in this aspect, offering high-quality sound even at lower volumes or through headphones.\nWhy Roland Digital Pianos Stand Out\nRoland digital pianos boast cutting-edge technology, exemplified by their SuperNATURAL sound engine, setting a new standard for realism in piano sound. This advanced engine meticulously reproduces the nuances of acoustic pianos, offering players an authentic and immersive playing experience. With Roland’s commitment to innovation, musicians can enjoy unparalleled sound quality and expression, making their digital pianos a top choice for discerning players worldwide.\nBuild Quality and Design\nRoland prioritizes both aesthetics and durability in their digital pianos. With sleek, modern designs, their instruments are visually appealing and built to withstand the rigors of regular use, ensuring longevity for musicians seeking reliability without sacrificing style. Roland offers digital pianos tailored to every skill level and requirement, ensuring both beginners and professionals find an instrument that meets their specific needs and abilities.\nWhether you are making your first foray into piano playing or looking to upgrade your current instrument, consider the myriad benefits of a digital piano. With a Roland digital piano, you’re not just purchasing an instrument; you’re investing in an experience that combines tradition with technology, ensuring that every note you play resonates with quality and inspiration. The Advantages of Buying a Digital Piano and How the Roland Digital Piano Meets Your Needs", "domain": "music_and_dance"}
{"url": "https://m.socialpost.news/article/bollywood/37298", "date": "2018-12-14T15:42:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376825916.52/warc/CC-MAIN-20181214140721-20181214162221-00178.warc.gz", "language_score": 0.9733915328979492, "token_count": 951, "dump": "CC-MAIN-2018-51", "global_id": "webtext-fineweb__CC-MAIN-2018-51__0__67185713", "lang": "en", "text": "Music Is The Backbone Of Bollywood Industry:\nBollywood industry revolves around songs. You will not see a single movie that has not given us a hit song. So like that we have so many hit songs from old movies. But there are some tracks that are still alive in our hearts and will always lead the hit list. In this article we have given you some evergreen top Indian songs.\nTop 10 Evergreen Indian Songs :\n1. Baharon Phool Barsao:\nThe 1966 movie ‘Suraj’ had this beautiful song in its track list which is still remembered and hummed by many of us. The song was filmed on Vyjayanthimala and Rajendra Kumar and lyrics were given by Shailendra and Hasrat Jaipuri. The song was sung by Mohammad Rafi. The music director of the song was Shankar and Jaikishan.\n2. Mera Kuch Samaan:\nA song filled with emotions was beautifully sung by Asha Bhosle. ‘Mera kuch samaan’ track is from the movie ‘Ijaazat’ released in 1987. Gulzar gave lyrics to the song and R D Burman composed it. Anuradha Patel and Nassrudin Shah enacted the song. Meaning of the song will fill you with tears.\n3. Aap Ki Aankhon Mein Kuch:\nThis melody was sung by Kishore Kumar and Lata Mangeshkar. The song that was composed by R D Burman was from the film ‘Ghar’. Vinod Mehra and Rekha superbly enacted the song. This song reflects a feeling of compassion, love and care for each other.\n4. Chalte Chalte:\nFrom the movie ‘Pakeeza,’ with the voice of Lata Mangeshkar, the lyrics of Kaifi Azmi and the music composition by Ghulam Mohammad, this song is a perfect blend of magnificence. It has all the necessary requirements for being a hit song. Hazrat Meena Kumari,Raj Kumar and Ashoke Kumar enacted the song very well.\n5. Yeh Dosti Hum Nai Todenge:\nThis song from the blockbuster movie ‘Sholay’ starring Amitabh Bachchan and Dharmendra is one of the most admired friendship songs even today. Manna Dey and Kishore Kumar gave voice to the song. Music was given by R D Burman and lyrics were given by Anand Bakshi.\n6. Kabhi Kabhi Mere Dil Mein:\nThis is one of the most excellent creations of Khayyam, the composer and was sung by Mukesh in the film ‘Kabhi Kabhi’. Lyrics of this track are penned by Sahir Ludhianvi. The movie starred Amitabh Bachchan and Rakhee as the lead actors. The song is believed to be one of the best songs of all time.\n7. Jab Pyar Kiya Toh Darna Kya:\nAn evergreen song from the significant movie ‘Mugh-le-Azam’ enacted by Madhubala – Dilip Kumar and sung by Lata Mangeshkar which helped her attain the title of the best singer of all time. Naushad composed the song and the lyrics were written by Shakeel Badayuni.\n8. Rim Jhim Gire Saavan:\nThis song sung by Kishore Kumar is from the movie Manzil. Amitabh Bachchan and Moushumi Chatterjee are starring in this melodious song. R D Burman composed the song and Yogesh Gaur filled song with love with his pen.\n9. Tere Bina Zindagi Se Koi:\nSanjeev Kumar and Suchitra Sen are starring in this song. The song is having a long lasting effect because of the emotions and lyrics, given by Gulzar. The voices of Lata Mangeshkar and Kishore Kumar made the song even more melodious. The music is given by R D Burman.\n10. Lag Jaa Gale:\nThis song was and is and will always be loved and remembered by all of us because of its lyrics. Raja Mehdi Ali Khan penned this love song and Madan Mohan Kohli gave music to it. The voice was given by Lata Mangeshkar. This song from the movie ‘Kaun Thi Who’ was enacted by Sadhna and Dilip Kumar.", "domain": "music_and_dance"}
{"url": "http://secure.cpcc.edu/webpages/view_basic.asp?edirid=167276", "date": "2020-11-29T08:09:15Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141197278.54/warc/CC-MAIN-20201129063812-20201129093812-00217.warc.gz", "language_score": 0.7720882296562195, "token_count": 113, "dump": "CC-MAIN-2020-50", "global_id": "webtext-fineweb__CC-MAIN-2020-50__0__17058468", "lang": "en", "text": "|Name: Christopher Meister||\n|Department: Music (Visual and Performing Arts Division)|\n|Title: Instructor, Music: Theory and Class Piano|\n|Phone Number: (704) 330-6315|\n|Fax Number: (704) 330-6438|\n|Email Address: Chris.Meister@cpcc.edu\nNote: If you email a CPCC employee and themessage bounces-back or is undeliverable, please try to contact the individual by telephone, in person, or by other means.", "domain": "music_and_dance"}
{"url": "https://erikaseveryns.com/tag/expectations/", "date": "2022-05-18T22:06:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00150.warc.gz", "language_score": 0.9763579368591309, "token_count": 145, "dump": "CC-MAIN-2022-21", "global_id": "webtext-fineweb__CC-MAIN-2022-21__0__312605096", "lang": "en", "text": "I changed my persona from Kantisunflower to K_anti because I didn’t want to go by someone I was not anymore. Producers would approach me with a very particular style of music but I’m a versatile person, I want to explore everything. Before music, I wanted to be a director, before that an astronaut, before that a cheerleader. But we’re taught we can only pursue one dream. Fuck that! I want to pursue and do anything; the space in-between is the space for me to do and be anything I want. Music should be as fluid as any other type of artistic expression, and this is what I intend to explore as K_anti.", "domain": "music_and_dance"}
{"url": "https://mvmsdrt.wixsite.com/lilikoi", "date": "2022-11-30T19:56:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710771.39/warc/CC-MAIN-20221130192708-20221130222708-00005.warc.gz", "language_score": 0.974753737449646, "token_count": 204, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__59706165", "lang": "en", "text": "Junyoung Jung is a composer who writes music for film, television and commercials.\nJunyoung was born in Seoul, South Korea and majored in Music Composition at Seoul Institute of Arts. He worked in the Korean film and television industries as a film composer for 7 years and as a orchestrator for the Korean Police Band for 2 years. Since the start of his professional career in 2010, he has composed numerous original soundtracks for movies, TV series, animated features and documentaries.\nAs a musician, Junyoung plays the piano, electronic synthesizers and the violin. He creates and performs various genres of music but is proficient in producing pop, modern, acoustic, electronic, and orchestral music. Music is the one universal language, and Junyoung speaks it fluently, traveling around the world in search of new people and amazing sounds.\nJunyoung lives in Los Angeles with his wife, pianist Kyungbin Woo and graduated Film Scoring certificate program at UCLA Extension.", "domain": "music_and_dance"}
{"url": "http://jonackermusic.com/about.html", "date": "2024-04-23T17:23:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818732.46/warc/CC-MAIN-20240423162023-20240423192023-00649.warc.gz", "language_score": 0.9763369560241699, "token_count": 147, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__173842855", "lang": "en", "text": "A Baltimore based cover artist singing and playing guitar and other instruments, sometimes with special guests. Available to play at bars, parties, and all other events. Playing an eclectic mix of classic rock, 90s rock, country, and even some rap and modern hits. Heavily influenced by Bruce Springsteen, Bob Dylan and others, you can be sure that you won't be hearing your \"average bar songs\" with Jon.\nFully employed in the healthcare technology industry. Music is my hobby and my \"out\" from real life. I have been playing guitar and singing for most of my life and get the most enjoyment out of making people sing, drink and just have a good time. I never take myself too seriously.", "domain": "music_and_dance"}
{"url": "https://alligatorrecords.com/news/index.cfm/startrow/6/", "date": "2020-02-22T18:51:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-10/segments/1581875145713.39/warc/CC-MAIN-20200222180557-20200222210557-00498.warc.gz", "language_score": 0.8217211961746216, "token_count": 155, "dump": "CC-MAIN-2020-10", "global_id": "webtext-fineweb__CC-MAIN-2020-10__0__87619490", "lang": "en", "text": "Shemekia Copeland & Christone “Kingfish” Ingram Join Buddy Guy On Austin City Limits Broadcast\nAlligator Records artists Shemekia Copeland and Christone “Kingfish” Ingram will join blues icon Buddy Guy in an all-star concert event as he celebrates his Austin City Limits Hall Of Fame induction. PBS Television will nationally broadcast the program on Saturday, December 28.\nRelix Premieres Blues-Rocker Tinsley Ellis' \"Last One To Know\"\nOn Friday, November 22, Relix.com premieres Last One To Know, the blistering new song from world-renowned Atlanta-based blues-rock guitar virtuoso, soulful singer and prolific songwriter Tinsley Ellis.", "domain": "music_and_dance"}
{"url": "https://www.flagandbanner.com/radio-show/stephen-wirges-191.asp", "date": "2020-10-23T01:49:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107880519.12/warc/CC-MAIN-20201023014545-20201023044545-00429.warc.gz", "language_score": 0.949274480342865, "token_count": 269, "dump": "CC-MAIN-2020-45", "global_id": "webtext-fineweb__CC-MAIN-2020-45__0__3484340", "lang": "en", "text": "Listen to Learn:\nStephen Wirges is a piano tuner, technician, and owner of Steinway Piano Gallery Little Rock, LLC. He tunes for numerous private individuals, churches, schools, studios, piano teachers, professional pianists, and performing art centers. “I’ve been working on pianos for about eighteen years and I started as an apprentice and did about an eight-year apprenticeship and started a service company where I just service pianos, tune pianos, rebuilt pianos,” Wirges said.\nHe has been the exclusive technician for the music department at the University of Central Arkansas since 2015, for the University of Arkansas at Little Rock since 2014, and the Arkansas Symphony Orchestra since 2012.\nAfter serving area universities and the Arkansas Symphony Orchestra, he trained at the Steinway factory in New York. “Steinway approached me and asked me if I wanted to partner with them and open a Steinway Gallery for Arkansas, and it was overwhelming to be able to have that opportunity, so I couldn’t say no to that. I definitely just wanted to do it,” Wirges said.\n“There’s about 60 Steinway Galleries across the entire world. There’s only 200 dealers,” Wirges said.", "domain": "music_and_dance"}
{"url": "https://www.bradleyjoseph.com/bio", "date": "2024-04-22T10:27:29Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818105.48/warc/CC-MAIN-20240422082202-20240422112202-00177.warc.gz", "language_score": 0.9691448211669922, "token_count": 362, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__101111451", "lang": "en", "text": "Professional keyboardist/composer Bradley Joseph performed with multi-platinum artists Yanni and Sheena Easton for over a decade.\nBradley was a featured keyboardist on Yanni's Ethnicity 2003 World Tour, which was ranked the fourth largest tour of the year by Billboard Magazine. He has worked alongside Yanni for over six years and performed on the multi-platinum selling CD, Yanni - Live At The Acropolis. It’s follow up video (titled the same), was viewed by over 500 million people in 65 countries, and is the second best-selling music video of all time behind Michael Jackson's video for Thriller.\nBradley also worked with various artists under RCA, Epic, Warner Brothers, and Polygram. He toured with Sheena Easton for five years as her co-musical director, and appeared on \"The Tonight Show with Jay Leno\".\nHis latest solo CD, Paint The Sky, was nominated for Best Neo-Classical album in the 10th annual ZMR awards. His CD One Deep Breath held a position in NAV's Top 100 radio chart for over six months. His song Fridays Child was included on the CD The Weather Channel: Smooth Jazz II, and appeared on Billboards Smooth Jazz Charts for 25 weeks. Bradley’s CD, Nature Sounds with Music, also went to #3 on Billboards New Age charts. ReviewsNewAge.com listed his song, The Glen, as one of the \"50 Best Piano Songs of All Time\".\nBradley owns Robbins Island Music. He produces, performs and distributes his own compositions including numerous CDs and piano books, worldwide. In 2005, he was named one of the \"Ten Outstanding Young Minnesotans\" of the year.", "domain": "music_and_dance"}
{"url": "https://www.djcoopersmith.com.au/about-me", "date": "2024-04-15T02:35:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816939.51/warc/CC-MAIN-20240415014252-20240415044252-00360.warc.gz", "language_score": 0.9561969041824341, "token_count": 279, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__64774995", "lang": "en", "text": "DJ Cooper Smith acknowledges the Traditional Custodians of the land that he lives, works and plays, the Boon Wurrung People. He pays respect to their Elders, past & present.\n\"Melbourne based DJ and producer, Cooper Smith is an 18 year old with cerebral palsy who as a DJ artist brings high energy and passion to his performances. He loves producing music with an emotional vibe and dreams of playing at international festivals showcasing his own music.\"\nTriple J Unearthed, 2023\n\"Cooper Smith is a Melbourne DJ who has a love of afro house, disco, melodic techno and progressive house music.\nCooper loves being able to communicate through his music and entertain people across live community events, on radio and in clubs. He comes to gigs with a great amount of energy and an emotional and upbeat vibe.\nHe dreams of playing at international music festivals.\"\nAbility Fest, 2023\nBorn to DJ - A young DJ Cooper Smith, pictured here at the spritely age of 5, spinning tunes on his first deck in 2010.\nWith thanks to the Dylan Alcott Foundation, Cooper was gifted his new deck in 2021, and an invitation to play his first music festival, Ability Fest 2023 in Melbourne, Australia.\nFor all bookings and enquires please contact DJ Cooper's management here.", "domain": "music_and_dance"}
{"url": "http://hallelujahquartet.com/about-us/", "date": "2019-07-23T19:49:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-30/segments/1563195529664.96/warc/CC-MAIN-20190723193455-20190723215455-00118.warc.gz", "language_score": 0.9699568748474121, "token_count": 959, "dump": "CC-MAIN-2019-30", "global_id": "webtext-fineweb__CC-MAIN-2019-30__0__41140164", "lang": "en", "text": "“Hallelujah” a Myrtle Beach, South Carolina registered Sweet Adeline International barbershop quartet has a total of 95 years singing experience and started out singing mid November of 2007. In late 2014 the quartet’s lead – Sue Myers – switched back to singing tenor.\nIn 2015, Susan Parrotta graciously accepted Hallelujah’s invitation to be their newest lead. Susan has definitely been a huge asset to the quartet.\nHallelujah welcomes performances and Birthday, Anniversary, Valentine singing telegrams. Hallelujah’s past performances include the Eastern Star, the NARFE, Myrtle Beach Estates, Agape, the Garden City Manor, Eagle Crest, Christmas performances, anniversary and birthday telegrams, private parties, and more than 600 Valentine recipients.\nContact person: Edye Papp email@example.com\nEdye Papp sings Bass.\nBorn in El Paso, Texas, Edye was a service brat until her senior year in high school when her father retired from the Coast Guard. Guess that is why she is such a chatter box! Singing barbershop only happened later in her life. But as they say “Once you sing barbershop, you are hooked for life “Thirty plus years later” and after performing in four International contests (8th place her chorus’s best) she is still going strong loving every minute. Edye loves playing golf with her husband, Joe, and boasts a 17 handicap. This Christmas two of her three sons, and her two young grandsons, 18 and 17 years old, played. What an experience – not the playing golf part, but the grandkids driving the carts. Whew! Edye sang in the Robed Choir in high school and has sung for many church choirs. Retired in 1997 from Electrical Design, Edye now owns her own Real Estate company “One on One Realty’.\nDiane Kane sings Baritone\nBorn in Oak Park, Il in 1930, Diane lived for 68 years in Illinois and moved to South Carolina in 2000 to care for her uncle. She married in 1949 and moved 17 times in 17 years between IL, IA, and WI. Diane had five sons. Her parents, grandparents, aunts , uncles and their friends all loved, played and sang music of all kinds. No wonder she has been singing since a toddler, both solo and with school choruses, church choirs, even for a short time with a band. Introduced to Sweet Adelines and barbershop harmony in 1973, she joined in 1974. (40+ years in this wonderful organization)\nDiane is now singing baritone although has tried lead and bass. Retired from Care Giving, ( her SC career) Diane now lives in Myrtle Beach. For a while she lived with her grandson, his wife, their new baby and their cat, Ozzie. “Diane says she is proud to be the Baritone of Hallelujah Quartet.”\nSusan Parrotta sings Lead\nSusan considers music and singing to be one of her life’s greatest blessings. One of her earliest memories is of singing herself to sleep at night as a child. She has sung in school and church choirs since the 6th grade, and was in a Southern Gospel Ensemble at her church for several years. With sing alongs and a community chorus, Susan incorporates music and singing everyday in her work with seniors as a wellness director at a senior living community. Her first introduction to singing barbershop was with the Sweet Adalines in 2010. Susan is fairly new to singing acapella, but is enjoying every moment of learning the ins and outs of barbershop harmony.\nSue Myers sings Tenor\nSue began singing barbershop in 1985 after a friend invited her to a Sweet Adeline chorus rehearsal in Pennsylvania. She began her barbershop career as a lead, but switched to tenor upon finding out she enjoyed the harmony part of the music. She sang with three choruses in Pennsylvania, including the Sounds of Pittsburgh chorus, Region 17 champions, 2009. She has helped charter three chapters, two in North Carolina and one in Pennsylvania. Sue filled in on tenor with Hallelujah for Christmas several years ago and was delighted to be asked to sing with them full time. In addition to singing with Hallelujah, Sue is active in church choir, praise team and the Trinity Ringers at Trinity United Methodist church in Conway, SC. She and husband Randy are retired background investigators.", "domain": "music_and_dance"}
{"url": "https://www.alanibell.com/music", "date": "2023-12-07T10:20:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100651.34/warc/CC-MAIN-20231207090036-20231207120036-00746.warc.gz", "language_score": 0.9393112659454346, "token_count": 212, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__193365272", "lang": "en", "text": "All songs written by Alan Ibell.\nSongs prior to 2017 arranged and recorded by The Alan Ibell Band.\nThe Alan Ibell Band are:\nAlan Ibell: Vocals, guitar, harmonica, percussion\nJeremy Clark: Keys, backing vocals, guitar\nLogan Valentine: Guitars, backing vocals\nStu Harwood: Drums\nGuest Musicians :\nAnji Sami: Backing Vocals on \"The Room\" and \"Shaker house\"\nMatthew Jordan: Violins on \"My Lenore\", \"Sad Orchestra\", and \"The Needle and the Poison\"\nAlex Barker: Cello on \"My Lenore\"\nAll songs recorded in 2008 over several months in Alan's bedroom, except for \"Zoo Song\" and \"Girl Of My Dreams\" which were recorded in 2007 at Albany Street Studios by Stu Harwood.\nIf Bird Or Devil Mixed by D J Champion + Mastered by Dale Cotton.\nAlbum art by Alan Ibell.\n© All rights reserved.", "domain": "music_and_dance"}
{"url": "http://www.remingtonranch-houston-texas.com/apps/calendar/showEvent?calID=19641&eventID=194427973&next=showMonth%3FcalID%3D19641%26year%3D2012%26month%3D9", "date": "2017-08-23T15:47:08Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-34/segments/1502886120573.75/warc/CC-MAIN-20170823152006-20170823172006-00465.warc.gz", "language_score": 0.8413262367248535, "token_count": 195, "dump": "CC-MAIN-2017-34", "global_id": "webtext-fineweb__CC-MAIN-2017-34__0__28506410", "lang": "en", "text": "|« Back to calendar||« Previous Event | Next Event »|\nDiscovery Green - Anheuser-Busch Stage (map)\nBlues & Burgers Fall 2012 Free Admission\nPresented by the Houston Blues Museum\nCo-sponsored by KTSU-FM\nWednesdays, New Time 11:30 am – 1 pm\nEnjoy this popular lunchtime concert series showcasing blues music.\nOct. 10 Duke Peacock Revue* hits from 1956 - 1960\nOct. 17 Duke Peacocl Revue*\nOct. 24 Duke Peacock Revue* hits from 1961-1965\nOct. 31 Duke Peacock Revue* hits from 1966 - 1973\n*The Duke Peacock Revue showcases the living legends who recorded on this historic Houston blues and gospel label, featuring performers who reside and perform in Houston. The Duke Peacock Review is organized by the Houston Blues Museum with musicologist Art Dietz.", "domain": "music_and_dance"}
{"url": "http://www.ishqfm.com/", "date": "2017-08-22T18:23:19Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-34/segments/1502886112539.18/warc/CC-MAIN-20170822181825-20170822201825-00650.warc.gz", "language_score": 0.9106218814849854, "token_count": 357, "dump": "CC-MAIN-2017-34", "global_id": "webtext-fineweb__CC-MAIN-2017-34__0__142419266", "lang": "en", "text": "Ishq FM - India's 1st Romantic Radio Station. The frequency to tune in is 104.8 FM.\nFrom DDLJ to Devdas; from Qayamat Se Qayamat Tak to Jab We Met; from Lamhe to Ramleela and from Hum Dil De Chuke Sanam to ADHM the biggest Bollywood blockbusters have been from the romantic genre. Not by chance! The experience and the feeling of being in love is universal and knows no boundaries. Love is one emotion that binds us all!\nIshq 104.8 FM brings you this “emotion of love\" in a beautiful package on air! The streets, the homes, the offices of Delhi, Mumbai and Kolkata can now relax 24x7 listening to India's first and only radio station based on the theme of love.\nIshq 104.8 FM plays era-agnostic romantic songs throughout the day. The songs on this premium melody station are complemented by light-hearted, non-intrusive content that adds value to your lives.\nThe station’s beautiful, catchy jingle \"DO THE ISHQ, Baby” has been composed by Sachin-Jigar. You are surely going to sing and hum along when it plays on Ishq! So tune in to 104.8 FM, experience India's 1st premium romantic radio station, enjoy songs and “DO THE ISHQ, Baby”\nTerms and Conditions\n402, Trade Avenue Tower\nDr. Suren Road\nTel: +91 22 40201048\n52, J. L. Nehru Road\nKolkata - 700071,\nTel: +91 33 22825398/22827726", "domain": "music_and_dance"}
{"url": "https://sinfuladultstore.co.nz/blogs/news/creating-the-perfect-sexy-time-playlist", "date": "2024-02-29T12:58:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474808.39/warc/CC-MAIN-20240229103115-20240229133115-00329.warc.gz", "language_score": 0.8864200711250305, "token_count": 644, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__89274194", "lang": "en", "text": "Music has an extraordinary ability to heighten sensory experiences, and when it comes to intimacy, it can play a powerful role in enhancing arousal. The rhythm, melody, and emotional resonance of music can sync with the rhythm of physical activity, creating a harmonious and immersive atmosphere – and the right playlist can evoke emotions, trigger memories, and set a seductive tone; fostering a deeper connection between partners.\nFrom slow, sensuous ballads to pulsating beats, music can elevate sensations, intensify pleasure, and provide a backdrop for uninhibited self-expression. The shared experience of enjoying music together during intimate moments can create a sense of intimacy and enhance the overall satisfaction of the encounter, turning a private moment into a symphony of passion.\nWhether you're planning a cosy night in, or looking to add a dash of passion to your day, curating the perfect playlist can elevate your intimate moments to a whole new level. Here are our top tips for crafting a playlist that sets the mood just right.\nStart with the Classics\nBegin your auditory journey with timeless classics that have been serenading lovers for generations. From the velvety tones of Sinatra to the sultry melodies of Etta James, these classics provide a nostalgic backdrop to your intimate moments. Let the smooth crooning guide you into a world of romance.\nGroove to R&B Vibes\nRhythm and blues have an innate ability to stir the senses. Add some contemporary R&B tracks to your playlist for a modern touch. The soulful vocals and sensual beats create an atmosphere that's perfect for unwinding and connecting on a deeper level. Think artists like Alicia Keys, Miguel, or Sade – their voices are practically made for romantic escapades.\nJazz It Up\nFor a sophisticated and jazzy twist, infuse your playlist with the smooth sounds of saxophones, pianos, and double bass. Jazz brings an element of unpredictability, much like the journey of love itself. Miles Davis and John Coltrane can transport you to a world where passion flows freely with every note.\nIndie Love Anthems\nExplore the indie music scene for hidden gems that speak the language of love in a unique way. Indie love anthems often have a raw, unfiltered quality that resonates with authenticity. Artists like Bon Iver, Florence + The Machine, or Angus and Julia Stone can add a contemporary indie flair to your playlist.\nElectronica for Modern Romance\nFor those embracing a more modern, electronic vibe, consider adding some ambient beats to your playlist. Electronic music can create an ethereal atmosphere that heightens the senses. Artists like Tycho or ODESZA offer dreamy soundscapes that make for a unique and immersive experience.\nRemember, the key to a perfect intimate playlist is variety. Mix and match genres, experiment with different eras, and most importantly, choose songs that resonate with both of you. Let the music be a reflection of your connection, creating an unforgettable soundtrack to your shared moments. So, dim the lights, press play, and let the music weave its magic – turning ordinary moments into extraordinary memories.", "domain": "music_and_dance"}
{"url": "http://cecileeltonmusic.com/cds-demos/", "date": "2019-04-21T16:23:25Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578531994.14/warc/CC-MAIN-20190421160020-20190421182020-00459.warc.gz", "language_score": 0.8635481595993042, "token_count": 349, "dump": "CC-MAIN-2019-18", "global_id": "webtext-fineweb__CC-MAIN-2019-18__0__25383360", "lang": "en", "text": "The Enchanted Muse (2018) – is making its debut in November. Keep an eye out for this wonderful collection of my originals for piano recorded in Glasgow, Scotland. This album includes 12 Novelettes for Solo Piano and, for something different, 3 works for a duo – Highland Bagpipes and Piano. Watch out for CD Launches in Australia in 2019, and listen to broadcasts on radio ABC FM classics. Hard copies can be sent in the post on request by email (firstname.lastname@example.org). The track above is from this album – ” Birds of Prey”.\nEssencia Urbana (2016): offers compositions inspired by Argentinean Tango and Portuguese Fado. This music features the wonderful sound of the viola with piano. Inspiration came from the mundane and rich aspects of urban life in Lisbon and Buenos Aires. Our amazing team was Portuguese violist – Raquel Bastos, Composer and pianist – Cecile Elton. Producer; Luis Bittencourt and Sound engineer; Rodolfo Cardoso\nAll the works on Essencia Urbana are my original compositions and have been broadcasted by ABC FM classics over the past 2 years.\nBelow are some audio samples of this CD:\n- Tango, for a sleepless city Elton Bastos Duo 0:52\n- Portuguese sea Elton Bastos Duo 0:39\n- The thrilling encounter! Elton Bastos Duo 0:43\n- I muse on what I do not see Elton Bastos Duo 0:30\n- The path alone Elton Bastos Duo 0:42\n- Vague and free in spacious blue Elton Bastos Duo 0:43", "domain": "music_and_dance"}
{"url": "https://sac.klh.edu.in/Club?id=dance", "date": "2024-03-02T14:05:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475825.14/warc/CC-MAIN-20240302120344-20240302150344-00680.warc.gz", "language_score": 0.935579776763916, "token_count": 290, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__118861068", "lang": "en", "text": "Our mission is to instill a great love of dance, while inspiring self-confidence, discipline and respect of the performing arts. We provide a solid technical foundation for the developing dancer. We appreciate that the heart of a dancer is born into many different bodies and the love of dance can take on many different styles. It is clear that the discipline, focus and artistic enlightenment of dance creates success in all aspects of life. Dance education contributes to the development of responsible, dedicated, determined, and creative adults in society.\nTo encourage participation in dance events irrespective of the student’s degree of talent. The aim of the dance major is to develop students who are sensitive and articulate physical and verbal communicators of the visual art of dance.\nThe major objectives of the proposed mission are to:\n❖ To provide an opportunity to better the dancer in students through constant engagement and also through workshops conducted by professionals.\n❖ To pick the best of dancers and form an efficient college dance team to perform during various occasions within the college when required, and consequently improving quality of performances staged by the team in various inter-collegiate fests.\n❖ To introduce forms of dance that have been left unexplored in the institution\n❖ To form a team that would introduce the basics of particular forms of dance to interested, under-privileged children .\nRepresentative - CSE\nRepresentative - ECE\nRepresentative - AIDS", "domain": "music_and_dance"}
{"url": "http://fellas.cf/book/580891541/justinguitar-com-beginners-songbook", "date": "2020-07-07T03:59:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-29/segments/1593655891640.22/warc/CC-MAIN-20200707013816-20200707043816-00058.warc.gz", "language_score": 0.9485275745391846, "token_count": 245, "dump": "CC-MAIN-2020-29", "global_id": "webtext-fineweb__CC-MAIN-2020-29__0__186822477", "lang": "en", "text": "The Justinguitar.com Beginner's Songbook is the perfect complement to Justin Sandercoe’s revolutionary Beginner’s Course, which has been used by hundreds of thousands of people around the world. Now you can learn to play 100 classic songs while your playing develops through the course.\nThe book includes complete lyrics and chords to 100 songs by artists such as The Beatles, Bob Marley, Kings of Leon, Nirvana, Cat Stevens and more, building up from easy three-chord songs through to more advanced tunes. Every song is accompanied tuition notes from Justin advising you on strumming patterns and chord changes, with diagrams to illustrate all the chord shapes you need.\nCompletely revised and updated, this really is the ultimate beginner’s songbook!\n“If you told me you wanted to get going on guitar, I’d recommend Justin Sandercoe.” - Mark Knopfler\n“One of the most influential guitar teachers in history.” - The Independent\n“Justin is one of the most impressive guitar teachers on the planet... he knows exactly how to communicate the knowledge he has to share.” - Martin Taylor", "domain": "music_and_dance"}
{"url": "https://thecommunity.com/project/paul-mccartney/", "date": "2023-09-30T00:08:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510529.8/warc/CC-MAIN-20230929222230-20230930012230-00678.warc.gz", "language_score": 0.9686946868896484, "token_count": 173, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__40523320", "lang": "en", "text": "Sir James Paul McCartney, CH, MBE is known first as the bass guitarist and singer for the Beatles, the most popular and influential group in the history of pop music. His songwriting partnership with John Lennon is the most celebrated of the post-war era. After the band’s break-up, he pursued a solo career and formed the band Wings with his first wife, Linda, and Denny Laine.\nHe is one of the most successful composers and performers of all time. He has used his celebrity to promote international charities related to such subjects as animal rights, seal hunting, land mines, vegetarianism, poverty, and music education.\nPaul shot a video for The Community’s up coming campaign on The Universal Declaration of Human Rights, and did a photo shoot with us for upcoming ads for the campaign.", "domain": "music_and_dance"}
{"url": "http://www.sechelt.ca/Play/Arts-Culture-and-Heritage/Summer-Music-Series", "date": "2017-05-25T05:04:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-22/segments/1495463607998.27/warc/CC-MAIN-20170525044605-20170525064605-00304.warc.gz", "language_score": 0.8592447638511658, "token_count": 145, "dump": "CC-MAIN-2017-22", "global_id": "webtext-fineweb__CC-MAIN-2017-22__0__131224406", "lang": "en", "text": "The District of Sechelt is pleased to present a free concert series featuring local musicians. The outdoor concerts take place in the gardens next to the Sechelt Public Library (5797 Cowrie St) on Saturdays in July & August. All concerts are free, outdoors and family friendly.\nFor updates, photos and videos, please refer to the Facebook page “Sechelt Summer Music Series”\nFor general information, please contact:\nSiobhán Smith, Arts, Culture & Communications Coordinator\nfirstname.lastname@example.org or (604) 740-8476\nIf you are a musician interested in performing, please contact:\nRoss Powell, Sechelt Summer Music Series Producer", "domain": "music_and_dance"}
{"url": "https://conductors.warsawwinds.pl/en/wwecc-2021-auditions-start-on-december-3rd/", "date": "2022-12-07T03:00:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446711126.30/warc/CC-MAIN-20221207021130-20221207051130-00117.warc.gz", "language_score": 0.9077152013778687, "token_count": 719, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__156850693", "lang": "en", "text": "Auditions of the Warsaw Wind Ensemble Conducting Competition 2021 – the second edition of the international competition for brass band conductors – will begin on 3 December!\nThe competition consists of four stages. The first stage was held in an online format. Based on recordings sent by 43 participants, the jury selected 20 best conductors who will take part in the stationary auditions. The participants will be judged by an international jury chaired by Prof. Janusz Przybylski.\nThe second stage will take place on the 3rd of December (from 17:00 to 21:00) at the Fryderyk Chopin University of Music (K. Szymanowski Auditorium-Cinema Hall). The conductors will be accompanied by two pianists and the performance will include Zygmunt Noskowski’s Symphonic Poem Step and Joseph Haydn’s Military Symphony in G Major No. 100.\nThe third stage will take place on December 4th (morning session from 10 a.m. to 2 p.m. and evening session from 4 p.m. to 8 p.m.) also at the Fryderyk Chopin University of Music. The conductors will lead the Wind Chamber Orchestra. The repertoire will include Charles Gounod’s Petite symphonie pour vents.\nThe competition finals will be held at the Ursynów Cultural Centre Alternatywy on Sunday, 5 December (from 16:00 to 17:45). The three best conductors selected on the basis of the results obtained in the second and third stage will conduct the Concert Wind Orchestra of the Representative Artistic Ensemble of the Polish Army Forces. The repertoire for the finale will include works awarded during the Warsaw Wind Ensemble Composition Contest 2020: Madonna of the Lilies by Jared Destro and Double Third Festival by Jiazi Shang.\nThe culmination will be the Gala Concert of the Warsaw Wind Ensemble Composition Contest 2020 combined with the announcement of the laureates of the Warsaw Wind Ensemble Conducting Competition 2021. The Gala will take place on the 5th of December at 7 p.m. in the Ursynów Cultural Centre Alternatywy. The concert will feature premiere performances of works awarded in the Polish and international categories of the composition competition as well as performances by laureates of the conducting competition. Concert will be performed by two orchestras: Warsaw University of Life Sciences Representative Orchestra and the Concert Wind Orchestra of the Representative Artistic Ensemble of the Polish Army Forces.\nAdmission to all events is free and auditions are open to the public. Free tickets for the Gala Concert are available on the website of the Ursynów Cultural Centre Alternatywy. The Gala will be broadcast online on the YouTube channel of Warsaw Wind Music Association.\nThe event is organized by the Warsaw Wind Music Association. Partners are: Representative Artistic Ensemble of the Polish Army Forces, Ursynów Cultural Centre Alternatywy, Fryderyk Chopin University of Music in Warsaw and PWM Edition. The event is co-financed by the Ministry of Culture, National Heritage and Sport of the Republic of Poland within the framework of the Music programme. Media patronage over the Competition was extended by: Presto Magazine, Polish Radio RDC, Polish Chapter of the International Military Music Society and internet portals: Brass Orchestras and Wind Band Press.\nDetails can be found on the competition website: www.warsawwinds.pl.", "domain": "music_and_dance"}
{"url": "http://etechplace.org/clough/?p=4223", "date": "2023-12-06T00:30:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100575.30/warc/CC-MAIN-20231206000253-20231206030253-00272.warc.gz", "language_score": 0.9582445025444031, "token_count": 239, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__57772968", "lang": "en", "text": "A group of fifth grade girls at Varina Elementary asked me to help them make an anti-bullying video for their school. They had written their own song and even choreographed some dance moves to go along with it! They just needed some tools for creating the beats and recording the video. I showed them ButtonBass for making the beats. You can click different cubes at the top of the webpage for different genres. Then click different squares on the cube to add in beats, synthesizers, and even vocal samples. It’s easy to use and no login is required. Other great websites for making music and beats are: Incredibox, Chrome Music Lab, TypeDrummer, and SuperLooper. Next, for recording the video we used Pixect because it has special effects you can add to your video. If you don’t need special effects, another easy-to-use site that let you record video from a webcam is Webcamera.io. Their video turned out great, as you can see here. UPDATE: I included their project, along with another group’s project in my workshop on Creativity.\nPosted in 5th Grade", "domain": "music_and_dance"}
{"url": "https://ocontofallschamber.com/2022/03/", "date": "2024-02-20T23:37:06Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473347.0/warc/CC-MAIN-20240220211055-20240221001055-00767.warc.gz", "language_score": 0.9047409296035767, "token_count": 496, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__77730360", "lang": "en", "text": "Join us for an incredible evening of music as THE WISCONSIN SINGERS, with opening act ENCORE!, perform on Saturday, April 2, 2022 at 7:00 p.m. in the Falls Area Performing Arts Center.\nThe Wisconsin Singers, the University of Wisconsin-Madison’s premiere entertainment company, is\nproud to present its newest show, Come Alive! Featuring stunning vocals, Broadway-caliber choreography, big band sound, and Badger spirit, audiences of all ages are sure to be entertained as UW’s most talented students take to the stage.\nCome Alive! celebrates the thrill of live music from the past five decades of American Pop music. Covering more than 40 songs in this exciting and fast-paced show, Wisconsin Singers highlight some of the music-industry’s greatest artists ranging from Elvis Presley and the Four Seasons to Lady Gaga and Elton John. Wisconsin Singers will win your heart with award-winning Broadway show-stoppers from musicals like Kiss Me Kate, Pippin, and Chicago. And kids of all ages will delight in their favorite songs from Frozen, Peter Pan, and the ever popular superhero cartoons. Badger fans will bring down the house as they sing along with Bucky to Fifth Quarter classics like “On Wisconsin,” Varsity,” and of course, “Jump Around.” And to cap off this unforgettable production, the celebrated Wisconsin Singers’ band showcases its special blend of jazz, funk, and classic rock like never before. Come Alive! is guaranteed terrific entertainment for the whole family!\nThe Opening Act ENCORE! will feature students from grades 4-12 in the Oconto Falls School District who will sing and dance to several Broadway and Pop selections! They will also join the Wisconsin Singers in a special musical selection.\n“We’re thrilled to be hosting the Wisconsin Singers for an upbeat, entertaining night!” Amy Thiel, OFHS Choral Director, director of Encore!, and coordinator for the performance said.\nTickets $15 for adults and $10 for students. Tickets available at the door and online at https://ofps.revtrak.net/ Doors will open at 6:30 p.m. All tickets are GENERAL ADMISSION.\nThis event is made possible through the support and sponsorship of Kurt and Diane Gruett.", "domain": "music_and_dance"}
{"url": "https://www.janmazura.com/", "date": "2021-04-16T18:03:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00526.warc.gz", "language_score": 0.9496498703956604, "token_count": 625, "dump": "CC-MAIN-2021-17", "global_id": "webtext-fineweb__CC-MAIN-2021-17__0__156062847", "lang": "en", "text": "Jan Mazura (1986) is an open-minded freelance composer, arranger and pianist currently based in Prague, Czech Republic, focusing on various forms of contemporary music. His piece Nuevas Tradiciones was awarded the Best Jazz Composition prize (Nejlepší jazzová skladba) by OSA and Bohemia Jazz Fest in 2018. He is also active as a journalist and a photographer.\nJan holds a degree in Jazz Composition from Berklee College of Music in Boston, MA, USA and a degree in Piano Performance (jazz and classical) from Jaroslav Jezek Conservatory in Prague, Czech Republic.\nOver the years, Jan has written stylistically diverse music for various professional international ensembles and projects including big bands, symphony orchestras, theatre orchestras and medium-size jazz ensembles as well as for spots and YouTube series.\nHe was a long-time member of a playful jazz quintet Fanfan Tulipan (2009–2017) and a leader of a jazz quintet Emperor Penguin (2008–2011), his own first band. While living in the US, he put together a jazz septet, which performed live and recorded an EP. Jan or the bands he played in have been awarded multiple times in international music competitions (Mladi ladi jazz, Jazz Prix).\nOther projects he significantly contributed to as a composer/arranger include Al Nabi Wal Ghanyah (The Prophet and the Harlot), an epic crossover musical by Lebanese singer Nizar Fares, which was recorded in Los Angeles, New York City and Boston. He also worked with the band U-Prag and Czech directors Štěpán FOK Vodrážka, Jan Vejnar, Veronika Nastoupilova among others.\nBesides living in the US for two years, Jan lived in Valencia, Spain for another two years, composing a large flamenco–inspired cycle of music for a big band.\nAs a pianist he has performed in the US, Czech Republic, Italy, Germany, Austria, Romania and Slovakia on events such as Bohemia Jazz Fest, Jazz Goes to Town, Bratislavske jazzove dny and others.\nBesides working as a musician, Jan has been active in various degrees as a music journalist since 2002, contributing album reviews, concert reviews and feature interviews to print and online media in the Czech Republic. The subject of his work is currently only jazz, although it has varied in the past.\nToday, he works as the Head of Classical Music and Jazz Desk at the Czech Radio Vltava, a branch of the public service radio.\nThroughout his career, Jan has written numerous articles for Lidove noviny, Aktualne.cz, Harmonie, Czech Radio Jazz, Report and MIX.cz. His interviewees included Pat Metheny, Bill Frisell, John McLaughlin or Karel Ruzicka sr.\n00420 728 205 728", "domain": "music_and_dance"}
{"url": "https://www.waconcertseries.com/parker-quartet", "date": "2023-09-25T21:08:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510085.26/warc/CC-MAIN-20230925183615-20230925213615-00796.warc.gz", "language_score": 0.9122861623764038, "token_count": 1074, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__306553620", "lang": "en", "text": "Inspiring performances, luminous sound, and exceptional musicianship are the hallmarks of the Grammy Award-winning Parker Quartet. Renowned for its dynamic interpretations and polished, expansive colors, the group has rapidly distinguished itself as one of the preeminent ensembles of its generation. In demand worldwide, the Quartet has appeared at the world’s most important venues since its founding in 2002.\nFollowing a 2017 summer season that had the ensemble crossing North America for appearances at music festivals including the Bowdoin International Music Festival in Maine, the Strings Music Festival in Colorado, and the Garth Newell Music Center in Virginia, the Parker Quartet will begin its fourth year in-residence at Harvard University with the new prestigious title of Preceptor. The Quartet’s 2017-18 season continues its signature busy schedule with performances and residencies scheduled around the United States, including for the Schubert Club, Skidmore College, St. John’s College, University of South Carolina, Kansas City’s Friends of Chamber Music, and an appearance on the Jukebox series at the Kennedy Center.\nHighlights of the 2016-17 season included a January 2017 European tour featuring performances with violist Kim Kashkashian and two concerts in Washington, DC: at the National Gallery of Art and with jazz pianist Billy Childs at the Kennedy Center for the Performing Arts. Other performances also included Annapolis Concerts at St. John’s College, the Mary Anne Rennolds Chamber Concert Series at VCU, and the Philadelphia Chamber Music Society.\nRecent highlights include the project “Schubert Effect” in collaboration with pianist Shai Wosner at the 92nd Street Y, the premiere of a new string quartet by American composer Augusta Read Thomas as part of the Quartet’s four-concert series at Harvard University, and appearances at Carnegie Hall, the Library of Congress, the Slee Series in Buffalo, and New York’s Lincoln Center Great Performers series. The Quartet also continues to be a strong supporter of violist Kim Kashkashian’s project Music for Food by participating in concerts throughout the United States for the benefit of various food banks and shelters.\nThe Parker Quartet has distinguished itself with acclaimed recordings for Nimbus, Zig-Zag Territoires, Innova Records, and Naxos. The Quartet’s most recent recording featuring Mendelssohn’s Quartets Op. 44, No. 1 and 3 was widely lauded by the international press. The Quartet’s debut commercial recording of Bartók’s String Quartets Nos. 2 and 5 for Zig-Zag Territoires (July 2007) won praise from Gramophone: “The Parkers’ Bartók spins the illusion of spontaneous improvisation… they have absorbed the language; they have the confidence to play freely with the music and the instinct to bring it off.” Their Naxos recording of György Ligeti’s complete works for string quartet won the 2011 Grammy Award for Best Chamber Music Performance (the last string quartet to win this category). In 2015, Innova Records released the world premiere recording of American composer Jeremy Gill’s “Capriccio” written for the Quartet through a Chamber Music America commissioning grant. In April 2016 Augusta Read Thomas’s world premiere recording of Helix Spirals for string quartet on “Of Being is a Bird” was released on Nimbus Records.\nRecent collaborations include those with acclaimed artists like violist Kim Kashkashian, violinist Nadja Salerno-Sonnenberg, pianists Anne-Marie McDermott and Shai Wosner, Kikuei Ikeda of the Tokyo String Quartet, clarinetist and composer Jörg Widmann, and clarinetist Charles Neidich.\nFounded and currently based in Boston, the Parker Quartet’s numerous honors include winning the Concert Artists Guild Competition, the Grand Prix and Mozart Prize at France’s Bordeaux International String Quartet Competition, and Chamber Music America’s prestigious Cleveland Quartet Award. Now Blodgett Artists-in-Residence at Harvard University’s Department of Music, and also in residence at USC School of Music, the Quartet’s numerous residencies have included serving as Artists-in-Residence at the University of St. Thomas (2012–2014), Quartet-in-Residence at the University of Minnesota (2011– 2012), Quartet-in-Residence with the St. Paul Chamber Orchestra (2008-2010), and as the first-ever Artists-in-Residence with Minnesota Public Radio (2009-2010).\nThe Parker Quartet’s members hold graduate degrees in performance and chamber music from the New England Conservatory of Music and were part of the New England Conservatory’s prestigious Professional String Quartet Training Program from 2006–2008. Some of their most influential mentors include the original members of the Cleveland Quartet, Kim Kashkashian, György Kurtág, and Rainer Schmidt.", "domain": "music_and_dance"}
{"url": "http://bavarianband.org/jmeere10.php", "date": "2019-01-16T09:51:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-04/segments/1547583657151.48/warc/CC-MAIN-20190116093643-20190116115643-00580.warc.gz", "language_score": 0.9723653197288513, "token_count": 242, "dump": "CC-MAIN-2019-04", "global_id": "webtext-fineweb__CC-MAIN-2019-04__0__39773978", "lang": "en", "text": "Although Jan mainly covers vocals with the CBB these days, he plays a variety of instruments with The Internationals. He switches between trumpet, flugelhorn, baritone horn, sax, percussion, synthesizer (glockenspeil, harp, zither, sitar, cow bell, spoons, ...well, you get the idea). This works out well for The CBB because we can have him help out in the sax section. We wait until we we get a number that has a particularly tough sax part, and then we give it to Jan... because we like to watch the expression on his face when he gets to the really fast parts! (Tough crowd, eh?)\nWhen Jan is playing with The Internationals, he adeptly switches between all these instruments, as well as lead and backup vocals (in several languages) and even an occasional yodel. And with all that, he still manages to find the time and coordination required to queue up the spinning lights and fire up the smoke machine (!).\nThe only thing we don't understand is how to replace the batteries when he finally runs down!! (He didn't come with an operator's manual...)", "domain": "music_and_dance"}
{"url": "https://www.shadedwhimsy.com/event-details/ecstatic-dance-2023-09-01-18-00", "date": "2023-12-09T04:47:42Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100800.25/warc/CC-MAIN-20231209040008-20231209070008-00076.warc.gz", "language_score": 0.9209122061729431, "token_count": 166, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__294690742", "lang": "en", "text": "Fri, Sep 01|\nA free-form dance class to attain serenity.\nWhen & Where\nSep 01, 2023, 6:00 PM – 7:00 PM\nShaded Whimsy, 76 N Main St, Southington, CT 06489, USA\nAbout This Event\nEcstatic Dance is all about dancing like no one is watching you; dancing without the judgment of others and dancing without limits. It is a free form of dance, that serves as a form of meditation, helping people to cope with stress and to attain serenity. This ecstatic state allows your awareness to shift and for you to experience a meditative and happy state of mind through body movement.\nNo dance experience is needed for this class. Class is led by certified Ecstatic Dance Instructor Alexandra Capaldo.", "domain": "music_and_dance"}
{"url": "https://careers.amanotes.com/jobs/audio-notation-music-notation-freelance/5b114fb5-a713-4492-9d2b-bbefc088ea0f", "date": "2023-12-11T06:37:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679103558.93/warc/CC-MAIN-20231211045204-20231211075204-00073.warc.gz", "language_score": 0.890040397644043, "token_count": 501, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__177188491", "lang": "en", "text": "Audio Notation / Music Notation Freelance\nMusic / Ho Chi Minh City, Vietnam\n- Audio Notation/Music Notation Freelance is responsible for delivering quality labels on time so that the audio analysis can be used for AI and ML tasks.\nWhat you will do\n- Listen to the audio assigned, see the music signal (vocal, guitar, piano, drum… time, pitch, etc) via tool, and notate it as instructed\n- Instructions for using the Sonic Visualizer tool: https://www.veed.io/view/e93d7422-42eb-4edd-9018-3d6dde937b5f?panel=share\n- Have basic music knowledge, such as:\n- Able to learn to use the Sonic Visualizer tool to see the music signal\n- Able to listen and define the signal time and pitch with the help of Sonic Visualizer\n- Good at communication, either through text or f2f in order to discuss the issue faced during doing tasks with our team and resolve it\n+ Beat, bar, staff, pitch, power/dynamics\n+ Vocal and instrument articulation\n- Part-time job.\n- Working hours: 20-25 hours/week but not must-have.\n- Require minimum of 2 days of work at the office (flexible schedule), other times can work remotely. If you are used to working, you can work completely remotely.\nWe are Amanotes - a dynamic interactive music company that's using\ncutting-edge technology to transform how people experience music. Since 2014, we have dominated the global simple music game market with over 3 billion downloads and more than 100 million monthly active users. As world’s top Music Game Publisher and top App Publisher from Southeast Asia by downloads, our ambition is to create the world's #1 interactive music ecosystem where “Everyone Can Music” in any way they want.\nAs we embark on our journey, we're working hard to broaden our portfolio with more advanced products like music gaming hub, music simulation, and music education apps. Come join our music-filled workplace and let's create some magical music experiences together!\nHow To Apply?\nClick the button or contact us at firstname.lastname@example.org.\nHow do we hire\nYour application has been well received! HR team will screen your resume and contact if your profile are qualified.", "domain": "music_and_dance"}
{"url": "http://www.ac.upd.edu.ph/index.php/news-announcements/384-mcm-santamaria-named-up-artist-ii", "date": "2018-07-16T05:02:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676589179.32/warc/CC-MAIN-20180716041348-20180716061348-00036.warc.gz", "language_score": 0.9580011367797852, "token_count": 289, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__186620177", "lang": "en", "text": "MCM Santamaria, Professor at the Asian Center, has received the UP Arts Productivity Award and has been named UP Artist II in recognition of his creative and scholarly works on Philippine dance, especially of the Sama traditions of the Southern Philippines. The awarding ceremony took place in 17 December 2013.\nGiven each year, the UP Arts Productivity Award recognizes exemplary artists who “consistently bring honor to the university through their award-winning creative works in the different arts.” Awardees are selected based on a stringent set of standards, including publications record, presentations, and performances, and standing in the professional community of local and international artists.\nDr. Santamaria has published numerous articles on the Sama Igal dance and kulintangan music ensemble traditions, and has choreographed various dance performances. He choreographed the dance routines in Sintang Dalisay, a Filipino adaptation of William Shakespeares \"Romeo and Juliet\" which was based on an awit (Philippine metrical romance form) version by G.D. Roke and a translation by National Artist Rolando Tinio. Dr. Santamaria also heads the Bunga Arts Link. Visit Dr. Santamaria’s faculty profile to see his most recent publications.\nDr. Santamaria joins as UP Artist, Dr. Reuben Ramas Cañete, who received the recognition in August 2013.", "domain": "music_and_dance"}
{"url": "https://schoolbag.info/pedagogy/early/68.html", "date": "2022-07-01T05:44:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103920118.49/warc/CC-MAIN-20220701034437-20220701064437-00479.warc.gz", "language_score": 0.9507771730422974, "token_count": 2658, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__285791847", "lang": "en", "text": "Early Childhood Education\nAny educational program designed to promote children’s development in the broadest sense of the word must include a music curriculum because music is one of the defining features of the human species. Engaging in musical behavior, whether as a producer or a listener, individual or group member, is something that characterizes contemporary life for many people across the world. Irrespective of culture, ethnicity or language group, people—particularly the young—engage in musical behavior for significant amounts of time each day. In part, this is because our brains are designed to pay particular attention to the sounds around us, to detect similarities and differences, construct patterns and structures, and infer meanings and to be engaged emotionally in the available soundscapes, especially music. Like spoken and written language, music is processed simultaneously in many different parts of the brain. Musical processing is not an option, for without such hardwired capabilities, mastering other aspects of our sound world, such as language, would be difficult. Not only is music fundamental to our biological and neural makeup, it is embedded in and shapes the social and cultural patterning of our worlds. Music plays an important role in the construction of identity, in our communicative processes, and in the ways in which we negotiate meaning with self and others. By inference, therefore, if education is about nurturing, developing, and seeking to maximize every aspect of our human potential, then opportunities must be provided in any curriculum for participants to engage in musical thought, action, and interaction. Without the inclusion of music, we neglect a basic facet of what it means to be human.\nMusical features dominate children’s earliest experiences from prebirth. From the final trimester of fetal life when the auditory systems begin to function, many of the earliest experiences of a world “outside” are musical. This is because the amniotic fluid that surrounds the fetus transfers the melodic contours, rhythmic patterning, and timbral (sound color), and dynamic (volume) variations of the mother’s voice, as well as the musical features of any sounds in her immediate vicinity. Research suggests, for example, that in the first six months, infants are able to recognize musical works heard initially in utero, indicating a sensitivity and awareness of the distinctive musical features of the music that they encounter, and a capacity to recall these over time. After birth, as infants begin to make their own sounds and to make sense of, and imitate, the sounds around them, pitch, dynamic, timbral, and melodic and rhythmic patterns continue to be significant. For example, the sounds that our caregivers offer as they interact with infants over the first year of life are musical, containing many of the features of the dominant musical culture, including melodic contours, rhythmic patterning, changes in dynamics and timbre, as well as consonant and dissonant musical intervals.\nPart of our human design is that children are not just receptive to music (what music psychologists term music perception, or music philosophers term music appreciation or aesthetic perception). They are also born with a range of different ways of making music, what music psychologists term “generative” and “performative” skill development. The terms “generative” and “performative” indicate that children are born with innate capabilities to produce certain kinds of musical behaviors. This is not surprising, given the variety of different centers in the brain that are devoted to musical processing and the range of music experience that they encounter from the earliest moments of life. In particular, children can master aspects of the dominant musical culture(s) through their singing and imitative musical play (performative), as well as being able to create through composing and improvising (generative) patterns of sounds that have recognizable musical features. This may occur through the use of ‘formal’ instruments (including the voice) or other sound-making objects. Importantly, music experience is not solely confined to the auditory: engagement with music in and through movement and dance is a powerful means of developing responsiveness to music and to sensitizing the body and mind to the rhythmic, temporal, and dynamic possibilities of music. In some cultures, the notion of music and movement as separate entities is considered untenable and for many infants their first experiences of music are intimately connected to movement experience as they are rocked to sleep to the accompaniment of a lullaby, or swayed to the pulse of a communal song.\nBy the time that young children have reached two years of age, they have had considerable enculturated experience of their immediate sound world, alongside many opportunities to make sound as performers and creators. They are also able to notate these musical explorations and creations using written “symbols.” Their experiences often embrace a wide variety of different musical styles and genres, particularly if they have been growing up in a modern culture in which music and sound media are omnipresent, whether at home, at child care, in playgroup, at worship and celebrations, when traveling in the car, or shopping in the local mall. The outcome is an emerging mastery of many of the dominant features of their musical culture. For example, through regular exposure, most two-year-olds are capable of reproducing simple musical phrases of songs from the home environment, including those encountered through electronic media, such as TV, CDs, and radio. Some two-year-olds are able to sing complete songs in-tune because of the rich musical experiences that they have shared with their caregivers. They are also capable of generating their own “songs” that draw on features of songs that they have heard. By this age also, they are already able to express a liking for musical sounds and to be particularly attentive to certain pieces of music.\nEnvironment and culture continue to shape musical experience and development across successive months. Cantonese-speaking children in Hong Kong aged two to five years, for example, use the same pitch centers in conversational speech as when singing their favorite songs. In contrast, their English-speaking peers develop increasingly distinct pitch centers, with conversational speech lower than their chosen pitch for singing. Similarly, while at play, Euro-American and Asian children tend to make much use of melody in their singing, whereas the play of Afro-American children tends to contain greater emphasis on rhythmic chants. Importantly, what constitutes musical experience and development differs across cultural and social groups. Consequently, an understanding of the varying ways in which music experience can be defined, described and valued in different social and cultural settings is crucial for educators.\nWhen given the opportunity to make music using simple instruments, preschool children usually focus on an initial exploration of the sonic possibilities and draw on the characteristic rhythmic, melodic, and dynamic features of their musical cultures. This sound making is intentional as the young child manipulates the chosen instrument in order to make sense of, and enjoy, its particular sonic properties and musical possibilities. Preschool children’s invented song-making, a common feature of young children’s musical experience, draws on musical and textual themes that they encounter in their daily lives. For example, young children may produce “potpourri” songs where elements of a number of known songs are mixed together with original musical and textual ideas. In later work, children tend to abstract elements of known songs (rhythmic, melodic, structural, dynamic), rather then simply reproducing known elements, to produce original “invented” songs.\nAs mentioned earlier, when provided with the opportunity, young children are also capable of expressing their creative musical ideas in some form of visual symbolization—their own form of musical notation. Typically, initial “invented” notations appear to be scribble-like, before developing with a focus on one particular feature that is perceptually dominant (e.g., dynamic change). With further experience, this develops into a capacity to notate several different musical features at the same time (such as pitch and rhythm). With appropriate structured experience over a relatively short period (three months), preschoolers are capable of developing their notational skills from “scribbles” to more formal symbols that portray distinctive musical features, such as musical pulse (the “beat”) or melodic contour. In preschoolers’ notation of songs, both invented and known, words tend to predominate, but greater notational variation is evidenced when they are asked to notate the same music from an instrumental source. The presence of language (as song text) can sometimes distract from musical features. Through invented notation experiences, preschoolers are able to record and retrieve meaning over time, and to reflect on their own and others’ music making. Such cognitive work assists in shaping musical thought and action for the young child.\nWhile the preschooler’s capacity to “talk” about music may be limited, the lack of a specialized vocabulary does not mean that children are not capable of responding insightfully and appreciatively to music listening experience. Early exposure to, and engaged response with, a range of musical forms and genres provides the building blocks of later musical thought and activity. Through the provision of alternative means of responding other than the verbal, children are able to expand their musical vocabulary and to build incrementally a store of musical patterns and possibilities. Nonverbal responses may include movement and dance, drawing, following music maps visually and kinesthetically, conducting, or tracing the musical contour in the air, on the body, on the ground.\nOverall, there is a considerable body of research evidence to indicate that young children are not only able to respond to the music that they encounter, they are also able to reproduce, create, and notate both their own music and components of the music of their dominant musical culture(s). These behaviors are evidenced when opportunities are provided for children to engage in musical exploration and play with a wide range of sound-making artifacts and in a context in which the adults show a keen interest and valuing of children’s musical output, acting as “audience” and as comusic-maker, as well as a source of musical ideas and development activities. Young children are not empty vessels that have to be “filled” with music. They are developing musicians who have already acquired considerable skills and understandings informally and who bring to the music learning environment a depth and richness of experience that is often underestimated.\nThe early music curriculum, therefore, should provide young children with opportunities to explore, play, and engage with a wide variety of musical activities— as composers, improvisers, listeners, movers and dancers, soloists and group members—that build on their early and continuing informal encounters with music. They should be encouraged to create musical narratives that provide evidence to the teacher/caregiver of emergent musical understanding that can then be deepened and developed through further musical engagement. They should be encouraged to engage consciously with a wide range of musical styles and genres as they build the musical vocabulary that will underpin their future musical development. The underlying pedagogical philosophy is for the teacher (or caregiver in non-school contexts) to act as comusic-maker, guide, facilitator and enabler to the richness of musical cultures, rather than assuming a master-apprentice role in which musical knowledge is simply transferred from expert to novice. Children are musical!\nFurther Readings: Barrett, M. S. (2003). Meme engineers: Children as producers of musical culture. International Journal of Early Years Education 11(3): 195-212; Barrett, M. S. (2005). Musical communication and children’s communities of musical practice. In D. Miell, R. MacDonald, and D. Hargreaves, eds. Musical communication. Oxford, UK: Oxford University Press, pp. 261-280; Bresler, L, and C. Marme Thompson, eds. (2002). The arts in children’s lives: Context, culture, and curriculum. Dordrecht: Kluwer; Deliege, I, and J. Sloboda, eds. (1996). Musical beginnings. Oxford, UK: Oxford University Press; McPherson, G. E. (2006). The child as musician. Oxford, UK: Oxford University Press; Welch, G. F. (2006). The musical development and education of young children. In B. Spodek and O. Saracho, eds. Handbook of research on the education of young children. Mahwah, NJ: Erlbaum, pp. 251-267; Welch, G. F., and Adams, P. (2003). How is music learning celebrated and developed? Southwell, England: British Educational Research Association. Available online at http://www.bera.ac.uk/publications/pureviews.php.\nGraham F. Welch and Margaret S. Barrett", "domain": "music_and_dance"}
{"url": "http://airheadonline.co.uk/biography/", "date": "2013-05-26T08:18:44Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368706762669/warc/CC-MAIN-20130516121922-00073-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9695114493370056, "token_count": 1317, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__124669551", "lang": "en", "text": "Kent-based four-piece Airhead lined up with Michael Wallis (vocals and guitar), Sam Kesteven (drums), Ben Kesteven (bass) and Steve Marshall (keyboards).\nThey were signed by WEA/Korova as the Apples in September 1990, on the strength of demo The Apples go to Pip City Via Victoria and All for Under a Fiver!. Shortly afterwards, band became Jefferson Airhead before dropping the ‘Jefferson’ from their name on request of Jefferson Airplane’s record label.\nBow Wow Wow bassist Leigh Gorman was enlisted to produce the band’s first Korova recordings, and the first fruits of these saw the light of day in February 1991 when the sulky, baggy-sounding mid-tempo Congratulations was released. The song’s artwork was similar to 60s-psychedelia-inspired pop art, a theme which continued for all but one Airhead releases. A second single, Scrap happy, followed in May that year as the band’s fanbase continued to grow.\nAutumn 1991 saw the release of what is perhaps now the band’s best-known song, Funny how, to good reviews and heavy airplay on BBC Radio 1. Its catchy couplet, ‘It’s funny how the girls you fall in love with never fancy you/Funny how the ones you don’t, do’ ensured it remained a floor-filler at indie discos, and years after the band split up, the BBC chose it as the introductory music on their Match of the Day football programme. Funny how climbed to number 57, the first time Airhead had troubled the top 75 chart.\nThe band’s commercial peak and biggest singles chart success would be with Counting sheep, the lead single from their debut album. This soaring, poppy 1991 Christmas hit was backed with the standout b-sides from the previous two singles Take my train and Keep the apple, and it even managed to break the top 40 by reaching number 35. This was pre-Britpop in the time when any sort of chart action was seen as a success for bands pigeon-holed as part of the indie genre.\nAirhead were offered a session for BBC Radio 1, so in early January 1992 they duly visited the famous Maida Vale studios in London to record four tracks for Mark Goodier’s Evening Session programme.\nThe broadcast of the session later that month co-incided with the release of sparkling debut album Boing!!, which collected together the band’s four singles so far and six new songs. Produced by George Shilling, it garnished great reviews in the music press and peaked in the album chart at number 29.\nA final single was lifted from the album in March that year. Right now was to be the bands third and last top 75 hit, reaching number 50.\nBetween the release of Right now and the end of 1992 the band split, as Michael wanted to get out of the Korova deal and go it alone. He recruited Roger Wells (bass) and Sam (drums) and the three went to Falconer Studios, London, in March 1993 to record new material, self-produced by Michael.\nThe results of these sessions appeared in record stores in August 1993 as the That’s enough EP. The three tracks showcased on this CD/10″ showed a darker, brooding and somewhat broken Michael over a less poppy arrangement. The EP wasn’t a commercial success, and although there were more gigs, with no record deal the writing was on the wall.\nBand members have cropped up in various other acts since then, but fans of Airhead can’t help feel the long term-promise shown by the much-loved debut album (which commands £15-30 when it crops up on internet auction sites) was never fulfilled.\nIn June 2007, a campaign was launched with music journalist Joel McIver to get Boing!! reissued.\nComments have also been left on this website from band members regarding a possible reunion…Sam: We’ve all been shocked to see how many people still remember the band and its great to hear how much the album was enjoyed.\nI’ve been in touch with Mike and Steve recently to invite them both to my wedding (Mike and Ben will definitely have to turn up as their both ushers). I’m hoping to persuade them to bring their instruments along so we can bash out a few songs.\nBen has been forcing his kids to listen to Boing for years and they know all the words to Funny How, so I guess that’s as good a reason as any to play at the wedding.\nThanks again for visiting the site and leaving comments.\nBen: It’s not a matter of motivation to do some gigs, it’s more a problem of logistics. We all live in different areas now, have jobs etc and I’ve got 2 young kids so getting together for rehearsals let alone gigs would take a lot of organising.\nIt’s certainly not something I’d rule out and it’d probably be good fun etc but I really can’t speak for the other guys. Sam’s wedding is definitely an opportunity to see how it works on a small scale so who knows?\nBoing!! on iTunes\nIn October 2012, Airhead’s debut album Boing!! was made available on iTunes.\nVocals and guitar\nBass (to 1992)\nRoger Wells played bass 1992-93.\nSam and Ben were also in The Popinjays.\nMichael and Sam were also in Spike, and recorded a session for John Peel in November 1994 (download it here).\nRoger was in Resque.\nSam plays drums with Wonderhorse (also see Channel 4) and is now a photographer who has worked for Time Out in London. He was also the subject if the identity parade in an episode of Never Mind the Buzzcocks in 2004.\nIt is believed that some members were in a band called Inswinger in the mid-1990s.\nThe producer of the band’s early singles, Leigh Gorman, now lives in Hollywood.\nThe producer of Boing!!, George Shilling, is still based in the UK.", "domain": "music_and_dance"}
{"url": "https://newport-pagnell.uk/events/little-white-lights/", "date": "2024-03-03T13:52:46Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476374.40/warc/CC-MAIN-20240303111005-20240303141005-00873.warc.gz", "language_score": 0.827425479888916, "token_count": 101, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__46942786", "lang": "en", "text": "July 25, 2020\n3:00 pm - 5:00 pm\n117 High St, Newport Pagnell MK16 8EN\nLittle White Lights are back for a special outdoor music filled Saturday at The Coachmakers Arms!\nFrom 15:00, we will be bringing a whole load of covers and original songs in our own acoustic style! See you there, we’ve missed you all! Please ensure you follow the pubs Covid-19 guidelines.Facebook Event Little White Lights Facebook Page", "domain": "music_and_dance"}
{"url": "https://aligninlight.com/2018/04/19/write-a-song-how-to/?shared=email&msg=fail", "date": "2021-12-06T11:44:05Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964363292.82/warc/CC-MAIN-20211206103243-20211206133243-00508.warc.gz", "language_score": 0.930713415145874, "token_count": 1738, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__72807006", "lang": "en", "text": "How to write a song in 10 steps?\n- Look out for song inspiration\n- Write the lyrics\n- Choose some cool chords\n- Add melody and rhythm\n- Write a song chorus\n- Write a song verse\n- Create a song structure\n- Play and practice the whole song\n- Record your song\n- Practice, practice, practice\n1. Look out for song inspiration\nIf you’re a singer\nNotice topics and situations you want to sing about. Note down phrases, lines, and emotions that come to your head. What do singers you admire sing about? Analyse their lyrics to see how the songs are structured.\nIf you’re an instrumentalist\nDo you play guitar, bass, drums, piano, sax or another instrument? Start looking for inspiration everywhere. Which songs do you like? What makes them special? How are the chords, the melody, and the rhythm?\n2. Write the lyrics\nChoose a clear topic the audience can relate to. That way people can deeply connect with your music. What could be a good topic for a song?\n- Love is always a good topic and worked for many amazing songs: Falling in love, pain in love, breakups, fights, future plans and more.\n- An experience you had – a bad or a good one\n- Your opinion on something\n- Another idea or line that came to your mind\nThere are two ways to write a song’s lyrics.\nMethod 1: Write the text first.\nYou can go around the world collecting ideas until you have a text ready. Attach it then to a melody. You can get inspired wherever you are. Simply write down your ideas on paper or your phone.\nMethod Nr. 2: Get inspired by instrumentals & beats.\nListen to the music for a while, allow inspiration for ideas. Then write some lyrics over it. Either you know some musicians that like to jam with you. Or you play some instrument yourself. Or you can check the backing tracks on sofasession to test lyrics impro:\nAlso on the blog: How to master improvisation like a pro?\n3. Choose some cool chords\nYou play an instrument and wonder how to write a song? We want to show you a way we use.\nPlay a chord you like.\nIt might be a simple chord like C, E, F or G. Check out which other chords fit and sound nice. If you start with an E chord, the subdominant A and dominant B will fit quite well. Just a tip for the start.\nExperiment and get ideas.\nCollect every combination of chords that sounds good together. Let your creativity flow. Check out what you like. Check this article for some guitar progression inspiration.\nGet inspired by others.\nSometimes you get the best ideas when you’re playing with other musicians. You can do the same by playing along to some backing tracks. Use this 1000+ backing track libraryto get started:\n4. Add melody and rhythm\nExperiment with rhythm and melodies.\nYou have thousands of options to play your cool chords. If you play them faster, change quicker or use a melody on top changes the song mood completely.\nRecord music ideas right away.\nSave chords or melodies you like. Play along with them to find more ideas. You can record multi-track songs on our platform for free. That way other users can also contribute to your song and give you new input. Create your new song now.\n5. How to write a song chorus\nThe chorus is the hook of each song, a part well remembered. So it’s worth investing some time here.\nStart to gather ideas for the hook and/or the lyrics. Just as in #3, check what sounds nice. An E-A-H-E chords combo will wound differently than an E-A-E-H-E-E-A.\nDon’t judge your ideas too early.\nNot every word you write down has to be perfect. Not every chord you play has to be the final one. Collect everything and pick, what is more catchy.\nPick one of the ideas.\nYou have some ideas now, now pick the best. A helpful tip is to focus on ONE text /melody idea. How do you feel when you think about it? Notice all thoughts and emotions. Make them part of the song.\n6. How to write a song verse\nA verse tells more about your situation or feeling than the chorus. So think further. What details are there? What different scenarios? How did the situation develop? What might happen in the future?\nThink again about harmony, melody, and rhythm. Do you want to play the same chords as in chorus? Do you want to have a new melody for the guitar or vocals? How should the rhythm be compared to the chorus? Think also about dynamics. A huge dynamics contrast between chorus and verse can change a lot.\n7. Create a song structure\nWhenever you have a good chorus, a melody, and a text it’s time to structure them.\nOrder of chorus and verse\nDo you want to stick to the famous verse / chorus / verse / chorus / bridge / chorusstructure? Or turn it all in a new way? Think about it.\nHow do you want your song to sound?\nDo you want a strong contrast between chorus and verse or a small difference? Classically, the chorus is played and sung on higher notes than the verse. Think of your song as a building people enter. What should they see first, what sh0uld come later?\n8. Play and practice the whole song\nPractice the song\nYou already have some great lyrics, a chorus and verse ready. You thought about the structure and created additional song parts. Connect the parts and play them a bit.\nIt’s ok if your song is not the next genius #1 hit already\nThere is no need to judge your song too much at this point! Save whatever you’ve got so far and come back to it later. With a fresh mind and after you’ve had some time for the song to settle.\n9. Record your song\nRecording now is not professional, but just makes sure, you won’t loose the new song. So best options are:\n- Smartphone: Record yourself while you’re playing and singing your new song\n- Computer: Use free programs like AudioRecorder, PhotoBooth, QuickTime Player or others or multi-track recorder if you want to go deep. Check these tips for recording at home if you’re a beginner.\n- sofasession: Record an idea by clicking “create a song” in the backstage area. Create multi-tracks to record instruments separately. If you make it public, other users can contribute and help your song grow. You can also send the link to friends and band mates. This is how your recording screen looks like.\n10. Practice, practice, practice\nAs every other form of writing, songwriting is a skill. It is not something that falls from the sky one morning. Practice it often and you’ll become better each day. Promised!\nAnd that’s it. Those are our tips on how to write a song for beginners. Now it’s up to you to put them into practice. Comment below if you liked the tips or have something to add. Send us the link to your new song and we’ll feature you on our channels.\nMore resources on songwriting:\n- Udemy wrote a great article named “How to Write a Good Song: A Beginner’s Guide to Songwriting“\n- “How to write a song in 10 steps” by My Song Coach\n- Robin Frederick tells you how to write a song in a step by step guide\n- This page shares great tips for songwriting in general: Here is an article about songwriting tips for beginners by Ultimate Songwriting\n- Find a lot on inspiration and writing lyrics in this article: Songwriting for Beginners by Guitar Noise\n- Especially for guitarists, Helmut wrote an article on How to write a song on the guitar, be sure to check it out.\nAll Credits to © sofasession GmbH", "domain": "music_and_dance"}
{"url": "https://dhrupadjapan.org/udayji2018_english/", "date": "2023-09-30T03:12:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510575.93/warc/CC-MAIN-20230930014147-20230930044147-00812.warc.gz", "language_score": 0.9758103489875793, "token_count": 201, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__155375534", "lang": "en", "text": "Uday believes that when immersed in the note and raga, the self disappears and music takes on its own existence; the principle of ‘darshan’ in Indian philosophy. From Pt.Uday Bhawalkar official website\nMessage for Japan from Pt. Uday Bhawalkar\n\"This will be my first tour in Japan. I have Japanese friends and know Japanese people who are music lovers some of whom have even been learning Indian music for a long time - about 25 years! Some of them have become promising musicians , singing / playing Indian music very well and I feel proud of their hard work.\nFrom what I have seen of Japanese culture, it is similar in many ways to Indian culture. The people from Japan that I have met I have developed deep connections with. They have a great deal of dedication towards their music studies. I have been told that there is a great number of people who appreciate Indian music and I look forward eagerly to my tour in Japan.\"", "domain": "music_and_dance"}
{"url": "https://www.terrylongshore.com/", "date": "2019-10-13T23:17:58Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-43/segments/1570986648343.8/warc/CC-MAIN-20191013221144-20191014004144-00540.warc.gz", "language_score": 0.9373334050178528, "token_count": 228, "dump": "CC-MAIN-2019-43", "global_id": "webtext-fineweb__CC-MAIN-2019-43__0__71561773", "lang": "en", "text": "Terry Longshore is a percussionist based in Ashland, Oregon whose genre-crossing work exhibits the artistry of the concert stage, the spontaneity of jazz, and the energy of a rock club. He performs nationally and internationally as a soloist and ensemble member, collaborates with artists working in diverse media, and has premiered and recorded numerous works. Longshore is a Yamaha Performing Artist, a Marimba One Vibe Artist, and an artist endorser for Zildjian Cymbals, Vic Firth Sticks and Mallets, Remo Drumheads, Gon Bops Percussion, and Beato Bags, and is a member of the Black Swamp Percussion Education Network. He is a trained HealthRHYTHMS facilitator. He holds bachelor’s degrees in business administration from California State University at Fresno and percussion performance from California State University Sacramento, and earned the master’s and doctoral degrees in contemporary music performance from the University of California, San Diego. He is Professor of Music and Coordinator of the Music Graduate Program at the Oregon Center for the Arts at Southern Oregon University.", "domain": "music_and_dance"}
{"url": "http://ghpsnp.org/viewgallery6.jsp?topic=Nursery%20Graduation%20Programme&pby=Admin&msg=It%20was%20a%20magnificent%20day%20in%20Guru%20Harkrishan%20Public%20School%20Nanak%20Piao,%20When%20the%20tiny%20tots%20wooed%20the%20hearts%20of%20everyone%20present%20in%20the%20nursery%20graduation%20ceremony,%20which%20was%20celebrated%20on%2019th%20March%202015%20with%20great%20enthusiasm%20and%20thrill.%20%0AThe%20Chief%20Guest%20%20S.Mohinderpal%20Singh%20Chadha(Sr.Vice%20President,DSGMC)%20and%20Amarjeet%20Singh%20Pappu(Joint%20Secretary,DSGMC)%20in%20his%20speech%20praised%20the%20efforts%20of%20the%20Principal,%20Teachers%20and%20Students%20and%20felt%20proud%20to%20be%20a%20part%20and%20a%20product%20of%20G.H.P.S%20family.%20%0AA%20colourful%20cultural%20programme%20started%20with%20School%20Shabad%20and%20welcome%20song%20followed%20by%20prize%20distribution%20to%20encourage%20the%20young%20talents.%20A%20beautiful%20dance%20performance%20and%20Punjabi%20play%20based%20on%20teachings%20of%20Guru%20Nanak%20Dev%20Ji%20left%20the%20spectators%20wonderstruck.%20In%20the%20grand%20finale%20bhangra%20brought%20a%20fresh%20energy%20and%20rocked%20the%20stage.%0A&image1=1118220420151308471.jpg&image2=1118220420151308472.jpg&image3=1118220420151308473.jpg&image4=1118220420151308474.jpg&image5=1118220420151308475.jpg&image6=1118220420151308476.jpg&image7=1118220420151308477.jpg&image8=1118220420151308478.jpg&image9=1118220420151308479.jpg&image10=11182204201513084710.jpg", "date": "2018-09-24T03:25:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-39/segments/1537267160142.86/warc/CC-MAIN-20180924031344-20180924051744-00125.warc.gz", "language_score": 0.9455270171165466, "token_count": 187, "dump": "CC-MAIN-2018-39", "global_id": "webtext-fineweb__CC-MAIN-2018-39__0__141136987", "lang": "en", "text": "It was a magnificent day in Guru Harkrishan Public School Nanak Piao, When the tiny tots wooed the hearts of everyone present in the nursery graduation ceremony, which was celebrated on 19th March 2015 with great enthusiasm and thrill.\nThe Chief Guest S.Mohinderpal Singh Chadha(Sr.Vice President,DSGMC) and Amarjeet Singh Pappu(Joint Secretary,DSGMC) in his speech praised the efforts of the Principal, Teachers and Students and felt proud to be a part and a product of G.H.P.S family.\nA colourful cultural programme started with School Shabad and welcome song followed by prize distribution to encourage the young talents. A beautiful dance performance and Punjabi play based on teachings of Guru Nanak Dev Ji left the spectators wonderstruck. In the grand finale bhangra brought a fresh energy and rocked the stage.", "domain": "music_and_dance"}
{"url": "https://phwg.bandcamp.com/", "date": "2019-12-08T22:14:13Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-51/segments/1575540514893.41/warc/CC-MAIN-20191208202454-20191208230454-00432.warc.gz", "language_score": 0.9605842232704163, "token_count": 1026, "dump": "CC-MAIN-2019-51", "global_id": "webtext-fineweb__CC-MAIN-2019-51__0__126267779", "lang": "en", "text": "Black Hole BBQ took about 4 years to make. I had originally planned for it to come out late 2018. The recording process has taken a bit longer than expected, but with a full time job, a 5 year old and a 2 year old (and a very understanding wife) it’s been harder to find time. Weekends, late in the evenings, or before everyone gets up are the times when I can squeeze some work in.\nDrum recording started in March 2017 with my friend Tripp Dudley. He is a touring musician so we didn’t have much time to rehearse - but he was in between tours for a week in March, 2017, so we went to the studio on a Friday evening and a full Saturday and managed to get 9 songs in. The opening and closing tracks are both over 10 minutes (and feature some complex sections) but we managed to get it all done. Most of Friday evening we spent setting up the sound we wanted - and even tracked a few tunes. After that I spent a month selecting all my favorite takes from the drum recording and sent the tracks out to the Bass player and started recording guitars in the summer of 2017.\nMost tunes have 2 clean guitar tracks, 2 heavy guitars, and a lead guitar. On some of them I decided to double the lead as well or play additional melody lines. I used my Fender DeVille and my VOX going into a 1X12 box. I also used some modeling amps for some of the sections.\nTripp Dudley came back for Tabla and percussion recording in October and Eric Allen finished his Cello parts by the end of October 2017. My good friend Ian O’Brien (whose artist name is Fastus) created the modular synth parts on the album. He was very much part of listening to the tracks from the beginning and helped shape it along the way. The final musical pieces has gone through multiple layers of addition and subtraction.\nThe bass was recorded by Chris Kelly at his studio, Studio Del Diablo. Finally, the flute was done by my friend Katie Thode in November 2017. We had roughly 5-6 hours to finish 5 pieces. All recording was done at my work at Feirstein Graduate School of Cinema where I manage the studios and post production facility. It was a bit hectic because I was engineering and producing at the same time, but am really happy how everything sounds. Before we recorded I made sure that I heard it as close to the finished “demo” as possible. Obviously there is no comparison between a real instrument and most MIDI / Virtual instruments out there - so after a year of hearing a fake cello or flute it was great to hear it with the real deal.\nMixing was done last November (2018) by Rocky Gallo at Virtue and Vice studios in Brooklyn. We ended up mixing over two days - right during the NY Marathon. Mastering finished up late March 2019 by Mike Kalajian at Rogue Planet Mastering in Hudson, New York.\nMusically this is really about exploration and experiments with musical themes and styles.\nreleased October 11, 2019\nAlbum Title: Black Hole BBQ\n1.) Black Hole BBQ - Shelagh's Quest (12:43)\n2.) March of Mysceria (04:43)\n3.) Sukhothai - Dawn of Happiness (08:17)\n4.) Exotic Matter (07:15)\n5.) Infinity Plus One (04:57)\n6.) Polar Vortex (06:15)\n7.) For Jules (05:39)\n8.) Telus Mater (13:50)\n(c) Pontus H.W. Gunve 2019\nPontus H.W. Gunve - all guitars and additional keyboards/synths\nChris Kelly - Bass (Track 1,2,5,6,8)\nDan Kramer - Bass (Track 3,4,7)\nEric Allen - Cello\nKatie Thode - Flute\nIan O’Brien - Modular Synth (Track 1,3,4,6,7)\nTripp Dudley - Drums, Tabla, other Percussive instruments\nMixed by : Rocky Gallo @ Virtue and Vice Studios\nMastered by: Mike Kalajian @ Rogue Planet Mastering\nAlbum Cover Design : Maayan Gutterman\nSpecial Thanks to : My Wife (Ramona) for listening to this stuff day in and day out for the last 4 years and to my two sons (Felix and Jules) for inspiration. Feirstein Graduate school of Cinema Students, Staff and Faculty - Jay Kim, Angela Piva, Jonathan Zalben, Dustin Chang, Leah Shaw, Yuting Cheng, Maayan Gutterman, Ali Vil and all who made this possible. Thanks to Ian O’Brien for listening and giving amazing feedback. Also special thanks to Mr Tripp Dudley for working out the kinks in the riffs.", "domain": "music_and_dance"}
{"url": "https://getours.com.au/tours/?s=china-music-tour&d=asia&t=", "date": "2020-01-25T16:40:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-05/segments/1579251678287.60/warc/CC-MAIN-20200125161753-20200125190753-00372.warc.gz", "language_score": 0.9223902225494385, "token_count": 213, "dump": "CC-MAIN-2020-05", "global_id": "webtext-fineweb__CC-MAIN-2020-05__0__112588699", "lang": "en", "text": "Suitable for orchestra, band, and choir groups, this 9-day program includes 3 public performances at some of China’s most iconic concert venues. The planning and detail is expertly handled by our experienced team including equipment hire, transport, and rehearsal time at each venue. A trip of a lifetime for all aspiring musical performers.\nStudents will perform in front of music loving Chinese locals in each town. G.E.T Educational Tours and our travel partners coordinate the selling of tickets to each performance, and students will perform in world-class concert venues in front of large crowds.\nTeachers, please note that there is a significant amount of paperwork and pre-tour organisation to prepare for. We recommend that you allow a minimum of 12 months planning period to allow time for completion of documents and other Chinese Government requirement. Please contact us for more information.\nFeature performance locations include:\n- National Centre of Performing Arts Beijing (NCPA)\n- Wuzhen Water Town\n- Forbidden City Concert Hall\n- Oriental Arts Centre Shanghai", "domain": "music_and_dance"}
{"url": "https://ff-schlingel.de/en/programme/festival-movies/detail/10209", "date": "2023-09-30T10:30:11Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510671.0/warc/CC-MAIN-20230930082033-20230930112033-00522.warc.gz", "language_score": 0.9687737822532654, "token_count": 116, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__180842954", "lang": "en", "text": "Original title: Corazón de Mezquite\nGerman title: Mezquites Herz\nLucía belongs to the Yoreme people and lives a secluded life with her father, a harp player, and her grandparents in a small village in Sonora, Mexico. Lucía’s father Fidel cannot get over the death of his wife and drowns his grief in alcohol. The little girl’s biggest wish is to play the traditional harp like her father, to touch his heart and be loved by him again.", "domain": "music_and_dance"}
{"url": "https://remoteaccessexperiences.com/category/z-past-events/page/47/", "date": "2020-11-28T12:16:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141195417.37/warc/CC-MAIN-20201128095617-20201128125617-00686.warc.gz", "language_score": 0.9467495083808899, "token_count": 225, "dump": "CC-MAIN-2020-50", "global_id": "webtext-fineweb__CC-MAIN-2020-50__0__31606723", "lang": "en", "text": "Lisa was off to New York to perform at the official Tartan Day parade opening ceremony until the pandemic struck. Instead she will perform her set from her home in Scotland.\nYou can find out more on her Facebook event page here.\nDate: Monday 6th April\nTimes: 7:00pm to 7:30pm\nCome Together NE and partners present the “Come Together NE Digital Festival For Our NHS”\nThis online festival will feature and showcase 6 fantastic North East based artists every night, from 6pm-12am, performing live streams, requesting donations and raising funds for the North East’s NHS Hospitals at this unprecedented time.\nJoin them on Facebook for the final day and help to raise money for the NHS! You can find out more on their Facebook event page here.\nDate: Sunday 5th April\nTimes: 6:00pm to 12:00am\nSucker have arranged seven nights of great music over on their Facebook page.\nDates: Monday 6th to Sunday 12th April 2020\nTimes: 7:00pm and 9:00pm", "domain": "music_and_dance"}
{"url": "https://lyrics-for-ipad-ios.soft112.com/", "date": "2017-10-21T04:59:06Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-43/segments/1508187824570.79/warc/CC-MAIN-20171021043111-20171021063111-00575.warc.gz", "language_score": 0.8926944732666016, "token_count": 293, "dump": "CC-MAIN-2017-43", "global_id": "webtext-fineweb__CC-MAIN-2017-43__0__4652224", "lang": "en", "text": "Have always with you the lyrics of your favorite songs. With Lyrics+ you can download lyrics from the Internet to sing anytime, anywhere*.\n* Shower singers: avoid taking the iPad to wet environments.\n- Import/export lyrics from/to your computer (plain text format).\n- Edit lyrics inside the app.\n- Search and organize songs by title, artist, or date.\n- View your songs offline, no ads.\nIdeal for rehearsals and performances:\n- Skip to the next/previous song with a simple swipe gesture.\n- Choose dark background for nightly performances.\n- Create setlists for performances and rehearsals.\n- Auto scroll.\nRequires iOS 5.0 or later. Compatible with iPad.\nLyrics+ for iPad is a free trial software application from the Audio File Players subcategory, part of the Audio & Multimedia category.\nThe app is currently available in English and it was last updated on 2011-05-15. The program can be installed on iOS.\nLyrics+ for iPad (version 1.4.5) has a file size of 8.60 MB and is available for download from our website.\nJust click the green Download button above to start. Until now the program was downloaded 2 times.\nWe already checked that the download link to be safe, however for your own protection we recommend that you scan the downloaded software with your antivirus.", "domain": "music_and_dance"}
{"url": "http://granolajam.blogspot.in/2013/11/", "date": "2018-04-20T16:02:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-17/segments/1524125944479.27/warc/CC-MAIN-20180420155332-20180420175332-00083.warc.gz", "language_score": 0.9824063777923584, "token_count": 952, "dump": "CC-MAIN-2018-17", "global_id": "webtext-fineweb__CC-MAIN-2018-17__0__80453612", "lang": "en", "text": "\"I am you and what I see is me\" -Floyd Busy Bee\nStudy abroad? Well there has been some studying, but most of what I have learned has come from sources other than the institution of which I am enrolled. Extracurricular activities such as teaching, volunteering and adventuring have brought about some grand realizations, although, I require a significant amount of reflection time before I am comfortable sharing such findings. However, in response to my friends and family who are curious about my recent activities I will give a glimpse into my Indian life.\nStudent teaching has been quite an experience. I am working with the Hyderabad foundation for western music, and recently completed a course in music theory and ear training. The students came from many different backgrounds and levels of musicianship and there was a wide range of age difference from eight to eighty! The most interesting observation on my part was how the students interacted with me. Despite my 'easy-going' attitude and demeanor, the students were very hesitant to speak in class and at first they never even asked any questions. \"This is an interactive experience\" I would tell them, \"I am not the only teacher in the room. We all have something to learn from each other, including me!\"\nI spent a lot of time with the students outside of class, either in a formal tutoring session or just a casual chat over chai. In this way, I was given insight into how most teachers are perceived in India. \"They never admit fault\" one student told me, \"and they perceive any question as a challenge to their authority and intelligence.\" With this understanding I continually altered my teaching style, slowing giving more and more student independence with the material; reinforcing the idea that they are teaching themselves and I am only a guide and eventually they were even interrupting me with questions! In the last session, I asked the students for a teacher evaluation (a foreign concept to them), and in reading the responses I have decided I would like to continue teaching. It would seem that I hone my entertainer persona whenever I get in front of a large group of people, as they all gave remarks about being thoroughly engaged for the full two hour session each week.\nI have also been directing a choir. The manager of the choir contacted me when she heard there was an American music teacher in Hyderabad. They had suddenly lost their conductor and were in need of finding a replacement. I informed them of my experience with instrumental ensembles, and that although I have sung in several choirs I have certainly never directed one. Despite my lack of experience, they were eager to have me on board. The music had already been selected and is predominately, much to my surprise, church music. Even though have no experience with liturgical music I decided I should still give it a shot. I am learning so much in working with this group who, much like the music class, have a wide range of skill sets and span across many different age groups. Our concerts will be on the 3rd and 5th of December and we will be performing several Latin American folk songs, a Hindi lullaby, some Christmas tunes and Gloria from Mozart's Coronation Mass.\nMy research has brought me to the Hindustani Shastriya Sangeet, an ancient Indian text which discusses aspects of music theory and aesthetics. The nava rasa theory states that music (and other art forms) have several predetermined rasas (moods or sentiments) which can bring about or alter the audience's emotional state. To test this theory several musical excerpts have been selecting from a wide range of musical styles, each with their own expected emotional response. The audience is asked to answer a few questions regarding their level of musical engagement. They are then given the option of selecting which emotion best describes the musical excerpts provided.\nI conducted the research project during the SIP (study India program) cultural show, of which I was also an MC! What?! (more of the entertainer persona). The project lives on as I have landed a sponsor, Creative India, for my research in Chennai at the IndiEarth music and arts festival. The dates are the 6th, 7th and 8th of December so Ill be hopping a train immediately after the choir performance and arriving for the first day of the festival. Yowza! After that Ill be bouncing around India for a while with no solid plans until my mother and sister arrive to visit. Yay! We will travel around a bit and celebrate Christmas together.\nI hope all is well with everyone everywhere. Sending love to all my friends in America, Europe, India and all other places in the universe.", "domain": "music_and_dance"}
{"url": "https://www.btaakids.org/home/gallery", "date": "2021-01-20T22:26:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703522133.33/warc/CC-MAIN-20210120213234-20210121003234-00405.warc.gz", "language_score": 0.9307989478111267, "token_count": 188, "dump": "CC-MAIN-2021-04", "global_id": "webtext-fineweb__CC-MAIN-2021-04__0__216291143", "lang": "en", "text": "Tickets On Sale Now!\nKick-off your summer fun with btaa!\nBroadway Theatre Arts Academy at a Glance\nFounded in 2002, Broadway Theatre Arts Academy has been striving to provide theatrical opportunities to kids age 5-19 years old. Our programs provide children and teens a safe place to grow and explore their creativity, instill confidence and build self-esteem through the magic of performing arts. BTAA offers all of this to children regardless of gender, religion, ethnic background, sexual orientation and economic status. In fact, we offer opportunities to low income and at risk youth through scholarship and outreach programs that would not normally be able to afford this type of program.\nProfessional Instruction. Unforgettable Experiences.\nOne Step at a Time\nBTAA brings top-of-the-line artistic talent to each production, offering young performers well-rounded, quality instruction in acting, dance, and voice.", "domain": "music_and_dance"}
{"url": "https://bharatmovie.thugsofhindustan.co/bharat-movie-songs.html", "date": "2019-06-26T23:52:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-26/segments/1560628000609.90/warc/CC-MAIN-20190626234958-20190627020958-00086.warc.gz", "language_score": 0.8627496361732483, "token_count": 453, "dump": "CC-MAIN-2019-26", "global_id": "webtext-fineweb__CC-MAIN-2019-26__0__115940274", "lang": "en", "text": "BHARAT Movie Songs:\nSalman Khan is back New Movie Title as “Bharat”. He has made a big announcement about his upcoming film Bharat. It is a remake of South Korean film Ode to My Father. It is confirmed that Bharat Movie will release on Eid 2019.\nSalman Khan has announced this film to give surprise his fans. It is the biggest South Korean film of 2014 and also the highest collector of that year. Its Hindi remake will be produced by Bhushan Kumar and Atul Agnihotri. This film will be directed by Ali Abbas Zafar, who has earlier directed Salman Khan’s Sultan and Tiger Zinda Hai. It is a war-drama film.\nBHARAT Movie 2019 Mp3 Songs Download\n• Movie: BHARAT\n• Cast: Salman Khan, Disha Patani, Tabu, Katrina Kaif\n• Director: Ali Abbas Zafar\n• Music:(Songs) Vishal–Shekhar, (Background Score:) Julius Packiam\n• Cinematography:- Marcin Laskawiec\n• Total Tracks: 1 Tracks\n• Label: N/A\n• Country: India\n• Language: Hindi\nBharat Movie Download Now.\nWith English Subtitle.\nBharat 2018 Hindi movie mp3 songs free download, Salman New Movie Songs From Bharat, Salman Khan New Movie Songs 2018, Bharat Songs Download Hindi, Bharat Movie Songs, Bharat Film Songs, Bharat New Film Songs, Bharat Free Songs, Bharat Hindi Movie Mp3 Songs free Download, Bharat Songs Download Hindi, Bharat Movie Songs.\nDownload Bharat Songs, Bharat Movie Songs, Bharat Mp3 Songs, Bharat Songs Download, Bharat Movie Mp3 Songs, Download Bharat Movie Songs, Bharat Movie Song Download, Download Bharat Mp3 Songs, Bharat 2018 Movie Songs, Bharat Mp3 Songs Download, Download Bharat Movie Mp3 Songs, Bharat Mp3 Songs Free Download, Bharat Bollywood Movie Songs, Bharat 2018 Songs Download, Salman Khan New movie Bharat songs.", "domain": "music_and_dance"}
{"url": "http://www.themoclub.com/corporate/event-dance-party.php", "date": "2013-05-26T00:49:34Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368706474776/warc/CC-MAIN-20130516121434-00046-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.8180217742919922, "token_count": 316, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__131289498", "lang": "en", "text": "023 8022 6439 firstname.lastname@example.org\nCombining fun interactive dance classes, quality DJ and food - this event captures ‘The Mo’club’ at its spectacular best.\nThe class creates laughter, excitement and a buzzing atmosphere, the party music keeps the party alive and the venue gives your event a unique ambience.\nThe fun dance class is your choice, the buffet is your choice, the event format is your choice.\nHere’s just one suggestion for an effective, achievable and entertaining event format.\n|7.30pm - 8.30pm||Guests arrive, red carpet and arrival drink|\n|8.30pm - 9.15pm||Buffet, videos, walk around entertainment|\n|9.15pm - 9.30pm||DJ warms up the atmosphere|\n|9.30pm - 9.50pm||Saturday Night Fever Fun Class - your chance to be John Travolta or a Disco Diva|\n|9.50pm - 10.30pm||DJ playing classics hits and party tunes|\n|10.30pm - 11.00pm||Bollywood - the colour, mystique & music of Bollywood movies|\n|11.00pm - 11.45pm||DJ builds the atmosphere|\n|11.45pm - Midnight||Learn a little late night Salsa - sexy and fun|\n|Midnight - 1.00am||Party to the early hour as the DJ plays the music you want|", "domain": "music_and_dance"}
{"url": "http://pearl-music.de/20-Airwolf.html", "date": "2018-08-14T17:04:54Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-34/segments/1534221209216.31/warc/CC-MAIN-20180814170309-20180814190309-00543.warc.gz", "language_score": 0.92434161901474, "token_count": 293, "dump": "CC-MAIN-2018-34", "global_id": "webtext-fineweb__CC-MAIN-2018-34__0__57361413", "lang": "en", "text": "AIRWOLF LEGACY THEMES\nAirwolf Legacy Themes is a remake and cover-version of the classic TV series of the 1980s featuring the most memorable theme variations (originally composed by Sylvester Levay) incl. two formerly unreleased orchestral versions of the famous Airwolf theme.\nThe original score and theme music of «Airwolf» truly captured the spirit of an advanced supersonic stealth helicopter which was undoubtedly the main attraction of the series. The spot-on electronic and orchestral themes made it one of the most memorable television shows of the 1980s.\n«Airwolf Legacy Themes» features the extended 1984 synthesizer closing theme as well as an orchestral version of the aerial battle theme, both of which had previously been unavailable. Additional material, based on the classic Airwolf theme, is also included in this unique compendium. All tracks are designed and arranged to closely resemble the unforgettable sound of the original TV series composed by Sylvester Levay.\nGenre: TV-SERIES/SOUNDTRACK (REMAKE)\nOriginal Title: AIRWOLF\nDirector: DONALD P. BELLISARIO\nComposer: SYLVESTER LEVAY\nProduction Company: CBS/MCA UNIVERSAL\nLabel: P&K Music\nRemake: PEARL MUSIC/Jörg Winkelmann\nRelease Date: TBA", "domain": "music_and_dance"}
{"url": "https://www.carymagazine.com/event/marvelous-music-family-series-philharmonic-association-chamber-ensembles-present-the-triumph-of-rapunzel-and-the-nanny-goat/", "date": "2019-08-18T15:22:22Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-35/segments/1566027313936.42/warc/CC-MAIN-20190818145013-20190818171013-00317.warc.gz", "language_score": 0.8406406044960022, "token_count": 115, "dump": "CC-MAIN-2019-35", "global_id": "webtext-fineweb__CC-MAIN-2019-35__0__101138583", "lang": "en", "text": "- This event has passed.\nMarvelous Music Family Series: Philharmonic Association Chamber Ensembles present “The Triumph of Rapunzel” and the “Nanny Goat”\nMarch 24 @ 3:00 pm - 5:00 pm\nTwo Grimms’ fairy tales told by youth musicians, actors, and visual artists with original music by R. Michael Daugherty.\nFor more, visit townofcary.org (Search: Marvelous Music Family Series) or call (919) 469-4069.", "domain": "music_and_dance"}
{"url": "https://beerchoir.com/", "date": "2020-01-25T04:20:13Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-05/segments/1579251669967.70/warc/CC-MAIN-20200125041318-20200125070318-00409.warc.gz", "language_score": 0.9503879547119141, "token_count": 105, "dump": "CC-MAIN-2020-05", "global_id": "webtext-fineweb__CC-MAIN-2020-05__0__58730647", "lang": "en", "text": "Beer Choir hosts social singing events in pubs and breweries across the country. It's simple. We sing while drinking beer, making our world a little better.\nFind or start a local chapter of Beer Choir near you and be a part of the social singing revolution.\nYes, this is a real thing. BEER CHOIR was founded in 2015 by choral music composer and craft beer enthusiast, Michael Engelhardt. We are headquartered in St. Louis, MO, and we have chapters all over the country.", "domain": "music_and_dance"}
{"url": "https://sitesters.com/sl-975222/mixtape-africa-your-source-for-music-video-production-services", "date": "2023-12-01T23:59:01Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100308.37/warc/CC-MAIN-20231201215122-20231202005122-00350.warc.gz", "language_score": 0.9370063543319702, "token_count": 629, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__72677253", "lang": "en", "text": "Welcome to Mixtape Africa, your premier destination for all things music and video related. Whether you are a budding artist looking to record your first album or a seasoned musician in need of music production services, we have got you covered. With our dedicated team of professionals and state-of-the-art facilities, we strive to deliver exceptional results that will leave you impressed.\nUnleashing Your Musical Potential\nAt Mixtape Africa, we firmly believe that every artist deserves the chance to shine. Our music production services are tailored to bring out the best in your talent and ensure that your tracks stand out in the competitive music industry. Our experienced sound engineers and producers work closely with you to capture your vision and transform it into a stunning reality. From songwriting to recording, mixing to mastering, we handle every aspect of the production process with utmost care and precision.\nState-of-the-Art Recording Facilities\nOur recording studios are fully equipped with cutting-edge technology and top-of-the-line equipment, providing the perfect environment for creating extraordinary music. Our engineers are well-versed in the latest recording techniques and will go above and beyond to ensure that your tracks sound polished and professional.\nMusic Video Production Services\nIn addition to music production, we also offer top-notch music video production services. Our team of talented videographers, directors, and editors will bring your creative ideas to life, producing eye-catching visuals that perfectly complement your music. From pre-production planning to post-production editing, we handle every step of the video production process, allowing you to focus on your artistic expression.\nCreating a Buzz Around Your Music\nWe understand that creating great music is just the first step towards success. At Mixtape Africa, we offer comprehensive marketing and promotion services to help you gain the recognition you deserve. Our team of experienced marketers will work closely with you to develop effective strategies that will get your music noticed. From social media campaigns to music video promotions, we leave no stone unturned to ensure that your music reaches a wide audience.\nEmpowering Artists Through Education\nAt Mixtape Africa, we believe that knowledge is power. That's why we offer informative resources and workshops to empower artists with industry insights and valuable skills. Our educational programs cover a wide range of topics, including songwriting techniques, music production tips, and marketing strategies. With our guidance, you can enhance your understanding of the music business and take your career to new heights.\nYour Journey Starts Here\nMixtape Africa is more than just a music production company - it's a platform designed to nurture talent and celebrate creativity. We have worked with numerous artists who have gone on to achieve great success, and we are passionate about helping you achieve your musical dreams.\nWhether you are an aspiring artist looking to take your first steps in the industry or a seasoned musician in need of top-quality music and video production, Mixtape Africa is here to support you every step of the way. Don't let your talent go unnoticed - join us today and let your music be heard across the continent and beyond!mixtapeafrica.com", "domain": "music_and_dance"}
{"url": "https://www.classicstringsbykrissy.com/", "date": "2022-01-23T03:17:44Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320303956.14/warc/CC-MAIN-20220123015212-20220123045212-00455.warc.gz", "language_score": 0.933083713054657, "token_count": 455, "dump": "CC-MAIN-2022-05", "global_id": "webtext-fineweb__CC-MAIN-2022-05__0__237107341", "lang": "en", "text": "Krissy (updates coming soon)\nThe Perfect Melody For Your Special Event\nWeddings, Engagements, Parties and Holidays\nAllow me to make your event a success with live music your guests won’t soon forget. I am a talented and professional Violinist who brings a unique mixture of musical genres and styles tailored to meet your heart's desire. You can trust me to guarantee the music entertainment at your event runs just as planned. In the midst of anticipation and preparation, the soothing sound of the violin is the perfect addition to your special day. Cheers to you and a very elegant live violin music performance for every taste, any place, time, and generation!\nWedding Ceremony Package\nThis is one of my most popular and frequently requested package types. My extensive experience performing live at Weddings allows me to cater to a diverse array of audience types and sizes. Additionally, I am constantly adding more music to my repertoire and always consult with my clients to make sure they’re happy with my song choices.\nWeddings Plus (Ceremony, Cocktail Hour, and Reception)\nWhat my clients want, is precisely what they get. With my Weddings Plus Package, I am able to meet your unique music needs from walking down the aisle and exchanging your vows, to Cocktail Hour entertainment and picture taking time. Let's not forget the first dance and a whole lot of fun and festivities. Some of my greatest performances have been a result of this package, which is quite popular among my clients. Get in touch for more information and book your initial consultation.\nParties and Special Celebrations\nAs a professional Musician and Entertainer, I make sure to offer my clientele a wide range of musical services to suit their party music needs and provide customizable choices they’re sure to love. This package is always a hit and could be exactly what you need to make sure your event is one to never forget. Variety of music choices, the LATEST hits, and pop songs played along with an instrumental background, classical and Broadway selections, PA system, and a little bit of improv - let's do this!", "domain": "music_and_dance"}
{"url": "https://silverflightstudio.weebly.com/", "date": "2023-04-01T02:10:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949694.55/warc/CC-MAIN-20230401001704-20230401031704-00313.warc.gz", "language_score": 0.96124267578125, "token_count": 1165, "dump": "CC-MAIN-2023-14", "global_id": "webtext-fineweb__CC-MAIN-2023-14__0__213490871", "lang": "en", "text": "Violin Studio Cincinnati, 45248 M.M. in Violin Pedagogy from UW-Milwaukee Accepting new students!\nDo you want to try a new instrument? Looking to advance your violin playing skills?\nOpen to students aged 4 and up!\nTeaching Philosophy I believe that learning music should be a positive experience, and that learning to play an instrument greatly enhances the quality of one’s life. Learning to play a musical instrument before the age of seven has been shown to improve connections between the two hemispheres of the brain (source), and there are many other benefits to learning to play music, from reading and improving math skills to teamwork and responsibility. For more benefits of music playing, see this list: https://www.learningliftoff.com/ten-benefits-of-music-education-for-students/. While teaching you or your child how to play the violin, I will also incorporate musicianship skills such as music theory, technique, ear training, and sight-reading. Above all, I will always maintain a positive learning environment. I will be using a combination of Suzuki method techniques and other methods (such as Mimi Zweig and Paul Rolland principles) and repertoire. Beginning students (who don't already know how to read music) will start learning by rote but I will also teach them to read music soon after starting the instrument.\nBackground When I was four years old I asked my parents for violin lessons and that Christmas there was a tiny violin under the tree! I believe every child should get to experience the joy of playing a musical instrument. I am a professional freelance violinist with a bachelor's degree in Violin Performance from Miami University and a master's degree in Violin Pedagogy from the University of Wisconsin-Milwaukee. I play the violin for weddings, funerals, religious holidays, and other events. I have also released a Christmas album titled Snowfall, which is available on iTunes and Amazon mp3. Check out the videos tab for videos of me playing the violin, including a timelapse video from when I first started the violin.\nContact me for my location in Cincinnati, 45248 zip code.\nMy lesson rates are $20/half hour, $30/45 minutes, $40/hour. Beginning students usually start with half hour lessons. This does not include materials (such as the sheet music, which you can order or I can order and bill you for).\nLessons can be paid for at the start of each month, or before each individual lesson.\nCancellation policy: if I need to cancel (for example, if I get sick) or if you need to cancel and notify me at least 24 hours in advance, there is no fee. If you cancel less than 24 hours in advance, you will still need to pay the lesson fee. Makeup lessons can be scheduled depending on availability.\nRecitals: There will be a $20 accompanist fee for recitals, which covers a piano accompanist playing with the student at the recital and rehearsing with the student in the lesson proceeding the recital. If you the parent are also a pianist, you are welcome to accompany your child instead if you prefer.\nExpectations: Practicing and Parental Support\nEach lesson, the student will be expected to bring their violin and bow, rosin, a notebook, a pencil, and any music books that they have been assigned to work on.\nIn lessons, I will be engaging with the student to create an inspiring, positive learning environment, and I will take notes in the notebook on what they need to work on for the next week.\nFor young students under the age of 13, I request that the parent attend the lesson with them to observe what the student is working on and to be able to practice with the student at home. Practicing should occur at least 5 times a week and should be about the same amount of time as their lesson. We will talk about how to practice effectively in the lessons.\nI hope that parents will use a positive approach to motivating their students to practice, such as suggesting that they do not do other activities such as use electronics until their practicing is complete. This way, practicing is immediately rewarded with something they enjoy rather than just becoming a chore.\nAcquiring the Instrument Violins come in different sizes for children and I recommend renting an instrument from a local violin shop rather than buying an instrument, as the student will grow out of their instruments until they reach a full size violin. It is very difficult to play on a violin that is too big for you, so it's important to get the right size.\nAfter the student gets their initial violin size, I will be able to tell when it's time to move up to the next size. Also in my experience, if the student is frustrated by the tone of their small violin, it can be greatly improved by purchasing a set of Dominant strings, which I am able to put on the instrument. If you decide to buy a set of strings, be sure to buy the correct size!\nYou will also need to make sure you have rosin and a violin sponge. I use violin sponges rather than shoulder rests with my students because they allow for more freedom of movement when playing, and you should be able to get these at the violin shop as well. I will also have some options in stock so we can find the most comfortable fit for each student.\nStudio Calendar The studio calendar page will list when I am out of town.\nIf you or your child are interested in violin lessons this semester, contact me with any questions and to set up a lesson time!", "domain": "music_and_dance"}
{"url": "http://marilynguitar.com/marilyn-guitar-history.html", "date": "2018-02-21T05:16:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891813431.5/warc/CC-MAIN-20180221044156-20180221064156-00004.warc.gz", "language_score": 0.9675930738449097, "token_count": 250, "dump": "CC-MAIN-2018-09", "global_id": "webtext-fineweb__CC-MAIN-2018-09__0__68503809", "lang": "en", "text": "Marilyn Guitar » History\nJust as there was an allure to Marilyn Monroe that fascinated men and women, The Marilyn Guitar has also had its share of suitors and admirers. Johnson first recognized the appeal his guitar could hold over rock 'n' roll royalty when he entered the guitar in a contest sponsored by the legendary Frank Zappa, who was looking for the perfect \"It Girl\".\nFrank Zappa met and signed the Marilyn Guitar, becoming the first of many stars who would make their mark on the well-traveled instrument. In the years that followed, Johnson would acquaint numerous stars with The Marilyn Guitar: Keith Richards, Angus Young, Chrissie Hynde, Rick Nielsen and many others. The Marilyn Guitar opened backstage doors to rock legends, who wanted to put their hands on this one-of-a-kind treasure.\nWith a full slate of famous and talented musicians now marking the back of Johnson's guitar, he felt it was time to bring Marilyn to a larger audience by making available a limited number of reproductions. Using a revolutionary investment method called Crowd Funding to attract investors, he will soon begin creating 100 reproductions of The Marilyn Guitar to sell to loyal fans of Marilyn Monroe and rock music enthusiasts.", "domain": "music_and_dance"}
{"url": "http://www.ehnc.com/Locations/Harlem.aspx", "date": "2015-04-19T10:54:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2015-18/segments/1429246638820.85/warc/CC-MAIN-20150417045718-00004-ip-10-235-10-82.ec2.internal.warc.gz", "language_score": 0.9260892271995544, "token_count": 114, "dump": "CC-MAIN-2015-18", "global_id": "webtext-fineweb__CC-MAIN-2015-18__0__103197465", "lang": "en", "text": "Get ready to shimmy off excess pounds while strengthening your core, improving your posture and flexibility, toning all major muscle groups, raising your metabolism and reducing stress — all while having fun and dancing to wonderful music. .\nOur instructor, Sigrid Aarons, has been studying and performing this art form since 2000 and looks forward to sharing the joy and passion that it brings. Please let your doctor know that you’ll be taking part in a dance class.\nRSVP: 1-866-469-0999 (Call to Reserve.)", "domain": "music_and_dance"}
{"url": "https://antiguabarbudacalypso.com/wiki/Template:Infobox_musical_artist/doc/type", "date": "2023-11-30T03:54:47Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100164.87/warc/CC-MAIN-20231130031610-20231130061610-00490.warc.gz", "language_score": 0.829595148563385, "token_count": 116, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__185398210", "lang": "en", "text": "Singular vocal performers (including lead and background singers, singer-songwriters, and singer-instrumentalists). This categorization is for any article about a singer, whether they perform solo, with a group or band, or both.\nComposers, producers, songwriters, arrangers, DJs, engineers, and other non-performing personnel.\nGroups, bands, crews, or other non-classical music ensembles. This categorization is for articles on group acts only; members of groups should be labeled with one of the codes above.", "domain": "music_and_dance"}
{"url": "https://www.ojm.pt/en/musico/goncalo-dias/", "date": "2023-11-28T08:40:18Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679099281.67/warc/CC-MAIN-20231128083443-20231128113443-00843.warc.gz", "language_score": 0.882792592048645, "token_count": 342, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__156970302", "lang": "en", "text": "Gonçalo Dias was born in Alcobaça and began his musical studies at the Conservatory of Tomar with Alexandre Vilela. Later on he entered the ESMAE - School of Music, Arts and Performing Arts at Porto, where he completed a degree in Bass Trombone with Jon Etterbeek and Severo Martinez. He participated in the Youth Orchestra of private music schools, as well as in internships of the Wind Orchestra of the Templários. He made several master classes with the most prestigious current trombonists, such as Joseph Alessi, David Taylor, Jörgen van Rigen, Gilles Millière, Ben van Dijk, Anne-Jelle Visser (tuba), Hugo Assunção and Ricardo Casero, among others.\nHe collaborates regularly with some of the most important national orchestras: Orquestra Sinfónica Portuguesa, Orquestra Sinfónica do Porto Casa da Música, Orquestra Metropolitana de Lisboa, Sinfonieta de Lisboa, Orquestra do Norte, Filarmonia das Beiras, Remix Ensemble Casa da Música and, in Spain, the Orquestra Sinfónica da Galiza. Gonçalo is a member of Banda Sinfónica Portuguesa, with which he has been working with leading conductors in this type of musical formation.\nHe is currently a trombone professor at the Professional School of Music of Viana do Castelo and at the Costa Cabral Academy of Music in Porto.", "domain": "music_and_dance"}
{"url": "http://tulsaopera.com/author/staff/", "date": "2013-05-23T05:01:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368702810651/warc/CC-MAIN-20130516111330-00058-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9486610889434814, "token_count": 650, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__206806650", "lang": "en", "text": "Welcome to Tulsa Opera’s 65th season! Last October, the New Yorker magazine called Tulsa Opera “one of the sturdier and more adventurous companies in its class” and the Tulsa World called our production of Dead Man Walking “the best best production Tulsa Opera has staged in more than a decade.” We are excited to be raising the curtain on another season of amazing singing and productions passionately prepared by our talented staff, musicians and crew.\nWe open the season October 13th with The Daughter of the Regiment, one of Gaetano Donizetti’s lesser known but most entertaining works. Last October Tara Faircloth’s staging of The Barber of Seville received such a great audience response that we decided to open this season with a production in a similar vein, directed again by her. Sarah Coburn, the incomparable bel canto stylist, gives her first performance in the title role. Tenor Greg Schmidt brings his thrilling top to the famous aria of the nine high C’s. The irrepressible Peter Strummer returns as Sergeant Sulpice, and Grammy-nominated mezzo-soprano Dorothy Byrne makes her Tulsa Opera debut AND gives the final performance of a long and illustrious career as the Marquise de Berkenfield.\nIn February, Tulsa Opera joins some of the nation’s most prestigious opera companies in exploring the treasures of classic American musical theatre with the Tulsa premiere of “the most operatic work written for Broadway”. The Most Happy Fella, by Guys and Dolls composer Frank Loesser, features such favorite tunes as “Standing on the Corner” and “Big D”. The cast is led by Metropolitan Opera baritone and University of Oklahoma professor Kim Josephson as an aging Italian-American vineyard owner who falls in love with a young waitress. Legendary stage director Dorothy Danner guides this exciting venture into the realm of Broadway.\nIn 2013, the world of opera celebrates the 200th anniversary of the birth of Giuseppe Verdi. Beyond being a great melodist, Verdi was a profound dramatist who is often compared with Shakespeare for the dramatic power of his works and for his understanding and compassion for the human condition. We join the celebrations with a production of Aida, last seen in Tulsa in 1997. In the title role is soprano phenomenon Amber Wagner, whose debut performances in Lohengrin at the Lyric Opera of Chicago in 2011 took the opera world by storm. She will be joined by a Tulsa Opera favorite, mezzo-soprano Dana Beth Miller, as Amneris and former Tulsa Opera Studio Artist Brian Landry as Radames. We also welcome back dancers of the Tulsa Ballet II, choreographer Ma Cong, and singers from the Tulsa Oratorio Chorus.\nTulsa Opera, at 65, is more vivacious, vibrant and vital than ever. I hope you join us for all three productions, and that our performances not only delight your eyes and ears, but touch your heart, take you by surprise and reveal something new.Kostis Protopapas, Artistic Director Tulsa Opera", "domain": "music_and_dance"}
{"url": "https://www.vaillancourtplumbing.ca/affiliation/durham-youth-orchestra", "date": "2024-03-01T08:21:52Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475203.41/warc/CC-MAIN-20240301062009-20240301092009-00854.warc.gz", "language_score": 0.9395853877067566, "token_count": 231, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__19801705", "lang": "en", "text": "Established in 1993 by Oshawa violinist John Beaton, the Durham Youth Orchestra provides young musicians with the enriching experience of performing music by many great composers, including Bach, Mozart, Haydn, Beethoven, Mendelssohn and Tchaikovsky. The goal of the DYO is to nurture the artistic and personal growth of young musicians through the experience of playing orchestral masterpieces. The DYO provides the wonderful opportunity for young people with a passion for classical music to develop their musical skills and hone their talent in an orchestra setting!\nThe Durham Youth Orchestra performs in a minimum of three concerts each season. The orchestra’s involvement in the community includes educational concerts presented to Durham area students. Through these efforts, orchestra members gain valuable performing experience and help contribute to the musical culture of Durham Region.\nVaillancourt Plumbing & Drains is proud to support Durham Youth Orchestra.\nIn 2020, Durham Youth Orchestra will be celebrating their 25th anniversary. If you would like to support the Durham Youth Orchestra visit: https://dyomusic.com/sponsorship-fundraising/", "domain": "music_and_dance"}
{"url": "https://samphillipsrecording.com/current-artists/susan-marshall/", "date": "2023-06-09T13:41:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224656737.96/warc/CC-MAIN-20230609132648-20230609162648-00262.warc.gz", "language_score": 0.9570834636688232, "token_count": 737, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__134352385", "lang": "en", "text": "One of the region’s finest vocalists, international recording artist Susan Marshall began her career Off-Broadway as a leading soprano in the Rep-Company Light Opera of Manhattan. Shortly after moving back to Memphis in 1990 she began fronting rock-soul band The Mother Station and was signed to a record deal with EastWest / Atlantic Records. In 1994 they released their debut album “Brand New Bag” which peeked at #34 on Billboard’s Mainstream Rock charts.\nSince then, Susan’s released three critically praised solo albums — “Susan Marshall Is Honey Mouth”, “Firefly” and “Little Red”. She has performed renditions of her eclectic mix of jazz, blues and soul standards and originals with the Memphis Symphony Orchestra, Memphis Jazz Orchestra and is also known for her solo and duo performances in residency over the last 7 years at Itta Bena located on world famous Beale Street just above B.B. Kings.\nSusan has toured all over the world as part of the Afghan Whigs as well as with Cat Power & The Memphis Rhythm Band, which included appearances on Austin City Limits, The Late Show w/David Letterman, Late Night with Conan O’Brien, and the BBC’s “Later…with Jools Holland.”\n“Better Off Alone” (a song Susan co-wrote with Austin Carroll) was recorded by American Idol’s Katherine McPhee for her 2007 self-titled debut which reached #2 on Billboard’s Top 200 Albums Chart. Her songs have also been recorded by international blues divas Ana Popovic and Reba Russell to name a few.\nSusan was the winner of the 2003 “Premier Female Vocalist Award” given by the The Recording Academy’s Memphis Chapter. She was voted Best Local Singer in the Memphis Flyer’s “Best of Memphis 2008” issue, named “Emissary of Memphis Music” in 2009 by the Memphis and Shelby County Music Commission where her name was read into the official Congressional record on the floor of the U. S. House of Representatives by Representative Steve Cohen, and was given the “Divine Memphis Diva Award” at the 2011 Blues Ball. Susan was also elected and served as President for the Memphis’ Chapter of the Recording Academy (A.K.A. NARAS), and is currently serving her second term as one of two Trustees for the Memphis Chapter.\nShe is known for her studio and/or stage work with a wide range of superstars; Lucinda Williams, Keith Richards, Norah Jones, Lenny Kravitz, Lynyrd Skynyrd, Ann Peebles, North Mississippi Allstars, Alvin Youngblood Hart, Solomon Burke, Teenie “Mabon” Hodges, Jim Lauderdale, Steve Earle, Kirk Whalum , Bobbie “Blue” Bland (vocals for “Take Me to the River” film soundtrack) and The Bo-Keys to name a few. In the studio she has worked alongside legendary producers Tom Dowd, Chips Moman, Willie Mitchell, Jim Dickinson, Joe Hardy, John Hampton and husband Jeff Powell. Susan’s studio work has garnered multiple gold and platinum record awards, as well as the distinction of having sung background vocals on five GRAMMY nominated records.[/vc_column][/vc_row]", "domain": "music_and_dance"}
{"url": "https://www.cristinasegura.com/", "date": "2023-12-06T10:50:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100593.71/warc/CC-MAIN-20231206095331-20231206125331-00365.warc.gz", "language_score": 0.7519122362136841, "token_count": 1636, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__9798594", "lang": "en", "text": "Cristina Segura began her musical education in Barcelona graduating with honours from the Conservatori Superior de Música del Liceu with Maria Dolors Aldea. She studied two master’s degrees at the Haute École de Musique de Genève (Switzerland) with the renowned contralto and conductor Nathalie Stutzmann.\nShe was also selected to participate in the International Udo Reinemann Lied Master Classes 2012-2013 at the Koninklijk Conservatorium Brussel, with Hartmut Höll, Mitsuko Shirai, Ann Murray, Peter Schreier, Michel Tranchant, Joseph Breinl and Jaroslav Mrazek. She has received masterclasses from Christa Ludwig, Helmut Deutsch, Wolfram Rieger, Kurt Widmer, Dalton Baldwin, Anne Le Bozec, David Selig, Adrian Thompson, Iain Burnside, Ana Luisa Chova, among others.\nShe was awarded the third prize at the 20th Singing Competition Josep Mirabent i Magrans, as well as at the International Music Competition de les Corts in Barcelona and the Lied prize of Juventudes Musicales by Wolfram Rieger. She was chosen Joung Talent in the Lied festival LifeVictoria Barcelona 2014, and she sung in the festival’s inaguration and closing with Adrian Thompson, tenor and Iain Burnside, piano.\nShe made her Barcelona opera debut in the role of Hexe in Humperdinck’s Hänsel und Gretel. She has also sung the role of Zita in Puccini’s Gianni Schicchi as well as the title role in Menotti’s opera The Medium. She sang the role of Madrigalist soloist in Durón’s El imposible mayor en amor, le vence amor in Teatro de la Zarzuela (Madrid) with the Capella Mediterranea under Leonardo García Alarcon and stage direction of Gustavo Tambascio; the role of Page in Jacinto Valledo’s La cantada vida y muerte del general Malbrú in the Festival de teatro clásico de Almagro 2015 (Spain) in the Teatro de la Zarzuela, under stage director César Diéguez. She sang the role of Carmen in Bizet's Carmen at the Palau de la Música Catalana (2022).\nAt the Théâtre Opéra de Lausanne: the role of Smeton in Donizetti’s Anna Bolena (conducted by Roberto Rizzi); the role of Alisa in Donizetti’s Lucia de Lammermoor (conducted by Jesús López Cobos); the role of Teresa in Bellini’s La sonnambula (conducted by Giampaolo Bisanti); the role of L’Autruche in the world premiere of the opera Les Zoocrates of T. Besançon; the role of Pepa in La belle de Cadix by Francis Lopez with the l’Opéra de Lausanne in the Lyric Route 2016 (21 performances in France and Switzerland), under Jacques Blanc and stage director Patrick Lapp. At the Toûno Festival (Switzerland): the roles La Maman, La Tasse chinoise and La Libellule in L’enfant et les sortilèges by Maurice Ravel.\nIn the field of oratorio, she has featured as a soloist in Bach's Cantata nº 34 and Zbinden's Terra Dei with the Orchestre de chambre de Lausanne; in Händel's Messiah with the Vespres d'Anardí Orchestra conducted by Manel Valdivieso, in Beethoven's Symphony no. 9 with the Orquestra Simfònica del Vallès conducted by David Niemann at the Palau de la Música Catalana; in Bach’s Mass in F and Mozart’s Vesperae solemnes de confessore with the Ciudad de Granada Orchestra at the Auditorio Manuel de Falla under Salvador Mas; in Bach’s Magnificat, Mass in B minor, Cantata BWV 173, Cantata nº 184, Cantata nº9 and Cantata BWV 78; Schubert’s Magnificat; Haydn’s The Seven Last Words of Christ; and Garcia’s Mass and Requiem; in Bach’s cantata nº9 in Festival Bachcelona14 and in XXVIII Festival Internacional de arte sacro de Madrid with Galimatias Ensemble.\nShe has also offered numerous concerts in Belgium, Switzerland, Slovenia, France and Spain; particularly Lied-recitals and concerts with ensembles, including vocal works such as Kindertotenlieder by Mahler, Spanische Liebeslieder op.138 and Spanisches Liederspiel op.74 by R. Schumann; Les nuits d’été by Hector Berlioz, Berio’s Folk songs; among others. Especially worth mentioning are Schubert’s Ständchen for mezzo soloist and choir at the Palau de la Música Catalana and the Petit Palau; Mahler's Lieder eines fahrenden Gesellen in Festival Velenje in Eslovènia, Mahler’s orchestral Lieder with the Grup Liceu XXI; Mahler’s Urlicht and Falla’s Psiché with the Murtra Ensemble; Ravel’s Chansons Madécasses and Debussy’s Chansons de Bilitis with the Conjunt XXI. She recently sang in two festivals in Slovenia, the Music Festival Bohinj and the ZavodperArtem; a recital for voice, cello and piano in the Fundación Juan March in Madrid; a concert Tribute to father Ireneu Segarra at the Palau de la Música Catalana (Spain); a tour with the concert \"Carmen\" with Juventudes musicales, Josep Surinyac, piano and a concert at the Schubertíada Vilabertran with the Camerata432 soloists. She has collaborated in charity recitals with the association Accords solidaires (Paris) as well as the Fondation Prim’enfance (Geneva).\nShe has recorded for the television channels ARTE TV, TV3, RNE; for Classical Radio, Catalunya Música, along with a CD with music by Anna Bofill with the Barcelona Modern Project conducted by Marc Moncusí. She recently has recorded the role of Gaziel in Granados Gaziel with Orquestra de Cadaqués (conducted by Jaime Martín).\nVoice Teacher and Head of Vocal department in the Liceu Conservatory Centre Professional (Barcelona) since 2018, Language Diction for singers Teacher in the Liceu Conservatory Superior and Associate Professor in Universitat Internacional de Catalunya.\nDownload PDF English version\nCD with music by Anna Bofill with the Barcelona Modern Project conducted by Marc Moncusí.\nCristina Segura, mezzo\nLa Pedrera, Barcelona. (19 April 2010)\nCD with music by Enric Granados with Orquestra de Cadaqués conducted by Jaime Martín.\nCristina Segura, Gaziel\nAuditori de Barcelona (2017)", "domain": "music_and_dance"}
{"url": "http://brocc.org.uk/", "date": "2016-12-06T12:04:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2016-50/segments/1480698541905.26/warc/CC-MAIN-20161202170901-00207-ip-10-31-129-80.ec2.internal.warc.gz", "language_score": 0.9337973594665527, "token_count": 622, "dump": "CC-MAIN-2016-50", "global_id": "webtext-fineweb__CC-MAIN-2016-50__0__243391402", "lang": "en", "text": "Brocc came into being over the summer of 2008 - a product of gales and rain in the woods and a badger who came to stay and has become our symbol.\nThe songs we weave tell tales of myth and legend and the old beliefs of our lands and peoples. Our music is timeless, evocative of earlier, simpler times. The instruments reflect our love of forgotten timbres - we play english & swedish bagpipes, woodwinds and recorders, the medieval hurdy-gurdy, mandola and laùd, and a host of percussion.\nBrocc's songs and tunes are mostly original, with some traditional material in our own distinctive arrangements. You can hear some on our music page.\nWe are the masked troubadours - watch out we are masked and dangerous!\n13 Moons - Review\n13 Moons is the first full length album of a band with a very distinctive look and sound. The album was recorded and produced by Pete \"peewee\" Coleman - more usually noted for his work with bands such as AC/DC, The Charlatans and Echo and the Bunnymen - on his label PipeDream Music.\n\"There is something of the original Wicker Man soundtrack in the vocal arrangements - the earth magic content of the lyrics, too, call to mind Summerisle. However the gallimuafry of exotic instruments conjures up an altogether more complex vision with echoes of Gryphon and their ilk.\n\"When the album arrived, we were instantly in love with it\"\nHerne - Wyldwood Radio\n\"A sonic smorgasbord of songs and dance tunes comprising Flemish and Swedish pipes, various whistles, harp, bouzouki and hurdy-gurdy strings, assorted percussion and glorious vocals, serving up a medieval, neo-pagan, traditional, and Cornish/Welsh Celtic musical feast! Delicious! \"\nLen Holton - From Albion and Beyond (KUAR FM89)\n\"Beautiful, magical, enchanting. 13 Moons is evocative of the inherent magic in the British Isles. A wonderful blend of both traditional and entirely new songs. A must have for fans of British folk music.\"\nHerne and Nemetona - Wyldwood Radio.\n\"Magical and mysterious, musically exquisite and enchanting\"\nKaren Kay (faeryevents.com)\nHallr - vocals, english and swedish bagpipes, willow flute, acoustic bass, recorders & bazouki.\nClár - vocals, hurdy-gurdy & percussion.\nMikael - vocals, octave mandola, laúd & guitar.\nAnwen - vocals, bowed psaltery, recorders & percussion.\nAnders - narration, vocals &percussion.\nElin - vocals, harp, willow flute, bagpipes & recorders.\nSee more about the band members on the band link on the left.", "domain": "music_and_dance"}
{"url": "http://www.countrymusiconline.net/lukebryan_contest.html", "date": "2023-06-05T12:26:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224652116.60/warc/CC-MAIN-20230605121635-20230605151635-00167.warc.gz", "language_score": 0.9804571270942688, "token_count": 537, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__20643705", "lang": "en", "text": "Luke Bryan Releases Second Single \"We Rode In Trucks\" - Debut Album 'I'll Stay Me' Out Now!\nFans drawn in by Luke Bryan’s boyish, down-home charm soon discover what’s behind it: an intelligent wit, an off-the-wall sense of humor and a unique take on life. They also soon discern that he is a talented triple threat vocalist, songwriter and musician.\nBryan had his first guitar by age 14, by age 16, he was regularly writing songs and leading his own band. His intention was to move to Nashville and pursue a music career after his high school graduation. Sadly, fate had other plans. The day he was scheduled to move, his older brother, Chris, was killed.\nBryan immediately scrapped his career plans, choosing instead to stay with his family. He continued to write and play music, and eventually enrolled at Georgia Southern University. It was there that Bryan’s talents really blossomed.\nEven before his first single, “All My Friends Say,” had been sent to country radio, Bryan was earning significant media attention, including being named one of Billboard magazine’s new faces to watch in 2007. At the same time, his second major cut as a songwriter—Billy Currington’s “Good Directions”—was quickly climbing the country charts and eventually hit the top spot.\nBryan signed with Capitol Records Nashville in 2004 and released his debut album, I’ll Stay Me, in August of 2007.\n“We Rode in Trucks” (Luke Bryan/Roger Murrah/Jim McCormick)\n“This song is probably the most representative of me as an artist because it talks about growing up in Georgia. We wrote the song probably about a month after I arrived in Nashville.\nI wasn’t sure if it would make the album, but I just woke up one night and said, ‘If I do not put this song on the album, I wouldn’t be able to call it my first album.’\nWe get so many compliments on the song, and what’s neat is we’ll do it in New York or Portland or anywhere we are, and people say ‘Ah, that takes me back.’ That’s the best compliment in the world when you can get people from the big city to like such a rural type of song.”\nI’ll Stay Me is out NOW and available everywhere!", "domain": "music_and_dance"}
{"url": "http://livetwincities.blogspot.com/2008/01/dreamland-arts.html", "date": "2018-05-22T09:42:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-22/segments/1526794864657.58/warc/CC-MAIN-20180522092655-20180522112655-00493.warc.gz", "language_score": 0.9710756540298462, "token_count": 133, "dump": "CC-MAIN-2018-22", "global_id": "webtext-fineweb__CC-MAIN-2018-22__0__21525215", "lang": "en", "text": "Saturday, January 26, 2008\nI thought I'd use today's post to introduce people to a wonderful little neighborhood performing arts theater here in Midway. dreamland arts, on Hamline Avenue, just south of Minnehaha, opened in 2006. In addition to its 40-seat theater, Dreamland also offers classes, workshops and performances in theater, music, puppetry, dance and more. What I really love is the commitment of the owners to bringing arts to the community and that their house is physically connected to the studio theater. So next time you're in the neighborhood and in the mood for supporting some local artists, checkout dreamland arts.", "domain": "music_and_dance"}
{"url": "https://bestthingstodoinnashville.com/nashville-music-tour/", "date": "2023-12-04T14:01:41Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100529.8/warc/CC-MAIN-20231204115419-20231204145419-00614.warc.gz", "language_score": 0.9342294931411743, "token_count": 953, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__162501468", "lang": "en", "text": "Nashville Music Tour\n- Music Museums: Country Music Hall of Fame and Museum Go downtown and visit the world’s largest music museum geared towards country music. Also nearby is the Johnny Cash Museum on 3rd Ave Featuring the most comprehensive collection of Johnny Cash artifacts and memorabilia in the world, this is THE Cash venue to visit for all ages. Then stroll up to the George Jones Museum on 2nd Avenue, which offers visitors a never-before-seen look into the life and career of the musical icon. Honoring musicians from stars to studio players that represent all genres of music, the Musicians Hall of Fame and Museum is housed in the Nashville Municipal Auditorium. From Hank Williams, Sr. to the Red Hot Chili Peppers, Motown to Southern Rock – there is truly something of interest to everyone.\n- Take a tour of Music Row (around 16th and 17th Avenues South) and see where many music labels and recording studios are based at. Visit historic RCA Studio B, the famous recording studio where Elvis recorded over 200 songs. Roy Orbison, Dolly Parton, Chet Atkins, Eddy Arnold and many more recorded classic hits here.\n- Songwriters-In-the-Round Show, In the round or a writers night are popular terms in Nashville, what you may not know is your favorite artist may have bought the song you love from a songwriter, here you can hear the lesser known people who may have created that #1 hit. Bluebird Cafe is probably the most popular spot, it is a small location so you want to get there early. The Listening Room Cafe is popular as well.\n- Located downtown The Ryman Auditorium, also called the “Mother Church of Country Music,” has had artists as diverse as Jon Bon Jovi and Patsy Cline perform on its legendary stage since 1892. You can take a backstage tour and record your own song in the Ryman recording studio. This a must see for a tour but also a great place to catch a concert during your visit.Grand Ole Opry out beside the Opry Mall, The stars of the Grand Ole Opry perform every Tuesday, Friday and Saturday night (at the Ryman Auditorium November-January; at the Grand Ole Opry House February-October) with guest appearances by the biggest names in music. With 90 years under its belt, it’s the world’s longest-running radio broadcast and shows no signs of slowing down.\n- Visit Honky Tonk Highway (Lower Broadway) A multitude of music clubs and honky-tonk bars can be found in downtown Nashville, particularly the area encompassing Lower Broadway, Second Avenue, and Printer’s Alley, which is often referred to as “the District”. Many big names have been discovered on Broadway and 2nd ave and from time to time they come back and play a surprise show such as Willie Nelson, Kris Kristofferson, Gretchen Wilson, Dierks Bentley and other stars began their careers on Lower Broadway.The following honkytonks are full of energy and you will rarely see a cover charge, Tootsie’s Orchid Lounge, Legends Corner, Second Fiddle, The Stage, Layla’s Bluegrass Inn and Robert’s Western World, ACME Feed & Seed, Bootleggers Inn, Jimmy Buffett’s Margaritaville, Paradise Park Trailer Resort, Tequila Cowboy, Tin Roof Broadway are all experts at serving up cool longnecks and hot country music.\n- Wildhorse Saloon on Second Ave has Southern food, live-music acts, multiple bars & free nightly line dance lessons in a 3-story space.\n- Take a walk on Shelby Street Pedestrian Bridge and take in the views of Downtown Nashville\n- Like Blues music? BB King’s Blues Club also on Second Ave has some great Blues Music and Southern Food and on Printer’s Alley is Bourbon Street Blues & Boogie Bar has Cajun cuisine & blues presented 7 nights per week in Mardi Gras-themed surroundings.\n- The Station Inn (402 12th Ave S, Nashville, TN 37203) has the best bluegrass music in Nashville, Seats are first-come, first-served at this intimate venue, where live bluegrass plays every night.\n- Popular venues for ticketed concerts is Bridgestone Arena, Ascend Amphitheater (warmer months), Ryman Auditorium, Schermerhorn Symphony Center, Grand Ole Opry, Marathon Music Works, 3rd and Lindsley, Exit Inn and Mercy Lounge.", "domain": "music_and_dance"}
{"url": "https://jaimielynnmusic.weebly.com/", "date": "2024-03-02T14:26:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475825.14/warc/CC-MAIN-20240302120344-20240302150344-00231.warc.gz", "language_score": 0.9544556140899658, "token_count": 378, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__33858751", "lang": "en", "text": "Jaimie LaPine, Soprano\nChoral Music Educator\nMrs. Jaimie LaPine is a conductor, educator and vocalist with over ten years of experience teaching and performing. After earning a Bachelor’s degree in Music Education from Berklee College of Music, Mrs. LaPine served as the Americorp Public Allies Teaching Fellow in Music and Theater at the Eagle Rock School in Estes Park, Colorado. Mrs. LaPine spent the past five years working for Bridgewater-Raynham Schools where she directed the 4th-8th grade chorus program and taught general music classes.\nShe is currently pursuing a Master’s of Music Education in Choral Conducting from the Hartt School at the University of Hartford where she works as a teaching assistant for undergraduate conducting and choral methods classes. She studies conducting privately under Dr. Edward Bolkovac, and choral methods with Dr. Julie Hagan. Mrs. LaPine was recently selected as a conductor for Hartford Opera Theater’s “New in November” series, and she will be presenting a session at the upcoming Connecticut Music Educators Association conference entitled “Aural Teaching Perspectives from Europe and Asia”.\nIn addition to conducting and teaching, Mrs. LaPine enjoys an active performing career. She is a member of the Massachusetts-based Analog Chorale, a “genre-fluid ensemble using multimedia to expand horizons for the choral art.” Their debut album, “Explorers” is available to download on iTunes, and the music video for the title track is coming soon! She also sings across New England with various wedding and party bands.\nIn her spare time, she enjoys spending time with her family, crocheting, and collecting and selling vintage Pyrex in her Etsy shop.", "domain": "music_and_dance"}
{"url": "http://alleghany4h.blogspot.com/2008/03/talent-show.html", "date": "2018-07-16T23:41:27Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676589536.40/warc/CC-MAIN-20180716232549-20180717012549-00626.warc.gz", "language_score": 0.9370666146278381, "token_count": 229, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__195143097", "lang": "en", "text": "Monday, March 10, 2008\nCome, See, and Express at this year’s talent show!\nAlleghany County 4-H will be hosting its First Annual 4-H Talent Show on Friday April 25th, location TBA. All youth are invited to come and showcase their talent. The show is open to all youth in the county between the ages of 5 and 19. Pre-registration is required. All performances should be no longer than four minutes. Each youth can perform only one act in their designated age category.\nTalent categories include: dance, song, musical instrument, humorous or dramatic skit. The number of show acts will be limited to five per age category under each talent category. Acts will be reserved on a first come, first served basis. Category winners will advance to the “Area Expressive Arts Showcase” that will be held Friday, May 2, in Wilkes County. Deadline to register is April 10. To register, or for more information, contact the 4-H office at 372-5597.\nPosted by Alleghany at 3:08 PM", "domain": "music_and_dance"}
{"url": "https://kerryball1.wixsite.com/website", "date": "2021-03-05T23:18:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178373761.80/warc/CC-MAIN-20210305214044-20210306004044-00001.warc.gz", "language_score": 0.921927809715271, "token_count": 122, "dump": "CC-MAIN-2021-10", "global_id": "webtext-fineweb__CC-MAIN-2021-10__0__27108800", "lang": "en", "text": "Folk/ Americana/ Country / Rock & Pop Soundtracks\nABOUT KERRY BALLARD\n\"I'm a multi-genre songwriter from Evansville, Indiana. I've been writing for many years but only recently started submitting my music for placement with artists, film,TV and commercials. My writing style varies in genre depending on what message I am trying to convey. I compose all my songs with an acoustic guitar as \"Rough Demos\" and use different producers and demo studios depending on the sound production I'm wanting for a particular song and its presentation.\nHope you enjoy!", "domain": "music_and_dance"}
{"url": "http://www.riversidefilm.org/sponsors/honorees/mike-love/", "date": "2018-01-23T00:08:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-05/segments/1516084891546.92/warc/CC-MAIN-20180122232843-20180123012843-00624.warc.gz", "language_score": 0.9683746695518494, "token_count": 1326, "dump": "CC-MAIN-2018-05", "global_id": "webtext-fineweb__CC-MAIN-2018-05__0__32323810", "lang": "en", "text": "Grammy® Winner and Rock and Roll Hall of Fame Member, Michael Edward Love, grew up under the Southern California sun where he soaked up a life of music, surf, sand and sport. Beginning their singing careers as teenagers, Mike and his cousin, Brian Wilson, frequently sang at family get-togethers and holiday gatherings. These early influences served as the inspiration to form the legendary group, The Beach Boys, which first consisted of Mike and his cousins, Brian, Dennis, and Carl Wilson along with neighbor David Marks and High School friend Alan Jardine.\nIn the fall of 1961, Mike wrote the lyrics and melody to The Beach Boys’ first song, “Surfin’,” along with Brian Wilson. This led to the signing of the band by Capitol Records. Following the song’s debut, Mike and his cousin Brian went on to co-author numerous tracks, which included eleven Top 10 singles in the first five years of the band. Hit after hit, Mike created many of the concepts, and wrote or co-wrote the lyrics and hooks to several of the most performed songs in pop music history including: “Good Vibrations,” “Fun, Fun, Fun,” “I Get Around,” “Surfin’ Safari,” “Help Me Rhonda,” “Do It Again,” “Kokomo” and the incomparable “California Girls,” which featured Bruce Johnston’s debut vocal recording as a member of The Beach Boys.\nFor more than fifty years, Mike Love has been the lead singer and front man of The Beach Boys, taking the sounds of America’s band to every corner of the globe. His distinctive and iconic vocal range is synonymous with fast-paced rock ‘n’ roll tracks, as well as many of the band’s softer ballads. Mike’s vocal versatility is central to many of the bands signature hits including: “Surfin’ U.S.A.,” “I Get Around,” “California Girls,” “Little Deuce Coupe,” “Be True to Your School,” “Little Saint Nick,” “When I Grow Up (To Be a Man),” “Fun, Fun, Fun” and “That’s Not Me.” Beyond his unique persona and sound as the lead singer, Mike’s dynamic bass vocals provided the foundation of the group and anchored the legendary Beach Boys harmonies. Love’s voice is a style of its own. He combines his steady bass/baritone with a whimsical intonation— indicative of the ultra-cool, self-confidence and innocence of the early 1960s.\nIn December of 1967, The Beach Boys were invited to Paris to perform at a benefit for UNICEF. The curtain opened to a very distinguished front row including Maharishi Mahesh Yogi, George Harrison and John Lennon. At Maharishi’s invitation, Mike, along with Carl, Alan and Dennis were initiated into the practice of Transcendental Meditation. Mike was profoundly affected by the first meditation experience, stating, “If enough people were to practice TM, the world would be a better place.” He continues to practice TM today and supports organizations such as the David Lynch Foundation, which promote the vast benefits of Transcendental Meditation.\nIn 1985, Mike Love had an idea to perform two shows to celebrate July 4th: The Beach Boys would play Philadelphia during the day and the Washington D.C. Mall later that evening. This resulted in record breaking attendance— with The Beach Boys performing live for over 1.5 million people in a single day.\nIn 1988, Mike and the other members of The Beach Boys were inducted into the Rock and Roll Hall of Fame. That same year, Mike co-wrote the #1 hit “Kokomo,” with John Phillips of the Mamas and Papas, and producer Terry Melcher. This was 22 years after Mike co-authored the Beach Boys’ #1 hit of the 60’s, “Good Vibrations,”— marking the longest span of time between number one records of any artist in music history. Both “Good Vibrations” and “Kokomo” were nominated for Grammy® awards. “Kokomo” was also nominated for a Golden Globe® Award. In 2001, the band was the recipient of the Grammy® Lifetime Achievement Award.\nIn 1990, Mike was the first artist to respond to President George H. W. Bush’s call for service as part of the Thousand Points of Light Initiative. Mike began StarServe, “Students Taking Action and Responsibility to Serve,” enlisting high profile celebrities to inspire young people to serve their communities. More than twenty years later, Mike continues his commitment to young people. For his work in continued education, Mike was the recipient of the 2013 Seven Generations Award by City Year, a national education organization that identifies at risk students and encourages them to reach their full potential through mentorship. Mike is also a founding member of the Surfrider Foundation, and a longtime supporter of environmental causes. In 1992, Mike was a speaker at the Earth Summit in Rio De Janeiro, and again on Earth Day 2000 on the Mall in Washington, D.C. In 2002, Love proudly carried the Olympic torch for the Salt Lake City, UT Olympic Games.\nIn 2012, Mike Love, Brian Wilson, Al Jardine, Bruce Johnston, and David Marks reunited for their 29th studio album, That’s Why God Made The Radio, and The Beach Boys’ 50th Anniversary Tour.\nThroughout his career, Mike has co-authored more than a dozen Top 10 Singles, cementing The Beach Boys legacy, alongside The Beatles and Michael Jackson, as the only artists to have produced twelve Top 10 Singles, within 5 years.\nToday, Love is happily married to Jacquelyne, and is the proud father of eight children. Mike primarily resides on the North Shore of Lake Tahoe. He continues to enjoy life on the road, performing over 100 sold-out shows a year all over the world. The endless summer will continue in 2014 as The Beach Boys celebrate fifty years of Fun, Fun, Fun…", "domain": "music_and_dance"}
{"url": "https://www.wigtinternational.com/artists/joseph-clark-the-music-of-queen/", "date": "2023-06-01T08:43:29Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224647639.37/warc/CC-MAIN-20230601074606-20230601104606-00180.warc.gz", "language_score": 0.9108595252037048, "token_count": 554, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__124156525", "lang": "en", "text": "Joseph Clark - The Music of QUEEN\n“Joseph’s the champion, my friend! He’s one of the few around the world who can do the mercurial legendary QUEEN vocalist justice, with panache, style and the glory that was Freddie Mercury in full roar.”\nThe New York Times\n“Daily News, Durban”\nLive Theatre UK\n“Singer Joseph Clark is phenomenal...”\nCape Time (SAF)\n“Not only does he possess the voice, he also exudes sheer charisma and energy that puts him on par with the late Mercury himself”. “This is no copycat ‘tribute’ show in which all the usual hits are rehashed and regurgitate.” “If you’re seeking a concert that showcases the versatility and range of Freddie Mercury and Queen, interpreted in a dynamic style by the cream of SA’s musicians, then you’ll be dumbstruck by The Music Of Queen.”\nOfficial website: www.josephclark.co.za\nEven if you are not a Queen fan, this is the show to convert you. Joseph Clark will take you on a roller coaster ride with his powerful renditions of some of the greatest songs ever written, including classics like We Will Rock You, Another One Bites The Dust, We are the Champions, I Want to Break Free, Under Pressure, Who Wants To Live Forever, Bohemian Rhapsody and many more.\nBut, Queen is not all about rock ‘n roll. The group crossed all musical genres with rock, ballads, anthems, pops, blues, jazz, classical, musical comedy and even disco!\nThe line-up of songs, is like no other 'Queen show' in the world. Joseph Clark and his band will 'whoo' you with songs like You Take My Breath Away, Is This The World We Created, Get Down - Make Love, Killer Queen, Too Much Love Will Kill You, Innuendo, Sleeping On The Sidewalk, Mother Love, Made In Heaven and more!\nSome of the songs they are covering, have never been performed live! These songs were recorded by Freddie before he passed away and no other artist has been or is currently performing this magnitude of jewels from Queen!\nDirector, Elzette Maarschalk says this is not just another QUEEN/Freddie Mercury look-alike show, although one can’t get past the strong on-stage resemblance, physically and vocally between Clark and the iconic Mercury.", "domain": "music_and_dance"}
{"url": "https://hiphophoopdance.ca/resources/", "date": "2023-01-29T00:20:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764499695.59/warc/CC-MAIN-20230128220716-20230129010716-00142.warc.gz", "language_score": 0.9050187468528748, "token_count": 657, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__205433576", "lang": "en", "text": "CLASSES & WORKSHOPS\nHip Hop Hoop Dance is, at its heart, about education. We will bring our love of dance and culture into your schools, workplaces, organizations and homes through classes, workshops and presentations. Classes are tailored to your interests and needs and take place in a judgement-free environment where you can feel safe and free to express yourself creatively. Expect to learn terminology and cultural information alongside movement and choreography. We’re happy to come to you in person or online.\nCheck out our D-I-Y Hoop Making and Hoop Dancing instructional video at https://nutrienchildrensfestival.com/diy-hoop for an example of what you can expect – or just contact us for more information!\nFirst Nations Dance and Music\nHoop Dance – Learn the five basic teachings, five basic stages and relevant information about Indigenous culture. Dancing to live accompaniment or pre-recorded tracks, Hoop Dance combines fascinating moves and tricks with freestyle or technical dancing and connects you with elements found in nature.\nGrass Dance – Focusing on sweeping motions and symmetry, this class introduces you to being rhythmic, balanced, agile and in tune with your regalia.\nChicken Dance – Learn one of the oldest pow wow dance forms that is said to have come from “the prairie chicken’s springtime mating dance.”\nFancy Dance – Get involved in one of the many popular contemporary pow wow dances. This class shows you how to incorporate athletics, tricks, rhythmic precision and regalia in creating incredible flows of motion.\nBeginner West African Dance and Music\nGahu and Kpanlogo Dances – With live and/or pre-recorded drumming, this class will teach you the fundamentals of traditional West African dances with emphasis on an understanding of the accompanying drum rhythms.\nContemporary Dance and Music\nBallet – Get technical, codefic and formulaic as you move through classical ballet terms, movements, steps and patterns. Dance at the barre, across the floor and through choreographed routines.\nHip Hop Dance – Using age-appropriate hip-hop music and movements, learn the basics of “old school” and “new school” styles of dance. Feel free to freestyle, move to percussive and rhythmic sounds, isolate body parts and get a good sweat.\nJazz Dance – This class develops strength, flexibility, endurance and movement techniques. Moving along a linear progression, you will explore isolations, turns, kicks and leaps. Get ready to learn the latest steps used in so many forms of dance.\nChoreography, Staging and Blocking – Wanna create your own choreography, stage scenes and/or set movements? Why not try our collaborative workshop on generating dance for all ages?\nTheatre Games – Inspired by the works of Viola Spolin, this class provides teachers and/or students with tools to creatively explore curriculum through improvisation. The exercises will engage you in exploring ideas through inquiry-based learning, building positive relationships and encouraging you to take risks while exploring uncharted territories.", "domain": "music_and_dance"}
{"url": "https://beststuffindia.in/best-midi-keyboard-under-%E2%82%B930000-in-india/", "date": "2023-09-23T03:21:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506479.32/warc/CC-MAIN-20230923030601-20230923060601-00240.warc.gz", "language_score": 0.8498555421829224, "token_count": 2210, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__234658264", "lang": "en", "text": "There are lots of MIDI Keyboard available in online & offline stores. If you are professional & wants to buy best MIDI keyboard for your professional Music studio then, you are at right place. Here, we selected some best MIDI keyboard specially for professional under ₹30000. So, let’s start the list of Best MIDI Keyboard under ₹30000 in India.\nIf you don’t know about MIDI keyboard what’s your requirement & why you need MIDI keyboard then CLICK HERE. On this page, you will find all the basic information about MIDI keyboard and why we need to use MIDI keyboard ? We have created different categories according to price range. You can check out those list also according to your requirement and budget.\nA Short Comparison of All MIDI Keyboard:-\n|MIDI Keyboards||Number of Keys||Types of Keys||Drum Pads||Knobs/Faders||Buy Now on AMAZON|\n|Nektar Panorama T4 49 Keys MIDI Keyboard||49 Keys||Synth Action||8 Drum Pads||8 Knobs/9 Faders||Check Price|\n|Nektar Impact GXP88 USB Midi Keyboard||88 Keys||Semi-Weighted||Not Available||Not Available||Check Price|\n|Alesis VI49 Advanced MIDI Keyboard||49 Keys||Semi-Weighted||16 RGB Backlit Drum Pads||12 Knobs||Check Price|\n|Novation Launchkey 61 MK3 MIDI Keyboard||61 Keys||Synth Action||16 RGB Backlit Drum Pads||8 Knobs/9 Faders||Check Price|\n|M-Audio Oxygen Pro 61 MIDI Keyboard||61 Keys||Synth Action||16 RGB Backlit Drum Pads||8 Knobs/9 Faders||Check Price|\n|Nektar Impact LX88+ MIDI Keyboard||88 Keys||Semi-Weighted||8 Backlit Drum Pads||8 Knobs/9 Faders||Check Price|\n|Novation Impulse 49 MIDI Keyboard||49 Keys||Synth Action||8 RGB Backlit Drum Pads||8 Knobs/9 Faders||Check Price|\nList of Best MIDI Keyboard Under ₹30000 in India 2022\n1.) Nektar Panorama T4 49 Keys MIDI Keyboard\nNektar Panorama T4 49 MIDI keyboard have 49 velocity sensitive keys. AfterTouch works great and makes it possible to dynamically alter tone or volume by gently applying just a bit of pressure.\nThis MIDI Keyboard has 8 large velocity and pressure sensitive pads which are the perfect tool for beat creation. You can calibrate the pads according to your need for optimum performance. Each pad can be assigned to any MIDI note which helps to create awesome beats.\nRepeat and pad repeat buttons are also given which used to repeat a particular part of the project according to your required tempo. Faders and knobs are also available which can used to control whole DAW without mouse.\nA large display is also available which show the feedback of your control and you can use focus button to enlarge the particular parameter according to your need. This MIDI keyboard have all types of controls and give best performance in this price range.\n- Excellent Synth-Action Keyboard.\n- Comprehensive MIDI implementation.\n- All types of Controls are available.\n- Adjustable LCD display.\n- The Fader motion doesn’t appeal to every user.\n2.) Nektar Impact GXP88 USB MIDI Keyboard\nNektar impact GXP88 have 88 semi-weighted full-size keys with velocity and aftertouch which deliver a nice, firm touch and great playability.\nThis MIDI Keyboard have streamlined no-fuss control panel which enables advanced DAW integration with extended transport control, track selection and volume control. You can even open/close DAW windows and navigate projects.\nImpact GXP gives keyboard players all the right expression options needed for live and studio work. It offers large pitch bend & modulation wheels and connections for up to 3 optional external pedals.\nThe Repeat Engine is great for creating inspiring rhythmic elements: Simply press the dedicated Repeat button, play and get inspired. This MIDI keyboard is great for creating melodies and chord progressions for any song. Best Full size MIDI keyboard under ₹30000 for professionals.\n- Full size MIDI with 88 Velocity sensitive keys.\n- Transport controls\n- DAW window control & Navigation\n- Velocity routing is available\n- drum pads, knobs and faders are not available.\n3.) Alesis VI49 Advanced MIDI Keyboard\nThe Alesis VI49 is an advanced USB/MIDI keyboard MIDI keyboard that help you to control your music software with a series of pads, knobs, and buttons. This MIDI keyboard have 49 velocity-sensitive semi-weighted keys with aftertouch.\nOctave Up/Down buttons are also available which are used to expand the keyboard to the full melodic range and play bass lines, chords, and melodies. VI49 also features 12 assignable knobs and 36 assignable buttons for manipulating effect plugins and virtual instruments.\nThis MIDI Keyboard have 16 RGB backlit drum pads which feels awesome while creating beats because of it’s response timing. Modulation wheel and pitch wheels are also given to modulate and change the pitch of the music according to your need. Overall, a good package in this price range. Best MIDI keyboard with a lots of control and awesome performance.\n- Incredible semi-weighted Keys feel extraordinary.\n- Modulation and pitch bend wheels.\n- 12 Knobs and 36 buttons for extra controls.\n- USB Powered MIDI Keyboard.\n- Weird placement of Mod/pitch wheels.\n- Small screen not able to display much information.\n4.) Novation Lauchkey 61 MK3 MIDI Keyboard\nNovation Launchkey 61 MK3 MIDI keyboard have 61 velocity sensitive semi-weighted keys to create amazing melodies and chord progression of your songs. Keys are very responsive and velocity of every note is too much optimized according to the pressure kept on the keys.\nThis MIDI keyboard have 16 RGB Backlit pressure sensitive Drum pads which are very helpful in the creation of beats. These Pads can be assigned to the MIDI notes number because of this you can create amazing beats and melodies with full of creativity.\nAssignable knobs and faders are also given to control the full DAW without mouse. This controllers helps to control the mixer panel, reverb and delay controls very easily. Modulation and pitch wheels are also available to modulate and change the pitch of every note according to your need. Overall, one of the best MIDI keyboard for professionals in this price range.\n- Great velocity Sensitive 61 Keys MIDI Keyboard\n- RGB pressure sensitive Drum Pads.\n- Assignable knobs & Faders for full control over any project.\n- Very Small display.\n- controls are very close to each other not comfortable for everyone.\n5.) M Audio Oxygen Pro 61 MIDI keyboard\nThe Oxygen Pro 61 is a powerful 61-key USB powered MIDI keyboard that allows you to create the music. This MIDI keyboard have 61 velocity sensitive keys which helps to create awesome melodies, bass lines, chord progressions for your song.\n16 RGB pressure sensitive drum pads are also given which are used to create beats for your song. This pads are assignable and you can assign these pads with MIDI note number to create creative beats.\nKnobs and faders are provided in this MIDI keyboard to control the DAW and all the effects while mixing the song. This faders and knobs are also assignable and you can assign according to your requirement to control your desired things.\nModulation and pitch wheels are also provided to change pitch and modulate the sound of any note to create amazing effects in the song. Overall, all types of controls are available in this price range. Best MIDI keyboard for professionals under ₹30000.\n- Full Size MIDI keyboard.\n- All types of controls are available.\n- 16 RGB pressure sensitive Drum pads.\n- Modulation and pitch wheels are too good.\n- Display is small.\n6.) Nektar Impact LX88+ MIDI Keyboard\nNektar Impact LX88+ MIDI keyboard have 88 note velocity sensitive keyboard is a semi-weighted action with medium tension. Transpose buttons as well as pitch bend and modulation wheels are within reach, so you can quickly shift the keyboard up or down as needed, or apply additional articulation with the wheels.\nThis MIDI keyboard have Nine 30mm faders, 9 MIDI buttons and 8 encoders are at the center of Impact LX88+’s control panel. These knobs and faders are very helpful to control full DAW.\nModulation and pitch wheels are also available which helps to change the pitch and modulate the notes of any instrument according to your need and requirement. 8 Drum pads are also given to create awesome beats for your music. Best MIDI keyboard for professionals with all controls and powerful performance.\n- Light Weight and compact.\n- Solid build quality.\n- Great MIDI keyboard with awesome performance in this price range.\n- The editing settings are out of style.\n7.) Novation Impulse 49 MIDI Keyboard\nNovation Impulse 49 have 49 velocity sensitive very responsive keys. Mix and sculpt your sound using endless smooth-action knobs, low-profile 45mm faders, loads of buttons and a custom LCD screen. All controls work seamlessly with major music software and can be mapped to any parameter.\nPlay drums in real time with pressure-sensitive pads for rolling beats, looping drum samples and designing arpeggios. These pads also function as multicoloured clip launchers in Ableton Live, so you can tell whether clip is loaded (yellow), playing (green), or recording (red).\nImpulse is class-compliant and USB bus-powered, so you can simply plug it into Mac or Windows and get started straight away, without the need for a power supply. This MIDI keyboard is also available in different size choose according to your need. Overall, best MIDI keyboard for beginners and professional in this price range.\n- Sensitivity of Keys and controls are great.\n- Drum Pads feel awesome while creating any beat.\n- Built-in customizable arpeggiator and roll functions.\n- Seemingly endless encoders.\nIF YOU STILL HAVE ANY CONFUSION OR ANY QUERY JUST COMMENT DOWN OR YOU CAN ALSO CONTACT US THROUGH E-MAIL", "domain": "music_and_dance"}
{"url": "https://songmeanings.com:443/artist/view/songs/6963/", "date": "2022-08-15T22:25:29Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882572212.96/warc/CC-MAIN-20220815205848-20220815235848-00212.warc.gz", "language_score": 0.9658440351486206, "token_count": 653, "dump": "CC-MAIN-2022-33", "global_id": "webtext-fineweb__CC-MAIN-2022-33__0__102155897", "lang": "en", "text": "One of the most important feminist punk rock bands of the '90s and 2000s, Sleater-Kinney formed in 1994 from the ashes of Heavens to Betsy and Excuse 17, groups that rode the first wave of the riot grrrl movement. Singer/guitarists Corin Tucker and Carrie Brownstein first met in 1992, when Tucker was one half of the duo Heavens to Betsy. Brownstein, a classically trained pianist, was so inspired by Tucker and other grrrl musicians like Bikini Kill and Bratmobile (not coincidentally Tucker's own influences) that she formed her own band, Excuse 17, a year later. Sleater-Kinney, which earned its name from a local freeway off-ramp, initially began as Tucker and Brownstein's side project. Things changed in late 1994, though, when Australia-born Lora MacFarlane signed on as the group's first permanent drummer. Over the course of the following two weeks, the trio recorded its self-titled 1995 debut for Chainsaw, a label run by Team Dresch bassist Donna Dresch.\nUpon its release, the album earned widespread acclaim for its visceral intensity as well as the group's passionate vocals, intricate melodies, and provocative, politically charged lyrics. With 1996's Call the Doctor, Sleater-Kinney garnered even greater media exposure and critical applause on the strength of their incisive rants against gender inequity, consumerism, and indie rock's male-dominated hierarchy. Their Kill Rock Stars label debut, Dig Me Out, recorded with new drummer Janet Weiss from Quasi, followed in 1997, and was again among the most acclaimed releases of its season; The Hot Rock appeared two years later, and in the spring of 2000, Sleater-Kinney resurfaced with All Hands on the Bad One.\nIn August 2002, the group returned with its most musically accomplished record to date, One Beat. Sleater-Kinney upped the ante again with 2005's The Woods, a powerful, inventive album that was released by Sub Pop, produced by Dave Fridmann, and inspired by, among other things, the political climate of the mid-2000s and the freedom of the improvised parts of their gigs supporting Pearl Jam on a 2003 tour. During the summer of 2006, though, the group announced they were going on an \"indefinite hiatus\" after finishing the remaining dates on their tour. Brownstein went on to create the Spells and Wild Flag with Mary Timony, and Corin Tucker launched a solo career in 2010. Late in 2013, the group reunited during the Portland stop on Pearl Jam's Lightning Bolt tour, joining them to perform a cover of Neil Young's \"Keep on Rockin' in the Free World.\" The following year, Sleater-Kinney's albums were remastered and reissued, and the limited-edition set Start Together -- which featured the newly recorded song \"Bury Our Friends\" -- was released. Late in 2014, Sleater-Kinney announced that they had recorded a new album, No Cities to Love, which was set to arrive in January 2015.", "domain": "music_and_dance"}
{"url": "https://silverrunband.weebly.com/participation-and-forms.html", "date": "2021-03-03T21:20:27Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178367790.67/warc/CC-MAIN-20210303200206-20210303230206-00613.warc.gz", "language_score": 0.9640824198722839, "token_count": 1003, "dump": "CC-MAIN-2021-10", "global_id": "webtext-fineweb__CC-MAIN-2021-10__0__130184336", "lang": "en", "text": "Silver Run Band FAQs\nQ: When does band meet?\nA: Band is during the school day! Students attend weekly band lessons with their instrument group during their specials. Students take band lessons instead of regular music class, and if they miss another special for lessons they will make it up, so they never miss PE, STEM (library) or art. Students will be given a monthly calendar to keep track of their lesson days. The lesson schedule goes by the specials A-E schedule, NOT by day of the week, so students must keep track of their calendars!\nFull band rehearsals are also once a week during the school day.\nQ: When are the concerts?\nA: We have 2 concerts per year, and they are held at Lakeside Middle School Auditorium. This year our concerts are Thursday, December 19th at 6:00pm and Thursday, May 21st at 6:00pm. Concert attendance is mandatory for all band students!\nQ: Does my child have to practice at home?\nA: Yes! Because I only see band students twice a week, it is VERY important that they practice at home! Each student gets a practice log for their parents to sign. They should be practicing 3 times per week for 15 minutes each time. The child must be responsible for bringing their instrument to/from school for lessons and band.\nQ: What instruments can my child play?\nA: Students have a choice of flute, clarinet, saxophone, trumpet, trombone, euphonium, and percussion. We “mouthpiece test” all of the instruments to find the ones that will be the best fit for your student, and I will make a recommendation based on that testing. Percussionists must audition by reading a rhythm and clapping a steady beat. I want to make sure your student can start off with the best chance of success possible!\nQ: How do I get an instrument for my child?\nA: I have a limited number of school instruments available for students to borrow. Depending on how many students register for band, these are loaned on a first-come, first-serve basis, free of charge. If the instrument your child selected is no longer available, you can rent one from our company of choice, Coles Music (www.colesmusicservice.com) or supply one that you already own. **I DO NOT RECOMMEND BUYING AN INSTRUMENT IN 4th GRADE!** We want to make sure your child is going to continue playing the instrument beyond the 4th grade before you make that commitment! If you do choose to purchase, I encourage you to speak with me first to get a list of recommended brands. There are a lot of inexpensive brands out there that seem great, but those instruments break easily and are expensive or impossible to repair. (see back for more information)\nQ: What if my child wants to quit band?\nA: Unless there are special circumstances, band students should finish out the entire school year! There are a couple of reasons I do not like to let students leave band halfway through the year: 1.) Many students go through an “I want to quit” phase halfway through the school year because they are over the initial excitement of the instrument, but they haven’t learned enough skills to really start making music at a satisfying level. I encourage them to stick with it, because by the end of the year most students come around and really enjoy being able to make great music! 2.) One of the most valuable lessons band students learn is a sense of responsibility and commitment, and this lesson will carry them through many obstacles in life! I ask that you join me in teaching them the importance of following through with the commitment they make to you, to me, to themselves, and to their fellow band members when they sign up to play in band.\nQ: How do I sign my child up for band?\nA: Beginning the first full week of school, I will be visiting all 4th grade students in their music classes, and at that time if they are interested in band and/or chorus I will send them home with paperwork to be signed and returned. **All paperwork will be sent home between September 9-13, and due back no later than September 20th. Please keep an eye out for these papers!**\nQ: My child loves music! Can my child do both and and chorus?\nA: YES, students can do both band and chorus! They meet at different times, so they can enjoy being a part of both groups. We encourage students to do both - singing makes instrumentalists better, and playing an instrument makes singers better!\nIf you have any additional questions before paperwork is sent home, please contact us! We look forward to a wonderful year of music-making!\nMs. Portik (Band)", "domain": "music_and_dance"}
{"url": "https://nickyromero.com/you-redefine/hanns/", "date": "2020-04-04T00:14:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-16/segments/1585370518767.60/warc/CC-MAIN-20200403220847-20200404010847-00372.warc.gz", "language_score": 0.9679827690124512, "token_count": 902, "dump": "CC-MAIN-2020-16", "global_id": "webtext-fineweb__CC-MAIN-2020-16__0__116001707", "lang": "en", "text": "Hey my name is Hanns, I’m a 32 year old house music producer from Germany and to me, music defines life.\nI’ve felt a special connection to music literally since I was able to walk. It all started with me listening to my dad’s records and experiencing that pure magic when grooving to all sorts of classics. My journey continued when I learned to play the piano in my early childhood. Playing classical music, blues, jazz, Rock’n’Roll, ballads and everything else gave my fragile artistic soul a way of self-expression that it had craved since the day I was born.\nTo this very day, music of all sorts and the creation of it continues to define and drive me. However, the ability to express my feelings for life through music has grown and continues to do so. To me, the feelings of absolute euphoria I get when I produce a new track make all the unavoidable pain and suffering that go along with it worthwhile. Yet, I feel that I’m still only at the beginning of my journey as a musician.\nWhen I was around 15 years old, I was introduced to DJing and bought all the house music records I could find. Guys like Eric Prydz, Axwell and then later of course Nicky Romero, shaped my musical taste and furthered my innate desire to produce music that was just as good. Thus, after a short email correspondence with from Nicky in 2009, I got more and more into music production.\nI witnessed the rise of EDM and its heroes (Nicky and Avicii just to name a few). In 2016 I traveled to Las Vegas to attend the EDM Bizz Conference in Las Vegas and saw Nicky play live in Omnia – a life-changing experience. However, after getting all hyped up, it still took me a good while to wrap my head around the production side and at some point I noticed that for some reason, I needed to surround myself with other producers and get first hand insights to push my ability to produce to its absolute max.\nConsequently, in 2017, I quit my regular job, moved to London and learned at the famous Toolroom Records music label where I was suddenly sitting in the studio with D. Ramirez, a producer legend in the U.K., who trained me hardcore for months. He truly laid the foundation for my professional music production and I’ll be forever grateful to him. My time at Toolroom Records pulled me towards tech house for a while and consequently, under the artist alias of HANNS, I produced a variety of tech house tracks, some of which are being played by DJs like Camelphat, Chocolate Puma, and so forth. I am proud to say that Pete Tong even premiered my track Kickdrum on his BBC Radio 1 show on a Saturday evening. Having my tune blasted nationwide all over the U.K. gave me more confidence to take things further.\nThus, after my time in London, I moved to Ibiza and spent six months on the white isle discovering the music scene – and myself. However, after a season of doing that, I felt it was time to go back to my roots. To take some time to think about things, I took on another regular daytime job, moved back to Germany and focused on starting the next chapter: making music that has the potential to move millions, produced to the absolute highest of my ability and the highest industry standards. Surprisingly, it turned out to be so freakin’ hard, but that’s why I love it. 😀\nThe decision to produce very melodic, vocal driven beats rekindled my love for music and I am truly excited where my journey will take me next. It’s life at its finest – with all it’s ups and downs. Hey, because I wish that someone would have told me many of the things I learned the hard way, I created a Youtube channel with tips for production. If it helps you, I am happy. 🙂\nRecently, I put out a new melodic track called Let Go. It’s the first one of many more to come. It would be great to have you follow my journey.\nArtist management | firstname.lastname@example.org\nPR managed by Iconic Studios | email@example.com", "domain": "music_and_dance"}
{"url": "https://www.naijpress.com/top-10-musician-that-took-billboard-music-award/", "date": "2023-03-30T02:09:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00530.warc.gz", "language_score": 0.957910418510437, "token_count": 766, "dump": "CC-MAIN-2023-14", "global_id": "webtext-fineweb__CC-MAIN-2023-14__0__172991405", "lang": "en", "text": "Since their debut in 1990, the Billboard Music Awards have honored the musicians and albums that have made the biggest impressions on the Billboard charts. Billboard began giving the Artist of the Year or Top Artist honor to the musical act who ruled the year commercially in 1993 excluding 1994 and a gap from 2007–2010). The award has been given to musicians ranging from Whitney Houston to Ed Sheeran, and numerous singers, including Adele, Drake, and Taylor Swift, have received it more than once.\n1. The Weeknd -2021\nThere at 2021 Billboard Music Awards, The Weeknd won 10 of the 16 prizes for which he was nominated, including Top Artist. His album After Hours debuted at the top of the Billboard 200 and remained there for a total of four weeks.\n2. Post Malone – 2020\nNine prizes, including Top Artist, were given to Post Malone at the 2020 Billboard Music Awards. Hollywood’s Bleeding, his third album, opened at No. 1 on the Billboard 200 and held that position for five weeks.\n3. Drake – 2019\nIn 2019, Drake made a comeback to the Billboard Music Awards stage, where he took up 11 other honors, including his second Top Artist award, Top Billboard 200 Album for Scorpion, and Top Streaming Song (Video) for “In My Feelings.”\n4. Ed Sheeran – 2018\nEd Sheeran won the Top Artist prize just at 2018 Billboard Music Awards thanks to the popularity of “Shape of You” from his album.\n5. Drake – 2017\nNicki Minaj, Lil Wayne, and Drake’s father, Dennis Graham, were all there when he collected the Top Artist award at the 2017 Billboard Music Awards. The victory followed a historic year for the rapper, in which “One Dance” with WizKid & Kyla became his first Hot 100 No. 1 hit as a lead artist.\n6. Adele – 2016\nAt the 2016 Billboard Music Awards, Adele won her second Top Artist honor after her smash song “Hello” topped the Hot 100 for ten weeks.\n7. Taylor Swift -2015\nThe year after releasing her pop anthem 1989, Taylor Swift accepted her second Top Artist award at the 2015 Billboard Music Awards. Three songs from the album, “Shake It Off,” “Blank Space,” and “Bad Blood,” featuring Kendrick Lamar, each spent many weeks at No. 1 in addition to the album’s arrival at the top of the Billboard 200.\n8. Justin Timberlake – 2014\nHe is dressed in a “Suit & Tie”! Following the release of his album The 20/20 Experience, Justin Timberlake took up the Top Artist prize at the 2014 Billboard Music Trophies, one of a total of seven awards. The 20/20 Experience (2 of 2), the album that came after this one, debuted at No. 1 on the Billboard 200.\n9. Taylor Swift – 2013\nJust at 2013 Billboard Music Awards, Taylor Swift emerged as the main winner after winning eight prizes, including Top Artist. The previous year, she released Red, her fourth studio album, which debuted at No. 1 on the Billboard 200 and lasted 187 weeks there.\n10. Eminem – 2011\nTell a friend that Shady is back. The Artist of the Year award was renamed the Top Artist award when the Billboard Music Awards resumed in 2011 following a break from 2007 to 2010. Eminem received the inaugural award. Six other BBMAs were won by the rapper that year, including Album of the Year, Top Rap Song, and “Love The Way You Lie,” which included Rihanna.\nDiscussion about this post", "domain": "music_and_dance"}
{"url": "https://lindyroos.com/2006/08/07/what-is-collegiate-shag/", "date": "2023-05-29T21:24:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224644913.39/warc/CC-MAIN-20230529205037-20230529235037-00479.warc.gz", "language_score": 0.979972779750824, "token_count": 205, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__216030780", "lang": "en", "text": "Collegiate Shag is a lively high-energy swing dance that developed in southern USA (most likely New Orleans) in the 1920s, and was made popular by college students, hence the name “collegiate”. Full of hops and kicks, and danced to medium or fast tempos, it has a style that is recognisably ‘jitterbug’. It is danced in a closed position hold, similar to most ballroom dances, but also includes open and separating elements.\nIn its most popular form today, it has a 6-beat basic step that has a “slow, slow, quick-quick” rhythm similar to Fox Trot. This form is sometimes called Double Shag (because of the two “slow” steps), but there are also Single and Triple forms of Collegiate Shag. There are other dances known as “shag” dances, including Carolina Shag and St Louis Shag, but these are vastly different.", "domain": "music_and_dance"}
{"url": "https://www.americanfestivalchorus.org/performance/2022/ralph-vaughan-williams", "date": "2023-05-29T13:15:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224644855.6/warc/CC-MAIN-20230529105815-20230529135815-00443.warc.gz", "language_score": 0.8980358242988586, "token_count": 236, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__299158696", "lang": "en", "text": "In the sesquicentennial year of Ralph Vaughan-Williams’ birth, AFCO celebrates this magnificent English composer with a program of some of his most beloved choral and symphonic works. From his renowned “Serenade to Music” and “Hodie” to the exquisite “The Lark Ascending,” this evening of charming and evocative music is certain to delight the senses. Also featuring the USU Women’s Chorus. Special Guests include: Robert Waters, violin; Celena Shafer, soprano; Aubrey Adams-McMillan, mezzo-soprano; Thomas Glenn, tenor; Christopher Holmes, bass-baritone.\nMake sure to attend the pre-concert lecture, \"'Bright portals of the sky': The Choral Music of Ralph Vaughan Williams,\" given by Drake University Professor of Music History Eric Saylor, at 6:30 pm in the Daines Concert Hall.\nTickets are available online through the link above, in person, or by calling the CCA Box Office at (435) 797-8022.", "domain": "music_and_dance"}
{"url": "https://help.taubermusic.com/audio-and-video/direct-instrument-recording", "date": "2023-12-04T23:46:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100535.26/warc/CC-MAIN-20231204214708-20231205004708-00399.warc.gz", "language_score": 0.9198176264762878, "token_count": 1380, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__202064054", "lang": "en", "text": "Direct Instrument Recording\nAlthough the USB audio interfaces described in Selecting an External Microphone can be very pricey, even the most basic of models offer the ability to record your compatible instrument directly. Whether you are a teacher or student, the ability to directly capture your instrument's sound for online lessons adds immensely to the quality of your lessons. With the right software (normally included with audio interfaces), you can also record and compose your own music.\nIn order to determine if you can record your instrument directly, you first have to check if your audio interface has a second input available. In the example model below (3rd generation Focusrite Scarlett Solo), we have two inputs available.\nThe first input (labelled 1) is a dedicated microphone input and uses an industry standard 3-pin XLR jack. The second input (labelled 2) is available for instrument use, and uses a 1/4\" jack that is common with guitar cables, DJ/recording equipment, and studio headphones.\nHigh and Low Impedance\nAn important thing to note on many audio interfaces is the presence of an Instrument or Hi-Z switch or button. In the interface model shown above, the instrument button is used when you are plugging in a High Impedance sound source. You should disable this when using a Low Impedance or Line-Level sound source. If you are unsure what this means, follow the general guidelines below:\nHigh Impedance: Electric guitars with passive pickups (direct without amp), some guitar effect pedals, electric pickups for other instruments such as violins, karaoke microphones\nLow Impedance/Line-Level: Headphone outputs from tablets/computers/smartphones, headphone outputs from digital pianos/keyboards/guitar amps, Line Out or Aux Out outputs from high end guitar amps, most guitar effect pedals, guitar Preamps (active pickups and most acoustic-electric guitars) and multi-FX units, Line Out outputs from computers (blue speaker jack)\nIt is important to properly match your device impedance with your audio interface setting. Using the incorrect setting can lead to either low sound levels or distortion (and potential damage to your interface). Some interfaces, such as the Steinberg UR22, label High Impedance as Hi-Z. Turning or switching on Hi-Z prepares the interface for high impedance sources mentioned above. If you’re are unsure, consult your audio interface's user manual.\nNEVER CONNECT the Speaker Out of any guitar amplifier to the input of your interface or you will damage the unit!\nAssuming you have an instrument with some type of standard output, all you need to connect your instrument to your audio interface is an appropriate cable. If you are using an electric guitar/violin without an amp, you can simply connect the guitar into your interface (like if your interface was the amp itself) and ensure that Instrument/High Impedance or Hi-Z is turned on. If High Impedance or Hi-Z is turned off, you will get little to no volume, even with the Gain knob set to max.\nFor other instruments, use the line out or headphone out and the Low Impedance setting on our audio interface (Instrument or Hi-Z turned off). Below is an example of the rear I/O panel of a Yamaha P-115 digital piano.\nThe Aux Out (line out) has two options: separate left and right jacks, or a combined stereo jack built into the left output jack. We should note that the instrument input on an audio interface is normally a mono input, and therefore can only records in mono. To be safe, we would simply connect the L/L+R output of the keyboard to the input of the audio interface using a patch cable. A regular guitar/instrument cable would work but there are also dedicated options meant for recording equipment, which may look the same but actually use a cable of different construction.\nIf your instrument has very distinct Left and Right sound outputs that are not translating well into your audio interface, you may need to purchase a Stereo to Mono cable or converter to merge the Left and Right outputs into one mono output. This method of merging L/R outputs was common in the days of old tube TVs and VCRs/DVD players where the TV only had a White (mono) RCA jack for sound, but the VCR or DVD player had White (Left) and Red (Right) RCA jacks.\nRemember that most dedicated Headphone jacks output in stereo. For certain headphone jacks, you may also need a 3.5mm to 1/4 inch converter as well. 3.5mm jacks and plugs are common with computers/tablets/smartphones, as well as certain guitar amps such as the Fender Frontman 10G.\nOnce our instrument is connected properly to our audio interface, we need to properly set our Gain knob. The Gain knob is commonly mistaken as a volume control for the instrument, but the true function of the gain knob is to properly match the electrical signal of your instrument to your audio interface.\nIt is better to think of Gain as the sensitivity of the audio interface rather than volume. We want to set the gain just right so that the signal/sound quality is free of hiss and distortion, and volume the listener hears is loud enough. Set it too low and the resulting instrument volume will be too quiet. Set it too high and the instrument will distort, especially when playing with loud dynamics.\nYou can tell if the gain is too high if you are triggering the Clip or Peak LED light on your audio interface (which is usually red). If you can hear your instrument clearly and rarely trigger the clip or peak light on your device, you have set the gain level appropriately. You can test the audio quality yourself by plugging in some headphones to your interface and using the headphone volume or Direct Monitor feature if present.\nYour Gain setting will vary from instrument to instrument, especially with instruments that have their own built-in volume control. The best practice is to set the volume of your instrument first, then start with the Gain knob at 0 and slowly increase it until you find the sweet spot (where the volume is good and the signal is clean). Remember to avoid triggering the Clip or Peak light as much as possible.\nFor guitars without active electronics/pickups, you may want to set your guitar's volume to 10 right away as volume knobs on guitars only reduce what little output the guitar offers, not boost it (think of slowly opening or closing a floodgate). If you are unsure if your guitar uses active electronics, check if it needs a 9V battery. If it uses a 9V battery, it has active electronics.", "domain": "music_and_dance"}
{"url": "https://www.sw.co.uk/news-insights/second-half-of-musical-instruments-auction-to-take-place-next-week/", "date": "2021-02-27T09:08:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178358798.23/warc/CC-MAIN-20210227084805-20210227114805-00292.warc.gz", "language_score": 0.9286251068115234, "token_count": 230, "dump": "CC-MAIN-2021-10", "global_id": "webtext-fineweb__CC-MAIN-2021-10__0__226295204", "lang": "en", "text": "Last month we conducted an online auction of over 500 high-quality musical instruments and following the success of this sale we are now setting up for a further auction of over 600 musical instruments and accessories, including drums & percussion, brass & woodwind, amplifiers, pianos and studio equipment.\nBased in Brampton, Cumbria, Omega Music traded online via sites such as Amazon and supplied schools across the UK and further afield with musical instruments and equipment.\nThe online auction concludes from 11am on Thursday 5th July, with viewing available on Wednesday 4th July at the site in Brampton.\nRobert Wilkinson, partner in our auctions team commented, “We received significant interest in the first half of this sale and with a number of high quality lots available we are confident that this second auction will generate comparable levels of interest.\n“The sale of the lots offers a great opportunity for individuals or organisations in the music business to get rare access to some high quality equipment.\nFor further information on the sale please contact Robert on 0113 221 6210 or click here to view the auction and the various lots that are available.", "domain": "music_and_dance"}
{"url": "https://westcentralonline.com/local/community-christmas-concert-charms-rosetown", "date": "2019-02-20T04:48:55Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247494449.56/warc/CC-MAIN-20190220044622-20190220070622-00453.warc.gz", "language_score": 0.9760626554489136, "token_count": 550, "dump": "CC-MAIN-2019-09", "global_id": "webtext-fineweb__CC-MAIN-2019-09__0__80758011", "lang": "en", "text": "The Rosetown Music Festival held their annual Community Christmas Concert this past Monday night, with a number of local performers.\nCarmen Ledding has been involved with the Rosetown Music Festival since 2008. \"It was a really great night. It's put on every year by the Rosetown Music Festival and we invite all of our choirs in the local community, as well as the Herschel and Fiske Choir. It's also an opportunity for those who won an anniversary trophy, the biggest trophy at festivals, those soloists perform as well.\"\nThe Rosetown Central High School took the stage first with their new Director, Chelsea Holt. The ensemble played three pieces for the crowd.\nThe Walter Aseltine Elementary School Choir also performed. Walter Aseltine was lead by Directors, Stacy Becker and Renee Torwalt-Lauren, and accompanied by AnnaMarie Cressman. Ledding said the choir has around 30 members, which is an impressive number for such a young group.\nThe other performances include the Herschel and Fiske Choir, the Rosetown United Church Choir, a Duet from the Rosetown Community Church and a Duet from the Alliance Church.\nThis years soloists included Annette Hunter and Johanna Wiebe. Hunter won the 'Most Promising Vocalist' at the 2018 Music Festival, while Wiebe won 'Most Promising Pianist' and 'Most Promising Instrumentalist.\nLedding said they also honored a big name in the local music scene during the night.\nEleanor Sparks, who has been involved with local music festivals for 52 years, was honored. Sparks has been involved as both a performer, teacher and parent of performers through her years. She was given a lifetime membership to the Festival Association as recognition for her years.\nThe Rosetown Music Festival is also coming up on a big milestone. Ledding said in 2019 they will be celebrating the 90th anniversary of the Festival in Rosetown, \"It's a big deal for something like this to have been carried on for that long. The first Music Festival was held in Kerrobert and then it rotated around to Rosetown and Biggar.\"\nLedding shared a bit of history from the first music festival, \"Mrs. Julia Graham was instrumental for the first Music Festival in 1929. We had a show of hands and there was a number of people who were taught either by Julia or the people just after her.\"\nIn honour of the upcoming 90th anniversary, the Music Festival is donating the proceeds from Monday's night concert to their host, the United Church.", "domain": "music_and_dance"}
{"url": "https://www.risingstringsacademy.com/nick-apostolov/", "date": "2023-03-21T10:36:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00399.warc.gz", "language_score": 0.97172611951828, "token_count": 169, "dump": "CC-MAIN-2023-14", "global_id": "webtext-fineweb__CC-MAIN-2023-14__0__81574800", "lang": "en", "text": "\"If Music is a Place — then Jazz is the City, Folk is the Wilderness, Rock is the Road, Classical is a Temple.\" - Vera Nazarin\nNick Apostolov is a drummer with a very long experience as a concert musician, as well as with bands in music shows with different styles of music. Nick has a high school education in drum set and percussion instruments. He has been teaching almost all styles of music in Sweden, Norway, Bulgaria, and other countries for more than 20 years.\nOver the years he has taught many drummers who are now playing in bands all over the world. He teaches various methodologies from Berkeley College to Scandinavian and European. He teaches all kinds of productions techniques for different styles of music. Furthermore, he can teach in English, Swedish, Bulgarian, and Russian.", "domain": "music_and_dance"}
{"url": "http://www.stjoeparish.com/Ministries/Liturgy-and-Music/Music-Ministry", "date": "2024-02-26T13:55:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474660.32/warc/CC-MAIN-20240226130305-20240226160305-00116.warc.gz", "language_score": 0.9519258737564087, "token_count": 366, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__13427505", "lang": "en", "text": "Cantors are lay singers who lead the congregation in song while inviting full participation by everyone present. The cantor proclaims the Responsorial Psalm as Psalmist, as well as the songs, hymns, and sacred texts of the liturgy. Cantors are responsible for preparing ahead of time the liturgical music for a given liturgical celebration. Cantors are encouraged to contact the Director of Music and Liturgy for help with the spiritual or musical preparation for any Masses.\nThe Choir is directed by the Director of Music and Liturgy. Choir members sing at the 10:00am Sunday Mass and other major parish events. The adult Choir at Saint Joseph rehearses Wednesday evenings 7:00-8:30pm in the church from September through May. All are welcome, from beginners to experienced singers. The Choir is open to high school students.\nThe Saint Joseph Children’s Choir consists of the choruses from Saint Joseph Grade School, as well as interested children from the parish. The Choir is directed by the Director of Music and Liturgy. The Children’s Choir sings for a variety of special liturgies, including the Sunday kicking off Catholic Schools Week, Advent Lessons and Carols, Christmas Eve, and Holy Thursday.\nInstrumentalists are invited to play at whichever Mass they normally attend. Masses are scheduled on Saturday at 5:00pm, and Sunday at 8:00am, 10:00am, and 5:00pm. All are welcome, from beginners to experienced players.\nHOW TO GET INVOLVED\nIf you are interested in serving in this ministry, please contact our Director of Music and Liturgy.\nDirector of Music and Liturgy\n574-234-3134, ext. 115", "domain": "music_and_dance"}
{"url": "https://en.prophecy.de/en/CD/Tar-Pond-PETROL-CD-Digipak.html", "date": "2024-04-12T17:13:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816045.47/warc/CC-MAIN-20240412163227-20240412193227-00326.warc.gz", "language_score": 0.940327525138855, "token_count": 475, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__14357820", "lang": "en", "text": "\"PETROL\", the second full length of Swiss doom visionaries TAR POND is clearly drawing inspiration from US doom classics such as SAINT VITUS as way as going all the way back to the British roots embodied by BLACK SABBATH. There are also moments that connect TAR POND with contemporary doom acts such as ELECTRIC WIZARD and ACID BATH. At the same time, TAR POND also exemplify the stubborn streak of Swiss metal that displays a fierce individuality and creative independence as outstanding acts such as CELTIC FROST, CORONER, and ZEAL & ARDOR easily attest. Going back to the crossroads of time, everything seemed to change when Martin Ain, bass player of the iconic CELTIC FROST and one of the founding members of TAR POND passed away in October 2017. Before this tragic day, the Swiss legend had already recorded the debut album together with the other founding members, the former CORONER drummer and lyricist Marky Edelmann, and the renowned scratchboard artist and vocalist Thomas Ott. After a long time of intense deliberation, TAR POND decided to continue as a band and to release the debut under the title \"Protocol of Constant Sadness\". This album was originally written and recorded in 2016/17 under the guidance of producer and guitar-legend Tommy Vetterli of CORONER fame. Inspired by the enthusiastic reception of \"Protocol of Constant Sadness\", TAR POND again joined forces with Tommy Vetterli at the New Sound Studio to record \"PETROL\". Due to changes in the line-up, Petrol\" is a collaboration of old and new band members throughout different times. Despite these circumstances, the second album appears to be coherent and focused on TAR POND's declared aim to deliver a soundtrack of brutality and an electric protocol of constant sadness. And while the Swiss filed their debut under the description 'Doom'n'Gloom', their sound has also been described as a combination of doom and post-metal. With \"PETROL\", TAR POND fulfil their original promise: this album is a beautiful soundtrack of darkness and sorrow.", "domain": "music_and_dance"}
{"url": "http://unioncountyhistory.org/page2/page8/styled-3/index.html", "date": "2013-12-13T07:47:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164919525/warc/CC-MAIN-20131204134839-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language_score": 0.9137566089630127, "token_count": 135, "dump": "CC-MAIN-2013-48", "global_id": "webtext-fineweb__CC-MAIN-2013-48__0__16776919", "lang": "en", "text": "Union County Historical Society\nShape Note Music Singing\nEVERY 2nd THURSDAY, 2011\nat the Old Union County Court House in Blairsville\nCourtroom of the Court House, 6:30 p.m.\nBeginners and Listeners Welcome!\nThe key phrase is audience participation. Different singing masters, or leaders, will choose a song from one of the shaped-note songbooks and lead the congregation in the singing. The music is like any music except each note has a particular shape, and the music is performed by reading and singing the notes. Those in attendance who cannot read the shaped notes simply listen and enjoy the music.", "domain": "music_and_dance"}
{"url": "http://www.dartpro.com/Products/KaraokeStudioCD+G.html", "date": "2013-05-26T04:05:25Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368706624988/warc/CC-MAIN-20130516121704-00015-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.7326207756996155, "token_count": 282, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__183773498", "lang": "en", "text": "DART® Karaoke Studio\nThe software suite with everything you need to make custom Karaoke for CD+G machines.\nAll the tools and fun of DART Karaoke Studio\nPlus - record CD+G discs for Karaoke machines\nPlus - create CD+G files for software CD+G Players\nRecord from CD+G discs (rip) for CD audio AND graphics (BIN files) or just audio (WAV files)\nCompile and burn custom CD+G discs\nIncludes a CD+G player\nAdd your own lead-in graphics to the CD+G disc or individual tracks\nCustomize display of lyrics colors, refresh style and fonts\nSupport for CD-R/W drives that read and write CD+G\nMany additional features in our latest version\nKaraoke Studio’s Player Screen:\nYou’re in control, select a song, then playback, sing along, or record as the lyrics roll by.\nCD+G Technical Notes\nWho Uses DART Karaoke Studio CD+G\nA Visual Guide\nGreat user support\nAbout DART DeVocalizer\nClick to Download the DART Karaoke Studio CD+G Data Sheet (pdf format)\nWhat Karaoke Studio CD+G users are saying:\n\"Now I can expand our (CD+G) library beyond those available on the open market.\"", "domain": "music_and_dance"}
{"url": "https://red-priest-education-concerts.lilregie.com/booking/attendees/new", "date": "2019-02-16T05:43:35Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247479885.8/warc/CC-MAIN-20190216045013-20190216071013-00563.warc.gz", "language_score": 0.8790606260299683, "token_count": 114, "dump": "CC-MAIN-2019-09", "global_id": "webtext-fineweb__CC-MAIN-2019-09__0__173821486", "lang": "en", "text": "A FREE, fun concert with recorder!\nJoin us for a morning of musical exploration.\nThe brilliantly wacky ensemble Red Priest will share music up close during their tour of Aotearoa. https://youtu.be/V8wL1AR7iqo\nAn accompanying educational resource for schools will be available prior to the concert.\nIf you have any questions, please get in touch using the contact information below.\nPlease note: this event will be photographed and recorded. By registering for this event you are giving permission to be recorded / photographed.", "domain": "music_and_dance"}
{"url": "https://www.aestheticaprojects.com/what-research-about-sales-can-teach-you.html/", "date": "2020-10-24T02:52:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107881640.29/warc/CC-MAIN-20201024022853-20201024052853-00416.warc.gz", "language_score": 0.9563305974006653, "token_count": 553, "dump": "CC-MAIN-2020-45", "global_id": "webtext-fineweb__CC-MAIN-2020-45__0__170970564", "lang": "en", "text": "Pop beats are popular because they are responsible for some of the hit songs that have topped the Billboard charts for a considerable period. Not just that; pop music is a favorite to many music listeners because they have the best beats that guarantee the unrivaled entertainment. Indeed there is high demand for pop beats, and if you create the best beats, you will sell them to the artists. This is an opportunity to create and sell the pop beats to the artists, and if you do an exemplary job, then you can always find artists ready to buy the beats. If you are producing and selling pop beats, then you should work hard to offer the best as there is fierce competition in the industry. You can be sure of selling many pop beats and making money only if you master the technique. For that reason, this article provides the essential tips on pop beats production and selling that are helpful.\nUse high-quality sounds – A high-quality sound is an essential ingredient if you want to make the best pop beats. Indeed, you can do everything necessary to produce the best pop beats, but if you mess in the quality of sound, all your efforts will be watered down. You need to have the best software and equipment for pop beats production so that you get an edge over your rivals in the industry. Every music artist wants the best, and you must provide it if you want to get their money.\nTake time to listen to pop music – Do not always think that there is nothing to learn from others because there is plenty of information about pop beats that you might not know. Learning in the music industry is a continuous process, and you must be ready to grasp new concepts. You can research on the internet to know about the new trend on pop beats, or you can listen to pop music and try to identify the things that you do not know. Once you want what artists like, then it becomes easy to produce pop beats that suit their preferences. There is no harm in listening to the pop beats produced by other producers as you can borrow a few tips that can spice your work. You need to pay attention to beat patterns, vocals, transitions, rhythms, synthesizers, and melodies so that you master what is appealing to most people and thereby you can create something worth buying and listening.\nDo not focus on beats only – Although you focus on producing pop beats, if you want to sell them fast, you can accompany it with a chorus. This gives artists clue on the kind of song that suits the pop beats, and thus, it will be easy for them to use the beats once they buy it. Well, this might be an additional task that you do not know, but you can engage a songwriter to provide the reference hooks.", "domain": "music_and_dance"}
{"url": "https://midnightagency.com/blogs/news/boogey-the-beat-joins-midnight-agency", "date": "2023-12-10T16:03:25Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679102612.80/warc/CC-MAIN-20231210155147-20231210185147-00012.warc.gz", "language_score": 0.9641904830932617, "token_count": 331, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__256539349", "lang": "en", "text": "Midnight is thrilled to announce that Boogey The Beat has joined the Agency roster. Boogey is an Anishinaabe DJ and producer from Treaty One Territory (Winnipeg, Canada) making waves with his blend of traditional Indigenous rhythms and modern electronic beats.\nBoogey has worked with The Halluci Nation (formerly a Tribe Called Red) and Snotty Nose Rez Kids, playing stages across Turtle Island. In 2021, Boogey's work earned him a finalist spot for the RBC Emerging Musician Award, as well as a performer selection for TD Music Connected Series. Complex Canada also took notice of Boogey's talent, featuring his track on the \"30 Best Canadian Songs of 2021\" list.\nBoogey's style of music production involves building each song around a percussive heartbeat, then adding vocals and instruments, letting the drum lead the way. While he hopes his music will resonate with revelers from all walks of life, he beams at the thought of Indigenous youth hearing pow wow and sundance songs for the first time at one of his shows.\n“It’s important to not forget that at one time it was illegal for us to sing these songs, play these drums, and go to these ceremonies,” he says. “Now it’s a time for celebration, and for us to take over the main stage.”\nMidnight Agency is proud to represent this accomplished and dynamic artist.\nFOR BOOKINGS PLEASE CONTACT:\nResponsible Agent (Canada)\nFor more on Boogey The Beat visit www.boogeythebeat.com", "domain": "music_and_dance"}
{"url": "https://asufadesign.com/products/%D7%94%D7%93%D7%A4%D7%A1-%D7%92%D7%96-%D7%AA%D7%95%D7%A3-%D7%A4%D7%95%D7%A1%D7%98%D7%A8-%D7%9E%D7%95%D7%96%D7%99%D7%A7%D7%9C%D7%99-%D7%A2%D7%9E%D7%99%D7%AA-%D7%9E%D7%A2%D7%95%D7%96", "date": "2024-04-19T06:09:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817289.27/warc/CC-MAIN-20240419043820-20240419073820-00287.warc.gz", "language_score": 0.922072172164917, "token_count": 240, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__33630539", "lang": "en", "text": "Jazz Print, \"Drum\" - Musical Poster | Amit Maoz\nHigh quality digital print of a musical instrument and a player that comes to life through a simple app that gives art another layer through augmented reality technology and original music!\nAmit explores the different proportions between the instrument and the musician and creates an attempt to describe the power of the music that the instrument produces in relation to the musician, and the connection created between them.\nThis effect is presented through dramatic colors, graphic shapes and a sense of infinite space.\nPrint details: This art print is part of a musical series that is sold in various museums and galleries across Europe and features new augmented reality technology.\nJust download the Artivive app, scan the poster with your phone / tablet camera and the graphics come to life on your wall! The animation is accompanied by original music.\nThe print comes in three sizes (A4, A3, A2).\nFine Art print with UltraChrome HD ink.\nDigital printing on quality paper 250 g White Fine Art.\nThe print comes signed by the artist.\nPlease note - Prints are sold without a frame!", "domain": "music_and_dance"}
{"url": "https://learndelphi.org/comprehensive-music-theory-and-ear-training-app-built-in-delphi/", "date": "2022-06-30T00:34:00Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103646990.40/warc/CC-MAIN-20220630001553-20220630031553-00698.warc.gz", "language_score": 0.9271212816238403, "token_count": 170, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__23249233", "lang": "en", "text": "With almost 3,000 lessons created by music teachers for beginners to professional musicians playing any instrument, EarMaster is a comprehensive, consumer-grade app with extraordinary functionality that uses a variety of different technologies. Despite the app’s technologically advanced backend, the EarMaster team worked hard make it as simple and intuitive as possible to use. EarMaster features audio recording and audio playback, musical instrument digital interface (MIDI) input and output, instrument sound sampler and many other technologies – all made with the native iOS frameworks (AudioUnit, CoreMidi, etc). It supports Windows and macOS as well as iOS. It draws real-time pitch curves on a musical staff based on pitch detection of microphone recordings, teaching musicians of all levels to recognize, transcribe and sing melodies, scales, chords, intervals, chord progressions and rhythms.", "domain": "music_and_dance"}
{"url": "https://www.accratheatreworkshop.com/post/diva-stepchild-presents-mod-accra-lurve", "date": "2024-02-29T07:52:15Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474795.48/warc/CC-MAIN-20240229071243-20240229101243-00729.warc.gz", "language_score": 0.9678547978401184, "token_count": 331, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__110486594", "lang": "en", "text": "The cast performs a highlife song with Kyekyeku’s band\nIn April 2015, we previewed Act I of an experimental highlife musical written by Artistic Director Elisabeth Efua Sutherland at the Live in Accra 2015 Jazz festival hosted by Alliance Francaise.\nMod fashion, heavy funk, local highlife, two feisty singers and a heartbroken jazz pianist populated this musical comedy set in 1960s Accra. An exploration of the music scene in Ghana & West Africa at the time, the play includes original songs and covers of songs selected from the period, bound together by the story of Diva Stepchild, an up-and-coming funk duo whose concert pianist (Elliot Yorke) has just been dumped by his fiancé. Will Elliot Yorke get over his heartbreak in time for their big debut, or will political unrest sabotage their one shot to make it big in West Africa?\nThe audience responded well, and there was particular resonance with older members of the audience who wanted us to delve deeper into the atmosphere surrounding the 1966 coup in particular, as they felt that there was not enough new media critically exploring the period. Younger members of the audience were fascinated with the songs and the funky highlife covers that were played.\nWe intend to continue the development of this show as time goes by if we can secure funding to do so. The lead roles, played by Kyekyeku and the twins Winnie and Amanda, will be fleshed out fully over three acts with more original songs and a deeper look at Ghana’s past political climate.", "domain": "music_and_dance"}
{"url": "http://yourmove.siobhandavies.com/imagepopup/481", "date": "2018-06-23T00:29:29Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267864848.47/warc/CC-MAIN-20180623000334-20180623020334-00122.warc.gz", "language_score": 0.9127805829048157, "token_count": 145, "dump": "CC-MAIN-2018-26", "global_id": "webtext-fineweb__CC-MAIN-2018-26__0__80155112", "lang": "en", "text": "I love this image of Candoco Dance Company's Vicky Malin performing This Is It, the solo I made for her as part of the company's 20th anniversary season. She is a rock star.... literally. The work toys playfully with our expectations of a solo contemporary dance performer and features Vicky singing (live!) her very own, specially-written, uplifting euro pop single, available now on iTunes (search for Vicky Malin, This Is It). You can find out more about the work here: http://www.candoco.co.uk/videos/insight-matthias-sperling-this-is-it/. Photo by Tom Palliser/Candoco.", "domain": "music_and_dance"}
{"url": "https://exils.org/can-dance-classes-improve-balance.php", "date": "2024-04-24T03:13:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818999.68/warc/CC-MAIN-20240424014618-20240424044618-00407.warc.gz", "language_score": 0.9318975806236267, "token_count": 1712, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__157191227", "lang": "en", "text": "Dance is a universal language that transcends boundaries and cultures. It is an art form that allows for self-expression, emotional release, and physical well-being. But can dancing also improve balance? Balance plays a vital role in our daily routines, from walking and running to climbing stairs and carrying loads. Can engaging in regular dance classes really enhance this crucial aspect of our lives? Let’s delve into the topic and explore how dance can be beneficial for your balance.\nBefore we can fully comprehend how dance can improve balance, we must understand the relationship between the two. Dance can be defined as a series of controlled, purposeful movements that use gravity and momentum to maintain equilibrium.\nA lire aussi : Strategies for healthy aging\nDance requires a great deal of balance to execute precise movements and transitions, and over time, this can lead to an improvement in overall equilibrium. But how exactly can dance classes lead to enhanced stability?\nOne of the most crucial aspects of dance that can lead to better balance is enhanced body awareness. Dance is a physical activity that utilizes every muscle in our bodies. Through dance, you learn to become more aware of your body’s position and how it moves in space.\nAvez-vous vu cela : Strategies for healthy eating during pregnancy\nA heightened body awareness can help you understand how your body functions and how it maintains balance. This knowledge can then be applied to everyday activities, helping to improve balance and coordination in other areas of your life.\nAnother critical factor in balance is core strength. Your core, which includes your abdominals, lower back, and hips, is the stabilizing center of your body. Strong core muscles are essential for maintaining balance in all types of movement, not just in dance.\nDance classes often involve movements and routines that strengthen the core muscles. By consistently participating in dance classes, you can build a stronger, more stable core, which can ultimately lead to better balance.\nDifferent dance styles have different impacts on balance. Some types of dance may focus more on certain aspects of balance than others. Here are a few examples of how various dance styles can improve balance.\nBallet is renowned for its emphasis on balance and control. Ballet dancers must maintain their balance while executing intricate moves and maintaining precise postures. By practicing ballet, you will not only enhance your core strength and body awareness but also improve your proprioception, the body’s ability to sense its position and movement in space.\nBallroom dancing is another dance style that can significantly improve balance. It requires a strong sense of rhythm, precise footwork, and tight coordination with a partner. The ability to maintain balance while moving quickly and changing directions can be greatly enhanced with regular practice of ballroom dancing.\nLatin dance forms like salsa, rumba, and cha-cha require quick footwork, sharp turns, and agile movements. These dance styles can heighten body awareness and improve core strength, contributing to better balance.\nResearch supports the idea that dance can improve balance. Numerous studies have explored the impact of dance on balance, particularly in older adults and people with conditions like Parkinson’s disease that can affect balance.\nAs people age, their balance tends to deteriorate, increasing the risk of falls. However, research has shown that dance can help improve balance in older adults. A study published in The Gerontologist found that older adults who participated in a weekly dance program showed significant improvements in balance and physical performance.\nParkinson’s disease affects motor control, often leading to balance problems. However, a study in the Journal of Neural Transmission found that patients with Parkinson’s disease who participated in a 12-week tango dancing program showed significant improvements in balance and mobility.\nWhether you’re an older adult looking to maintain balance or someone dealing with a balance-affecting condition, dance classes could be a beneficial addition to your routine.\nIf you’re convinced about the benefits of dance for balance, the next step is to incorporate dance into your routine. However, you must select a dance style that you enjoy and are comfortable with.\nYou can start with simple dance classes and gradually move on to more complex ones as your balance and confidence improve. Remember, consistency is key when it comes to reaping the benefits of dance. Regular practice will help enhance your balance, agility, and overall physical fitness.\nWhile dance classes can help improve balance, it’s essential to approach them with realistic expectations. Improvement takes time and dedication. But with regular practice, patience and perseverance, you can harness the power of dance to enhance your balance and overall well-being.\nRemember, dance is not just about improving balance; it’s also a fun, enjoyable way to stay active and healthy. So, step into the dance studio with an open mind and see the difference it can make in your life.\nIn summary, dance classes can indeed improve balance. They enhance body awareness, strengthen core muscles, and can even provide significant benefits for older adults and individuals with balance-affecting conditions. The key is consistency, so find a dance style you enjoy and start moving!\nScientific research has played a significant part in exploring the relationship between dance and balance. Many studies have been conducted globally, and their findings are usually accessible through databases like Google Scholar, PubMed, Crossref, and PMC. These studies often involve control groups and physical activity assessments to ensure the results are accurate and reliable.\nOne of the areas where scientific studies have been particularly useful is in identifying how dance can improve balance in older adults and individuals with Parkinson’s disease. As mentioned earlier, as people age, their balance often deteriorates, increasing their risk of falls. However, dance classes can help counteract this natural decline.\nA study cited on PubMed and available freely on PMC showed significant improvements in balance mobility in a group of older adults who participated in a weekly dance program. The participants showed improved postural control, which is crucial for maintaining balance, especially when the eyes are open.\nSimilarly, research focused on Parkinson’s disease, a condition known for affecting motor control and causing balance problems. An article on PubMed referenced a 12-week tango dancing program for patients with Parkinson’s disease. The separate window of research concluded that the patients who participated in the program showed significant enhancements in balance and mobility.\nThese scientific studies offer evidence that dance can indeed improve balance and postural control among different groups. However, it’s important to understand that while dance classes can help, they are not a cure for conditions like Parkinson’s disease. Always consult with a healthcare professional before beginning any new physical activity routine.\nThe rhythm, movement, and grace of dance can indeed be harnessed to improve balance. Whether it’s the careful precision of ballet, the fast-paced footwork of Latin dance, or the rhythmic coordination of ballroom dancing, each dance style contributes to enhancing body awareness, strengthening core muscles, and improving balance mobility.\nScientific studies, accessible through Google Scholar, Crossref, PubMed, or PMC, have further emphasized the benefits of dance for balance. They’ve shown significant improvements in balance among older adults and individuals with Parkinson’s disease who participated in a dance program. It’s crucial to have eyes open to these findings as they offer a depth of understanding to the connection between dance and balance.\nIncorporating dance into your routine, therefore, can be a beneficial step towards improved balance. However, improvement requires consistency, realistic expectations, and dedication. Each dance class will bring you a step closer to better postural control, increased body awareness, and enhanced core strength.\nSo, why not step into a dance studio or join a creative dance class? With each dance step, you are not just moving to the rhythm, but also enhancing your balance, and overall well-being. Whether you’re an absolute beginner, an older adult looking to enhance mobility, or about to open a separate window of dance exploration, remember, improvement takes time, but the journey can be as enjoyable as the destination.\nIn essence, dance classes do improve balance. They are a fun, interactive, and effective way of enhancing body awareness, strengthening core muscles, and improving balance. Start your journey with a dance style you enjoy and experience the difference it can make.", "domain": "music_and_dance"}
{"url": "http://www.likeacoupon.com/2012/06/beats-by-dre-30-off-coupon/?direct=yes", "date": "2013-05-19T21:34:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368698090094/warc/CC-MAIN-20130516095450-00024-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.8766458630561829, "token_count": 143, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__54628744", "lang": "en", "text": "Beats By Dre: 30% Off Coupon\nSave 30% off at Monster’s eBay store including Beats By Dre headphones with the coupon. Coupon expires 6/28/2012 or while supplies last.\nNotable deals: Beats Solo (Refurb) – $91, Beats Studio (Refurb) – $140, Beats Pro (Refurb) – $175\nBeats Electronics is the brainchild of legendary artist and producer Dr. Dre and Jimmy Iovine, Chairman of Interscope Geffen A&M Records, who set out to develop a new type of headphone with the capability to reproduce the full spectrum of sound that musical artists and producers hear in professional recording studios.", "domain": "music_and_dance"}
{"url": "http://www.kentroundtown.org/artist/mo-mojo", "date": "2018-06-17T23:43:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267859904.56/warc/CC-MAIN-20180617232711-20180618012711-00139.warc.gz", "language_score": 0.9373740553855896, "token_count": 130, "dump": "CC-MAIN-2018-26", "global_id": "webtext-fineweb__CC-MAIN-2018-26__0__37402371", "lang": "en", "text": "Mo’ Mojo is a hard driving, high energy, “Pardi-Gras” band. The female-fronted group features three-part harmonies, accordion, fiddle, electric guitar, mandolin, rubboard, sax, trumpet, harp, bass, percussion, and drums. Songs are sung in English and French.\nMo’ Mojo takes Zydeco music and infuses it with Americana, Cajun, reggae, rock & roll, funk, R&B, and African and Latin rhythms. One of their favorite things is to play for dancers, so dance!", "domain": "music_and_dance"}
{"url": "http://longmeadow.org/1112/NEW-Musical-Theater-Summer-Dance-Program", "date": "2019-07-18T22:41:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-30/segments/1563195525829.33/warc/CC-MAIN-20190718211312-20190718233312-00327.warc.gz", "language_score": 0.8772975206375122, "token_count": 198, "dump": "CC-MAIN-2019-30", "global_id": "webtext-fineweb__CC-MAIN-2019-30__0__214386351", "lang": "en", "text": "Ages: 10 & Up\nDates: Monday - Friday, July 9-13\nLocation: Community House Dance Studio\nA full week of fantastic advanced technical musical theater dance classes in the styles of jazz, contemporary and hip hop. We will explore famous Broadway musicals, their choreographers, dance steps and lyrics. Dancers will learn the choreography for some of the greatest numbers in musical theater history. If you love watching the dancing in musicals like Wicked, School of Rock, Hamilton, Beauty & The Beast, Matilda, Newsies, Cats or Lion King you need to come to our Musical Theater Summer Dance Program! The week will commence with a Musical Theater Dance Performance showcasing all we have learned for families and friends on Friday at 11:45 am. Dancers should wear any black leotard and bring a nut free snack and a full water bottle daily. Please email instructor, April with any questions firstname.lastname@example.org.", "domain": "music_and_dance"}
{"url": "http://www.bach.org.au/index.php/about/mission-and-objectives", "date": "2019-04-22T08:51:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578548241.22/warc/CC-MAIN-20190422075601-20190422101601-00501.warc.gz", "language_score": 0.9313003420829773, "token_count": 321, "dump": "CC-MAIN-2019-18", "global_id": "webtext-fineweb__CC-MAIN-2019-18__0__36444413", "lang": "en", "text": "Our mission is to cultivate and disseminate a local appreciation of the music of J.S. Bach, his family and contemporaries, as well as sacred/classical music in general by arranging performances, lectures and other activities.\n- Develop appealing concert programs for our patrons with musicians from Australia and abroad\n- Support talented young musicians in various ways\n- Facilitate the musical relationship between Melbourne and Leipzig and exchange programs\n- Explore suitable options, programs and partnerships concerning ‘Bach for kids’\n- Work with academics on related issues\n- Hold public lectures and seminars on related issues\n- Facilitate international Bach networking\nStatement of purposes\nThe purposes of the Society are:\n- to promote the appreciation and the performance of the works of J.S. Bach\n- to increase the appreciation and knowledge of J.S. Bach and his music\n- to promote other classical composers, particularly contemporaries of J.S. Bach, and composers of organ and sacred music\n- to encourage young musicians and young people with an interest in classical music by, without limitation, arranging performance opportunities, assisting in musical education, and providing tickets to events and scholarships\n- to arrange performances, concerts, lectures, or other activities to promote an interest and appreciation in J.S. Bach, other classical composers and organ and sacred music in Australia.\nThe Australian Bach Society Inc. was incorporated in Victoria as a Not-for-profit organisation on 13 October 2011, Reg. No. A0056814L, ABN 51 744 708 578.", "domain": "music_and_dance"}
{"url": "http://www.videoconverttool.com/technilogical-innovation-has-reach-the-drumming-industry/", "date": "2021-01-16T08:48:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703505861.1/warc/CC-MAIN-20210116074510-20210116104510-00599.warc.gz", "language_score": 0.9720538258552551, "token_count": 631, "dump": "CC-MAIN-2021-04", "global_id": "webtext-fineweb__CC-MAIN-2021-04__0__99535180", "lang": "en", "text": "Technology has steadily infiltrated our daily lives. Most people will say that it makes their lives easier, more convenient, and maybe even, more interesting. Everybody has a gadget on hand at any given time of the day, because nowadays, there is a need to be “connected”. There’s a popular saying that goes: “there’s an app for that,” and whether you like it or not, technology is already part of the norm. Technological innovations are wonderful things that keep society on its toes and encourage individuals to improve things that have already been established. Take, for example, the humble percussion instrument: the drums.\nThroughout history, drums have been known as musical instruments that are only seen, and heard, in the background. However, with the rise and popularity of electronic drum kits, they are now something of great interest, worthy of taking center stage. Compared to acoustic sets, electronic drum sets are easier to set-up, bring from one gig to another, and even store away. They can also be played “quietly” if you use them with headphones, which makes it a great choice for those who don’t want to bother their neighbors. If you like the look of an acoustic kit but want the variety that an electronic kit provides, you can even have your acoustic kit converted into an electronic one.\nFor those who record their own music, electronic kits make that much easier because they can be connected directly to your recording device or computer. You can even change the sound that your electronic drums produce, based on the genre you want to play. You can add or take away accessories whenever you like, without sacrificing space. Basically, the electronic kit has made drumming more convenient and accessible for everyone. This may be why more and more people, budding musicians and professional drummers alike, are attracted to electronic drum sets. Here is a video that talks more about the difference between acoustic drums and electronic drums:\nTechnological innovations have resulted in a lot of great advances that have made drums more popular and enticing to beginning musicians. You don’t even have to be a musician to appreciate the wonders that technology has brought about. If you think about it, to get a drum set (or anything, really), you don’t necessarily have to go a physical store anymore. Technology has made it possible to buy your drum kit online and have it delivered directly to your home. If you are a beginner, you can even find online drum lessons and learn from great and well-known drummers from respected music groups. Imagine getting drum lessons from a rock star. What a time to be alive!\nThe rise of electronic drums and drum machines have become the forerunner of some of the most popular music today. Aside from technological advances on the instrument itself, there are also various accessories that have been created to accompany the new and improved drum kit and the experience it provides. With these innovations, the music scene has also grown and expanded. The future of drumming is definitely something to be excited about even if you’re not a drummer yourself.", "domain": "music_and_dance"}
{"url": "https://www.northernlightschool.com/apps/pages/index.jsp?uREC_ID=1577915&type=u&pREC_ID=2079222", "date": "2021-05-08T03:26:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-21/segments/1620243988837.67/warc/CC-MAIN-20210508031423-20210508061423-00557.warc.gz", "language_score": 0.9662829041481018, "token_count": 375, "dump": "CC-MAIN-2021-21", "global_id": "webtext-fineweb__CC-MAIN-2021-21__0__26303623", "lang": "en", "text": "Melanie is the K-5 Music Teacher for the wonderful children of Northern Light School. She has been a faculty member of Zion Lutheran School, East Bay Center for the Performing Arts and City of Oakland Music and Dance Dept. as well as a music enrichment instructor for various elementary and preschools. In addition to sharing her love of music and performance with students, Ms. Rath performed, toured and recorded with Bobby McFerrin’s acappella group Voicestra and the vocal band SoVoSo’ for eleven years. As a studio musician, Melanie’s voice has been featured on Chrysler, Britta Water and Sprint television and radio commercials, and she was featured on KCSM’s “Best of the Bay” CD for her arrangement/recording of Mongo Santamaria’s jazz anthem “Afro Blue.”\nMs. Rath majored in both music education and vocal performance at Colorado State University and later San Francisco State University. She received her piano pedagogy/teaching certificate from SF State and studied vocal jazz and jazz theory at Jim Grantham’s Jazz School.\n“Music elevates the mind, frees the soul, fosters happiness and brings people together. It’s the universal language for a reason! The study of music is very flexible and improvisational which allows for me to take each student and class at their current level, discover their unique talents and grow from there. My mission is to help develop each child into a well rounded young musician who can create music, read music and perform music individually as well as in groups. I want music class to be a very joyful moment in the day for the children, and for those joyful moments to add up to a lifetime of musical creation, appreciation and sharing with the world.”", "domain": "music_and_dance"}
{"url": "https://www.tribal-dance-academy.com/event-details/weekly-contemporary-oriental-dance-with-sofiya", "date": "2021-11-27T08:31:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358153.33/warc/CC-MAIN-20211127073536-20211127103536-00183.warc.gz", "language_score": 0.7832521796226501, "token_count": 233, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__87994295", "lang": "en", "text": "Weekly Contemporary Oriental Dance with Sofiya\nZeit & Ort\nÜber die Veranstaltung\nTreat yourself with an energizing, fun and exciting dance session!\nContemporary Oriental Dance is a blend of oriental and contemporary dance with elements of tribal fusion. The class incorporates various techniques that improve the improvisation, body control, isolations, body-mind centering, musicality, and expressiveness.\nDuring the class we will learn more about the correct dance posture, make dance conditioning exercises, go through simple ballet exercises and turns, and learn important oriental moves. In the end, we will combine these techniques into an exciting choreography. The class level will vary according to the students. No age restriction.\nPrice: 12 € regular/ 9 € reduced 4-er card: 40 € regular/ 30 € reduced (valid for 5 weeks) Available through he Urban Sports Club and Class Pass\nClass language : english\nContact and more info:", "domain": "music_and_dance"}
{"url": "http://www.carolbdance.com/", "date": "2021-06-23T18:05:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-25/segments/1623488539764.83/warc/CC-MAIN-20210623165014-20210623195014-00418.warc.gz", "language_score": 0.9621003866195679, "token_count": 290, "dump": "CC-MAIN-2021-25", "global_id": "webtext-fineweb__CC-MAIN-2021-25__0__29402938", "lang": "en", "text": "Phone number: 636-537-3203\nphilosophy and goals\nOur goals are to encourage and instruct children to develop and enjoy the art of dance. Dance education gives children of any age the opportunity to work on areas of coordination, rhythm, confidence, discipline, and creativeness. Limited class size allows us to give individual attention as well as working with the class as a group, learning teamwork in a non-competitive atmosphere.\nDancing gives children the chance to feel pride, satisfaction, and self-esteem in their accomplishments. Dancing is a wonderful healthy outlet, excellent exercise, and stress relief outlet away from our busy lifestyle.\nChildren are taught in each form of dance, technique and terminology. Beginning in the mid year we begin preparing for our year end performance to the excitement of costumes and the highlight of performing at the theatre.\nDancing is a skill that can be learned at any time and can be carried on throughout their entire life. Many of our students have taken their dance education to participate in Poms, Cheerleading, school theatre, and musicals. Some of our students have gone on to pursue dance in college and use the skills they have learned in theatre, dance ensembles, and teaching careers.\nWe feel truly blesssed to have been given this opportunity to be a part of so many children's lives. We are looking forward to a great year!\n-Carol Bowman and Faculty", "domain": "music_and_dance"}
{"url": "https://www.tango.us/blog/meet-a-mango-annie-ng", "date": "2024-02-28T23:13:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474746.1/warc/CC-MAIN-20240228211701-20240229001701-00350.warc.gz", "language_score": 0.9661446809768677, "token_count": 1155, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__40503404", "lang": "en", "text": "Tango empowers teams to share and scale their knowledge so everyone can be their best at work. And we’re equally passionate about empowering our own team to be their best at work, outside of work, and everywhere in between. This series is all about the people behind the product (the Mangos behind Tango, if you will 🤗) and everything they bring to the team that makes us stronger.\nAnnie Ng is the Social & Brand Partnerships Lead at Tango. She has been with our company since the early days, and has been a huge contributor to Tango’s culture and growth.\nWhen she’s not taking Tango viral on TikTok, you can find her on the dance floor pursuing her passion. We’d love to tell you that the style of dance she’s obsessed with is also called Tango. But alas, she’s chosen another, equally awesome style—Bachata!\nLet’s hear from Annie how she Bachatas—when she’s not Tangoing, of course. 😉\nI was exposed to both Salsa and Bachata music growing up, but never learned how to dance either style until college. I credit my undergraduate friends for dragging me out to “Latin Nights” at our local venues on weekends. Those immediately drew me in. I was mesmerized watching people connect through social dancing and I loved seeing how happy everyone was.\nI started learning by watching people dance, and eventually, as my passion grew, I decided to join the college Salsa team. My first time attempting to dance Salsa / Bachata was probably seven years ago, but I started consistently dancing and taking lessons about four years ago.\nIt’s been a life-changing hobby for me. Aside from it being my favorite way to de-stress, it’s given me a community, lifelong friends, and ankles of steel. 👠\nWhat is Bachata?\nBachata is a genre of music and style of dance that originated in the countryside of the Dominican Republic. It was actually banned there for some time during a dictatorship, but the genre grew in popularity, and eventually spread across the world through a prominent Bachata group called Aventura.\nThere are three different Bachata styles—traditional, sensual, and modern. My favorite is traditional. I like that it’s musicality-oriented, less flashy, and all about the vibes!\nHow was the experience pursuing performance dance while working full-time?\nWorking full-time while learning choreography for performances was definitely challenging. During the months where I was dancing on a team there were many days where I’d work during the day, eat a quick dinner, and then learn choreography and rehearse for three hours at night—usually until 11 p.m. 😳\nOn weekends, I would travel to perform at Salsa/Bachata Festivals that took place across the United States. Performing can be quite stressful, especially as someone with stage fright!\nI learned that it was important to take breaks between dancing on teams to avoid burnout. When I’m not on a team, I still take lessons and dance socially—which helps me keep the balance and remember the “fun” of dancing. I enjoy the periods of time when I’m just dancing whenever I want vs. performing on a team.\nAny advice for people looking to get into Salsa / Bachata?\nThe biggest piece of advice I have for people who are looking to get started in Salsa or Bachata is to take lessons AND go social dancing.\nLessons teach technicality and steps, but social dancing is where you find your own style and learn to improvise. People often think that you only need lessons to learn to dance, but coupling social dancing with lessons makes you a much more well-rounded dancer.\nIt takes a lot of vulnerability to go social dancing, but it’s where you build your confidence, find community (“social” dancing, get it?), and in my opinion, is the purpose of learning to dance in the first place.\nWhat good do lessons do if you’re not able to whip out some moves when you’re out with friends?\nHow has Tango supported you on your journey as a dancer?\nMy work-life balance at Tango really allows me to continue pursuing my passion for dance, and I get a lot of encouragement from the team to do so.\nOne of my favorite things about working at Tango is that everyone has a personal project or hobby outside of work, and that we have the space and support to continue exploring them. This is so important to me—and having the flexibility to attend Salsa/Bachata Festivals, continue to take dance lessons, and go social dancing allows me to bring my fullest self to work.\nIt’s been awesome to share my passion for Salsa/Bachata with the team as well. We’ve been to a Salsa lesson together at one of our offsites, and I even got a chance to teach Salsa at our booth during a tech conference!\nThe bottom line\nThe Tango team comes from a wide range of industries, all with unique backgrounds, experiences, and perspectives—and we’re stronger for it. Join us.\nKeep in touch\nWe'll never show up empty-handed (how rude!).\nThank you! Your submission has been received!\nOops! Something went wrong while submitting the form.", "domain": "music_and_dance"}
{"url": "https://blog.amathuslimassol.com/index.php/2018/06/20/cyprus-rialto-music-festival-june-21-july-31/", "date": "2020-03-29T08:45:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-16/segments/1585370494064.21/warc/CC-MAIN-20200329074745-20200329104745-00231.warc.gz", "language_score": 0.9460153579711914, "token_count": 108, "dump": "CC-MAIN-2020-16", "global_id": "webtext-fineweb__CC-MAIN-2020-16__0__65048935", "lang": "en", "text": "Now in its 13th year, this awarded festival offers music lovers a series of free, open-air music events at Heroes Square. Well-known European bands and artists perform in a melting pot of traditions and influences that has earned the festival a place on the EFFE list of Europe’s finest festivals. The theme of the event is unity through music, with Cyprus acting as a bridge between different cultures and musical traditions.\nHeroes Square, Limassol 20:30\nTel: 7777 7745 (box office)", "domain": "music_and_dance"}
{"url": "http://verdadesepoesia.blogspot.com/2007/11/for-you-love-you-forever-and-ever.html", "date": "2018-07-19T02:05:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676590443.0/warc/CC-MAIN-20180719012155-20180719032155-00542.warc.gz", "language_score": 0.8473631739616394, "token_count": 131, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__146597151", "lang": "en", "text": "quinta-feira, 1 de novembro de 2007\n«For you! Love you... forever and ever»\n\"Song to the Siren\" by This Mortal Coil\nOn the floating, shapeless oceans\nI did all my best to smile\ntil your singing eyes and fingers\ndrew me loving into your eyes.\nAnd you sang \"Sail to me, sail to me;\nLet me enfold you.\"...\n...Hear me sing: \"Swim to me, swim to me, let me enfold you.\"\n\"Here I am. Here I am, waiting to hold you.\"", "domain": "music_and_dance"}
{"url": "http://www.dancingwiththedocsottawa.ca/", "date": "2017-04-25T06:32:46Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120187.95/warc/CC-MAIN-20170423031200-00348-ip-10-145-167-34.ec2.internal.warc.gz", "language_score": 0.9467957019805908, "token_count": 127, "dump": "CC-MAIN-2017-17", "global_id": "webtext-fineweb__CC-MAIN-2017-17__0__101775919", "lang": "en", "text": "Dancing with the docs is an annual fundraiser supporting patient care and research at The Ottawa Hospital.\nEach year a number of selected physicians and researchers from The Ottawa Hospital train rigorously for months with professional dancers from Arthur Murray Dance Studio to compete for the coveted Medicine Ball Award while raising money for a priority need of their choice. The winner is determined by a panel of judges scores combined with supporters’ votes.\nStay tuned for our 2018 Dancing Doc Lineup.\nIf you missed the event this year, join us in 2018 for a great evening out all in support of The Ottawa Hospital.\nThank you to our 2017 Sponsors", "domain": "music_and_dance"}
{"url": "https://theninthworld.com/mixing-and-mastering-music-understanding-the-differences/", "date": "2024-02-24T05:27:05Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474523.8/warc/CC-MAIN-20240224044749-20240224074749-00592.warc.gz", "language_score": 0.9623986482620239, "token_count": 482, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__61295888", "lang": "en", "text": "Mixing and mastering music is different; however, they are equally important parts of the audio production process. They can usually become blurred and difficult to differentiate. Mixing is basically the step before mastering that includes adjusting and combining tracks to form a stereo audio file after a mixdown. The file is then mastered that makes sure the different songs are clearly polished and create a cohesive whole on an album. If you are planning to record music at the Songmill recording studio, it can help to understand the differences between mixing and mastering.\nHow to Mix Music\nAfter recording all the individual song tracks, a mixing engineer works their magic. They label and organise the tracks into their similar groups. Usually, the song is normalised to make sure the tracks are at similar volume levels and no tracks peak. Then, the engineers will EQ every track to get the best tones out of the instruments and utilise high and low pass filters to eradicate unnecessary frequencies. Generally, EQing is meant to make important adjustments that let all tracks inhabit their own frequency areas. This makes the song clear and every instrument distinguishable.\nThis is also applicable in terms of panning the tracks to get a full, wide sound. Delay, reverb, and compression can be added to every track to obtain the desired tones for the instrument. Automating effects and fades throughout the songs can help engineers control the song’s emotion sonically. Many engineers switch between the studio reference monitor and headphone to achieve a consistent sound for their mix on different sources. The mixing process ends when the song sounds as best as they possibly can.\nHow to Master Music\nThis starts with the mastering engineer getting the stereo track, together with some notes and reference songs from the artist or mixing engineer. This will help them understand the sound they will go for. Also, this will ensure the mix is not modified in areas intended to sound a certain way. The next step the mastering process includes adding the finishing touches to the song by making slight adjustments mainly to the EQ, limiting, stereo enhancement, and compression. The beginning and ending of a song is added with spacing and fades. Usually, audio mastering engineers provide sequencing services for albums to put songs in the desired order, encode the tracks, and label track names. Their main goal is to offer a high-fidelity, professional, and high-clarity sound that listeners can enjoy on any source.", "domain": "music_and_dance"}
{"url": "https://salonafricana.com/events", "date": "2019-10-24T03:06:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-43/segments/1570987838289.72/warc/CC-MAIN-20191024012613-20191024040113-00203.warc.gz", "language_score": 0.948312520980835, "token_count": 309, "dump": "CC-MAIN-2019-43", "global_id": "webtext-fineweb__CC-MAIN-2019-43__0__74998125", "lang": "en", "text": "Salon Africana at The Africa Center.\n1280 5th Ave, New York, NY 10029\nDoors at 7:30pm. Performance at 8pm. $30 Seated Tickets HERE.\nJulia Sarr, one of the most original vocal artists to emerge from francophone West Africa. Initially making her mark in the Paris music scene as an A-list backing vocalist for luminaries such as Salif Keita, Marcus Miller, Oumou Sangaré, Alpha Blondy, and the legendary Miriam Makeba, Julia Sarr is a singular and incomparable voice in her own right. Her debut album “Set Luna” featured her long time mentor Youssou Ndour as a special guest and was heralded widely by the international music community. Most recently, Sarr released the acclaimed \"Daraludul Yow”, an intimate and magical collection of songs that evoke nostalgia for her native Senegal, where she grew up.\nZoë Modiga is an artist who represents the present and future of African music while challenging the status quo and inspiring a new generation. She draws from the roots of African storytelling, Jazz composition and Motown soul but creates a sound entirely her own. Zoë’s debut album was nominated for Best Jazz Album and Best African Artist for the 24th South African Music Awards 2018 and was awarded with the Mbokodo Award for music in 2018. Zoë was in the TOP 8 of The Voice SA, 2016.", "domain": "music_and_dance"}
{"url": "https://www.anaheimpackingdistrict.com/events/live-music-from-c-a-n-d-i-d-pop-alternative", "date": "2023-09-29T09:50:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510501.83/warc/CC-MAIN-20230929090526-20230929120526-00793.warc.gz", "language_score": 0.7781059741973877, "token_count": 99, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__188732130", "lang": "en", "text": "Sun, Jun 21|\nAnaheim Packing House\nLive Music From: C A N D I D ! (Pop/Alternative)\nWe are celebrating Make Music Day and Father's Day! Head to Instagram @candid_band to watch a live performance if you can't make it out.\nTime & Location\nJun 21, 2020, 6:00 PM – 8:00 PM\nAnaheim Packing House, 440 S Anaheim Blvd, Anaheim, CA 92805", "domain": "music_and_dance"}
{"url": "https://vfis.tdtu.edu.vn/news/2021-01/christmas-season-vfis", "date": "2021-02-28T21:54:55Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178361776.13/warc/CC-MAIN-20210228205741-20210228235741-00197.warc.gz", "language_score": 0.9303287267684937, "token_count": 163, "dump": "CC-MAIN-2021-10", "global_id": "webtext-fineweb__CC-MAIN-2021-10__0__176181861", "lang": "en", "text": "Christmas season at VFIS\nThe Christmas season is not only about fun activities, but also a time for students to learn about the values of love, generosity and caring. In the weeks before Christmas, students explore the Christmas season through crafts, food and performances.\nThis year’s theme was \"Christmas Around the World\" and our students decorated the school’s Christmas tree with flags and information about Christmas traditions in each country. The top of the tree was decorated with paper doves symbolising the message of Christmas, Peace on Earth. The Christmas celebration showcased our students’ talents in dancing, singing, playing and acting. Even the teachers prepared a dance to wish VFIS students a Happy Christmas and a joyful end to Term 1.\nThanks to all who made our Christmas celebration special!", "domain": "music_and_dance"}
{"url": "https://ericespinosa.com/what-has-changed-recently-with-schools/804", "date": "2023-12-11T05:52:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679103558.93/warc/CC-MAIN-20231211045204-20231211075204-00896.warc.gz", "language_score": 0.9778161644935608, "token_count": 546, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__180595405", "lang": "en", "text": "The Best Source of Quality Music Lessons\nIf you are a lover of music, then you certainly know that it has been around for centuries, as it is one of the most beautiful forms of art, one through which human beings can express themselves and feel things more deeply. Being a lover of music, then, you might want to learn how to play it yourself, so that you too can express yourself through this beautiful form of art. One will be glad to know that it is not at all hard to learn how to create music through playing musical instruments – all that one needs to do is to find an excellent source of music lessons. One who finds the best music school offering diverse music lessons, then, can be sure that when he or she does so, it will be possible to enjoy a lot of benefits through it, all of which are so satisfying.\nFinding the best school of music like this is certainly something that you should do, as when you do so, you can be sure that you can choose from between a lot of musical instruments to learn. One can find music lessons that include how to play the piano, the guitar, the drums, the saxophone, the violin, the clarinet, the cello, and a host of other popular and beautiful musical instruments. Maybe you have always dreamed of playing a certain musical instrument, one that deeply speaks to your taste in music and beauty, and if this is so, you will love it that here, you have the chance to live your dream.\nAnother thing that people can gain when they find a school like this one is the benefit of learning only from the best teachers in the industry. One can choose the musical instrument that he or she wants to learn how to play, and when one does so, one will be assigned to a music teacher who specializes in such an instrument, and has had a lot of experience playing and teaching it. You can be certain, then, that because you will learn only from the best, you will have your best chances of really being able to develop your skill when it comes to the instrument that you have chosen.\nLast but not least, people will be able to benefit when they find a music school like this one because when they do so, they will be able to enjoy convenience. The reason why this is so is because they can pick a time slot that fits in with their busy schedules, plus how many hours per week and per month they can give to study, making the program easy for them to finish.\nThose who find a great music school like this one, then, can be sure that when they do so, they will be able to gain a lot of benefits, all of which are worthwhile.", "domain": "music_and_dance"}
{"url": "https://www.cottonwoodmusictherapy.com/", "date": "2022-08-08T15:34:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882570868.47/warc/CC-MAIN-20220808152744-20220808182744-00185.warc.gz", "language_score": 0.921984076499939, "token_count": 357, "dump": "CC-MAIN-2022-33", "global_id": "webtext-fineweb__CC-MAIN-2022-33__0__80173747", "lang": "en", "text": "What is Music Therapy?\nMusic Therapy is the clinical and evidence-based use of music to achieve patients' physical and mental care needs, promote good health and healing through a therapeutic relationship with a credentialed professional.\nCottonwood Music Therapy now offers virtual lessons and music therapy sessions. On an individualized, client-to-client basis, we can adapt all of our services to the virtual world. Popular services include guitar lessons, general music class, and songwriting workshops.\nIndividual Music Therapy\nOne-on-one private music therapy sessions. Each client receives personalized assessment, recommended goals and a treatment plan. Music exercises are used to target non-musical objectives and facilitate progress or retention of the client's particular needs.\nMusic lessons that are specifically designed for individuals with varying needs such as physical or emotional afflictions. Lessons cater to people's needs with adaptive techniques, use of technology, customized instruments and lesson plans.\nGroup Music Therapy\nSimilar to individual music therapy except in a group settings. Groups typically have related goals such as behavioral & emotional needs or memory retention. Group sessions are often held in assisted living facilities, counseling centers and clinics.\nTraditional private music lessons for all ages and abilities on Guitar and Ukulele. Beginner lessons also available for Piano, Electric Bass, Mandolin and Vocal training. If appropriate, group lessons such as Rock Band classes can be provided.\nFolk Classes & Preschools\nIn the spirit of Pete Seeger, these educational classes and assemblies are specifically catered for children ranging from preschool through high school. They focus on the history of folk music, folk instruments, and the global influence of folk from songwriting to strengthening community.", "domain": "music_and_dance"}
{"url": "https://www.helpinghaitiwork.org/morpheus-concert-342017/", "date": "2023-02-08T11:02:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500758.20/warc/CC-MAIN-20230208092053-20230208122053-00878.warc.gz", "language_score": 0.8882734775543213, "token_count": 194, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__37816", "lang": "en", "text": "Saturday, March 4, 2017 at 7:00 PM – 9:00 PM\nHamel Community Center, 3200 Mill St, Medina, MN 55340\nYou are invited to a concert featuring the band, Morpheus! Rock to music by Blood, Sweat & Tears, Steppenwolf, Santana, Chicago, The Eagles, The Doors and others as the 12-member group performs hits from some of music’s greatest bands.\nAdmission: $15 in advance. Use this ticket link to make your tax-deductible donation through GiveMN. Refreshments will be available; wine/beer for a $5 cash donation at the event. Bring your friends!\nHamel/Medina Community Center just off Hamel Rd, a half mile west of Hwy MN-55 and Old Rockford Rd. (NOT Medina Ballroom but the Community Center at 3200 Mill Street, Hamel, MN 55340).", "domain": "music_and_dance"}
{"url": "https://phoenix-dx.com/case-study/mobile-application-development-trove/", "date": "2024-03-04T20:39:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476532.70/warc/CC-MAIN-20240304200958-20240304230958-00800.warc.gz", "language_score": 0.9433261156082153, "token_count": 214, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__155693927", "lang": "en", "text": "Our customer is a fast-paced worldwide consulting organisation supporting over 40,000 community members across 19 countries. The group presents tailored solutions to maintain the community values and way of life.\nMusic is important to the group’s global community. However, they could not easily share music, including songs produced by famous artists and their members. The organisation wanted an application that would enable its members to access music – including music videos – selected by community administrators in a user-friendly way. They also saw an opportunity to generate revenue for reinvestment in the group.\nWorking with PhoenixDX, the group used the OutSystems platform to build Trove – a Spotify-like music-sharing application. The mobile app enables the group’s 50K+ community members worldwide to browse, select and listen to songs and music videos from a catalogue curated and managed by the group’s community administrators. The music app is available on a free subscription basis for community members, with premium additional content available via a paid subscription, creating a new revenue stream for the group.", "domain": "music_and_dance"}
{"url": "http://sandzen.org/program-event-calendar/", "date": "2018-05-23T19:00:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-22/segments/1526794865702.43/warc/CC-MAIN-20180523180641-20180523200641-00362.warc.gz", "language_score": 0.9150965213775635, "token_count": 219, "dump": "CC-MAIN-2018-22", "global_id": "webtext-fineweb__CC-MAIN-2018-22__0__167156319", "lang": "en", "text": "Tuesday evening, June 5, 2018, at 7 p.m. – Dala Camerta Quartet in concert. The group is composed of musicians Ann Samuelson on violin, Cindy Fong on piano and violin, Diane Guillemette on viola, and Valerie Matthews on cello. They will be playing selections by Franz Joseph Haydn and Robert Schumann. The concert is the first performance in the Sandzen Gallery’s 2018-19 chamber music series.\nSaturday, July 14, 2018, at 2:00 p.m. – Chamber Music at the Barn performing at the Sandzén Gallery.\nSaturday evening, August 4, 2018, from 5 to 7 p.m. – reception for guest artists William Counter, Krystall Barnes, John Keeling, and Stan Detrixhe. Artists talks begin at 5:30.\nSunday, November 4, 2018, from 2 to 4 p.m. – reception for Ray Troll, Chuck Bonner, Curt Clontz and Holiday Gift Show artists. Artists talks begin at 2:30.", "domain": "music_and_dance"}
{"url": "http://www.elcic.ca/Partners-In-Faith/Workshop-Modules/Music.cfm", "date": "2019-03-19T15:31:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-13/segments/1552912201996.61/warc/CC-MAIN-20190319143502-20190319165502-00455.warc.gz", "language_score": 0.9600282907485962, "token_count": 820, "dump": "CC-MAIN-2019-13", "global_id": "webtext-fineweb__CC-MAIN-2019-13__0__70407824", "lang": "en", "text": "Prepared by: Barry Bence\nTheme: Music can help us get to know God better.\nTarget Audience: Confirmands, youth, seniors, boomers, intergenerational, families.\n- To hear how music has helped individuals to get to know God better.\n- To understand that different styles of music may contain similar life lessons.\nMaterials or Resources (required)\n- Music tapes and CDs\n- Tape and CD player\nHave everyone bring a CD or tape of his or her absolute favorite piece of music. Play it. Share in a few words why you like it, what it says about you and what you believe in. Let others comment on how it helps them better understand you.\nThe common experience depends on everyone's listening non– judgmentally to the other person's favorite music. Trust me, that's not as easy as it sounds. Set ground rules like \"no grimaces, earplugs, etc.\" As well, try hard to listen non-judgmentally to other people when they share why they like that music.\nTry to identify each piece of music's predominant message. For instance, Roy Rogers theme song, \"Happy Trails\" seems to say, happiness depends on your attitude, not on your outward circumstances. (For those who do not know who Roy Rogers was, my condolences. I watched every one of his movies he ever made! But you get the idea.) One of my son's favorite groups, Oasis, has a line that asks whether there's Anyone there who even cares. That's a little deeper than old Roy's song. But it, too, raises a good point.\nThe challenge is to try to come up with the universal human situation that this song addresses. Some commentators have pointed out that 80% of all songs deal with broken relationships. Others wonder who am I sexually? Some refer to our cultural anxiety. Others may contain memories of experiences from an older generation that we aging boomers would like to pass on.\nIf appropriate, try rearranging the cards so that different songs are grouped together around similar themes such as loneliness, happiness, etc. Do different songs from wildly different artists all try to speak to the same human questions we all raise?\nAsk yourselves, which of these pieces of music are likely to be enjoyed 10 or 20 or even 50 years from now? Will these songs help us better face whatever those new days bring?\nThe Psalms encourage us to \"sing to the Lord a new song.\" Ask each other, which of your songs would the Trinity like to listen to tonight?\nRevelation 15:3-4 for one such song.\nRevelation 5: 11-14 has the words to another.\n- Which, if any, of your songs belong in the same concert hall?\n- Do any of them reach above our daily lives to help us sing about the role God plays in our lives?\nSomeone wrote, \"Those who hear not the music think the dancers mad.\" Some feel that our generation has a lot of people who can't or won't hear the music from heaven's FM Stereo station.\nPlay a selection from the leader's collection of faith–full music. Then have the leader say a few words how that music helped him or her get to know God better.\nHave someone read Psalm 150, perhaps with any one of the previously played selections as background music. (CDs can praise the Lord as well as harps and timbrels.)\nAs the music dies away have someone pray this prayer:\nGod of harmony, God of silence, you call us each to be one special note in your great symphony called creation. Let all we say and do be a song of love, performed for an audience of One, the Trinity and overheard and applauded by all time and all places. Amen.\nPermission is granted to reproduce this module for use in ELCIC congregations. Any other use requires copyright permission. Please contact firstname.lastname@example.org.", "domain": "music_and_dance"}
{"url": "https://www.eleea.net/", "date": "2019-06-17T03:36:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-26/segments/1560627998369.29/warc/CC-MAIN-20190617022938-20190617044938-00461.warc.gz", "language_score": 0.9227266907691956, "token_count": 592, "dump": "CC-MAIN-2019-26", "global_id": "webtext-fineweb__CC-MAIN-2019-26__0__104596784", "lang": "en", "text": "Award winning singer-songwriter ELEEA is a force to be reckoned with; embodying the modern day storyteller and making music that juxtaposes sensitivity and strength. ELEEA’s raw, powerful voice ringing out over her guitar is what first captures your attention, then her intelligent, emotive songwriting captivates and holds you until her final breath. As an avid solo-traveler, many of ELEEA’s more recent songs are influenced by her travels internationally, as part of an anthology she’s dubbed ‘The Travel Collection’.\nSince beginning her career at 15, ELEEA has become recognised as a rising talent in the Australian independent music scene (Queensland Music Award winner 2018). In her burgeoning career, she has released two albums; played numerous festivals (Edinburgh Fringe, Mullumbimby Music Festival, BLEACH*, Buskers By The Creek); featured on The Voice Australia (2015), supported touring acts (Karise Eden, Stonefield, Kate Martin); and has performed and busked throughout Australia and internationally.\nELEEA has recorded two independent works: ‘Human’ (album, 2011) and ‘Lion’ (EP, 2016). Upon its release, the title track from ‘Human’ peaked in the top 10 of the Triple J Unearthed charts, while ‘Lion’ officially debuted on 102.9 Hot Tomato’s Gold Coast Uncovered segment. In 2018, ELEEA won a prestigious Queensland Music Award in the Funk/Soul/R&B category, for her song “Without You”, while “Conditions” was a Top 4 Finalist. ‘Lion’ was a passion project that integrated ELEEA’s eclectic taste in music and broad vocal range, and was brought to life under the guidance of producers Chris Naughton and Guy Gray (David Bowie, Midnight Oil, Bon Jovi, Joan Jett, Cindy Lauper and Paul Kelly.)\nAside from Music, ELEEA has also been a Miss Universe Australia national finalist (2014), Miss World Australia top 10 finalist (2016), and won the Miss World Australia talent section (2016). She’s also a strong ambassador for the Animal Welfare League of Queensland, and regularly volunteers her time and talents to children, animals and people with special needs.\nELEEA’s talent is instinctual and intense, emerging from a fierce passion for her art. If two original albums, three music videos, hundreds of knock out performances and over 700 unique songs have been achieved already, the question on everybody’s lips is: what will we see next?\nAWARDS AND ACHIEVEMENTS\nQueensland Music Awards Soul/Funk/R&B winner (2018)\nQueensland Music Awards Indigenous Artist finalist (2018)", "domain": "music_and_dance"}
{"url": "http://imageandspirit.blogspot.com/2008/10/marys-song.html", "date": "2018-07-17T05:45:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676589573.27/warc/CC-MAIN-20180717051134-20180717071134-00416.warc.gz", "language_score": 0.9793660044670105, "token_count": 263, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__751465", "lang": "en", "text": "Mary's song is her response to her cousin Elizabeth's spirited greeting, but it is more than that. It comes from deep inside her. It knits together in a new way the sacred experience and language and hope of her people like pieces of a quilt transformed from scraps to splendor.\nNowhere in this song do we hear the name of her child, but somehow he is there in every phrase. Mary's song is not hers alone; it is the song of the child who wants to come, who comes to do the will of God. This song echoes in the events of her son's life, his death, and his exaltation. The song celebrates the God who keeps promises -- not only to Abraham, but also to us.\nThe Church has picked up this song and sung it often, particularly in daily evening worship. Mary's song, The Magnificat, is a central text in the liturgy of the historic Church. Who knows what number of settings musicians have composed for it through the years? Who knows how many voices have joined with Mary’s in singing her song through the centuries? From \"The Song of Divine Triumph\" by the Rev. Charles Hoffacker. Read it all HERE.\nImage: \"Magnificat\" by Virginia Wieringa", "domain": "music_and_dance"}
{"url": "https://indiannavy.nic.in/node/25015", "date": "2024-04-20T12:59:21Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817650.14/warc/CC-MAIN-20240420122043-20240420152043-00775.warc.gz", "language_score": 0.9692556262016296, "token_count": 173, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__189480186", "lang": "en", "text": "Naval Band Concert, INS Shivaji\nINS Shivaji organised a Navy Band Concert on 14 December 2019. In addition to the local populace of Lonavala, ex-servicemen, prominent civilian dignitaries, personnel from Air Force Station Tropo and Police Training Centre (Khandala), children from various schools and SCC cadets were also invited for the event. The concert opened with a fanfare, which was followed by a wide ranging score, comprising classical, popular and martial music, as well as Bollywood and patriotic numbers. The under trainee sailors of the unit displayed their military skills by performing a Continuity Drill, which consists of a series of coordinated and precise drill movements with rifles. The cadets of the Sea Cadets Corps performed the traditional hornpipe dance, and enthralled the audience with their enthusiasm and verve.", "domain": "music_and_dance"}
{"url": "https://raisedbybadgers.wordpress.com/", "date": "2023-05-30T05:36:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224645089.3/warc/CC-MAIN-20230530032334-20230530062334-00364.warc.gz", "language_score": 0.9542214870452881, "token_count": 1354, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__219667293", "lang": "en", "text": "In an earlier post I implied that learning to play a specific instrument is secondary to the goal of learning to play music. That’s very much what I believe, but on the practical level anyone who wants to learn music will need to choose an instrument to start with. With that in mind, here are some relatively brief remarks on three instruments that are among the most popular for the purpose, plus one that I think should be more popular than it is.\nYes, this list is short, and deliberately so. Some future posts will present additional (and occasionally rather oddball) alternatives. The ones mentioned here made the initial cut because (a) any of them can play more than one note at a time; (b) I have experience with them, and (c) All of them come in acoustic versions requiring no electricity, orgone, forsaken children, or any other external power source. (An ever-increasing variety of electric models are available, of course. Still, I favor acoustic instruments for most beginning students, for reasons that would constitute a major topical tangent.)\nBy the way, I haven’t arranged these in any particular order of desirability. Prospective musicians’ living arrangements, travel patterns, personal preferences, et cetera ad nauseam vary widely and change often.\nA final caveat: I present these remarks with the adult or semi-adult novice in mind. Pre-teens introduce a few additional considerations.\nAnd fair warning: Future posts may discuss each of these instruments in much greater depth.\nWith all that out of the way, then:\nThe guitar is well into its second century as the clear favorite, for many good reasons. Its range in terms of pitch meshes well with human voices from bass to soprano. The piano covers a much wider pitch range, but the guitar is arguably more versatile in the variety of timbres1 available to it. Although most standard-size guitars won’t fit in the overhead bin of a Boeing 737, and thus don’t quite meet my personal standards of portability, they’re still a lot more portable than pianos (which might not even fit in the luggage compartment and really shouldn’t be put there even when they will. Especially if you’re flying United. They break guitars, after all; I don’t even want to think about the havoc they’d wreak on a piano.) Guitar is the primary instrument in many genres of popular–and indeed not-so-popular–music, thus appealing instantly to semi-social nerds in search of charisma generators. <points back at self with 3 fingers>\nNot much can be said about piano that hasn’t been said over and over for the past three centuries or so. It’s one of the canonical instruments for general musical instruction, with an insanely broad pitch range and the ability to adapt to almost any genre of music. Portability is obviously a major issue, with a couple of almost-as-obvious coping strategies: (1) When traveling, try to stay, as much as possible, in places where a piano is available; or (2) Get a cheap-ish electronic keyboard, with built-in speakers, to travel with.\nThen there’s violin. Oh boy, is there ever. It’s been around even longer than the piano. Look, I’m biased here: This is currently my primary instrument. It really helps, though, that I’d been playing quite a few other instruments for 40+ years before picking up the violin seriously. It’s technically demanding, remarkably unforgiving, and difficult (most classical musicians would say ‘impossible’) to learn well without some kind of formal instruction. We’re talking about a major challenge for anyone who approaches it without having any prior background in music. For those who stick with it, though, the payoff can be amazing. The violin is often called ‘the world’s most versatile instrument’. It has, demonstrably, the most expressive range of timbres in the acoutstic world. Dark, bright, mellow, brassy, dry, lush, ringing clarity, grating distortion: In the hands of a skilled enough player the violin can do it all. As far as I’m concerned, the only non-electronic instrument that really rivals it is the human voice. As with piano and guitar, the violin shows up in virtually every genre of music.\nAs long as I’m indulging my biases, I’ll put in a plug for the mandolin. This little Mediterranean noisemaker, which came on the scene in about the same era as the violin family, is my own secondary instrument these days, getting almost equal time with the violin. The mandolin is tuned just like the violin, except that instead of having four strings it has eight, tuned in unison pairs: GG-DD-AA-EE. It uses the same fingering patterns as the violin but is much more forgiving. (Being played with a pick rather than a bow really helps.) Thus, in addition to its own merits, it’s a good ‘gateway’ instrument for people who think they might like to try violin someday but are understandably intimidated by that instrument’s technical demands. Also like the violin, the mandolin fits easily in the overhead compartment of a Boeing 737, which is my standard of portability. Although its presence in mainstream rock music is limited, it’s widely used in most genres of folk music, shows up fairly often in some styles of jazz, and has a surprisingly broad classical repertoire. It deserves to be taken more seriously.\nSo here we are, for the time being. There’s more to come.\n(1) Timbre is a somewhat technical term but a hard one to avoid when dicussing the tonal qualities of musical instruments, so here’s an explanation straight outta Wikipedia:\n…also known as tone color or tone quality from psychoacoustics, [timbre] is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, string instruments, wind instruments, and percussion instruments … In simple terms, timbre is what makes a particular musical sound different from another, even when they have the same pitch and loudness.\nThere are lots of links in the original, of course, so I recommend at least skimming it.", "domain": "music_and_dance"}
{"url": "https://www.thenorepeatsproject.org/", "date": "2021-03-02T09:56:35Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178363809.24/warc/CC-MAIN-20210302095427-20210302125427-00333.warc.gz", "language_score": 0.9635699987411499, "token_count": 599, "dump": "CC-MAIN-2021-10", "global_id": "webtext-fineweb__CC-MAIN-2021-10__0__226114106", "lang": "en", "text": "In 2017, an eighth grade teacher challenged Nicholas Boettcher's class to make a difference in their community. Nicholas, the principal bassist with the Chicago Youth Symphony Orchestra (CYSO), envisioned a music mentor program that uses advanced teenage musicians to bring musical experiences to local juvenile detention centers.\nThat is how The No Repeats Project was created!\nEarly on the program faced many obstacles— instrument access/inconsistent attendance/low self-confidence/variable education levels/etc, not to mention being taken seriously because of his age. In order to tackle these problems, he had to collaborate with many different people. First, he convinced the facility he was committed and mature enough to work with the teens. After all, he was just an eighth grader and asking to set up a volunteer program at a Illinois Department of Corrections facility. Next, he needed instruments and a lot of them. So he contacted Austin's Violin Shop, a local luthier, who generously donated the regular use of instruments and bows. Another challenge for The No Repeats is also its biggest reward, teaching kids how to play an instrument (violin, viola, cello, bass) that is foreign to them. Next he needed other mentors to help him teach the kids. He first recruited his brother and reached out to area music programs. Soon he had a team of mentors to work at the facility. He and the other mentors have developed various methods to maintain focus, improve their confidence, and keep them coming to our sessions.\nThe No Repeats Project's mentors also love to perform for the center and arrange for the teens to attend musical events inside and outside the facility.\nOUR VISION AND MISSION\nThe No Repeats Project is a 501(c) (3) organization. No Repeats is a music mentor program for teens who are incarcerated. We recruit advanced high school musicians with a desire to share their love of music with teens at the Illinois Detention Center in Warrenville. We envision that the musical exposure and experience will have positive effects on the teens and will help increase their self-esteem and self-confidence. We believe The No Repeats Project will help them educationally, socially, and psychologically. By giving them the opportunity to experience the transformative power of music, we hope to minimize their chances of returning to the criminal justice system. Simultaneously, our musicians develop communication and leadership skills and gain an understanding of the lives of teens in the criminal justice system. Our music mentor program benefits all involved.\nThe No Repeats Project Team\nWe are looking for motivated and dedicated high school musicians to share music's powerful influence with others. With The No Repeats Project, you can be a music mentor and gain invaluable experiences working with our young men and women. If you are interested in performing at one of the youth centers, we can help arrange the visit. Our program also is in need of financial support, and we would greatly appreciate your help.", "domain": "music_and_dance"}
{"url": "https://thechurchathp.org/worship-services/easter-sunday-april-17-2022/", "date": "2023-05-31T10:38:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224646457.49/warc/CC-MAIN-20230531090221-20230531120221-00527.warc.gz", "language_score": 0.9031928777694702, "token_count": 131, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__53408520", "lang": "en", "text": "“Christ Is Risen! What Now?”\nEaster Sunday with Rev. Cheryl Kimble preaching, a brass quintet, and special music from the choir and a solo by Director of Music, Chris Vineis.\nWorship at The Church at Highland Park on May 21, 2023\nMay 22, 2023\nRev. Masyn Evans-Clements\nThe Worship of God on Ascension Sunday. Rev. Masyn Evans-Clements preaches “Onward and Upward” from Acts 1:6-14. Our special music for the day is “I Will Lift My Eyes”…", "domain": "music_and_dance"}
{"url": "https://rmstitanichotel.co.uk/tribute-night-packages/", "date": "2017-11-18T12:05:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-47/segments/1510934804881.4/warc/CC-MAIN-20171118113721-20171118133721-00448.warc.gz", "language_score": 0.8783807754516602, "token_count": 125, "dump": "CC-MAIN-2017-47", "global_id": "webtext-fineweb__CC-MAIN-2017-47__0__35347692", "lang": "en", "text": "Tribute Nights at 30 James Street- Home of the Titanic,\nare the perfect way to enjoy an evening of fine dining, fun and of course, a couple of drinks.\nSet in the iconic and utterly stunning White Star Grand Hall, our Tribute Nights are billed to be the best in the city with the likes of Robbie Williams, George Michael and a whole host of other tribute performers taking to the stage.\nThis will certainly be a night to remember, so choose your perfect performance night and get ready for an incredible evening.\nTo find out more about our Tribute Night Package please get in touch below.", "domain": "music_and_dance"}
{"url": "https://www.hinsdalehistory.org/events/holly-jolly-trolley-4", "date": "2023-09-21T10:21:21Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233505362.29/warc/CC-MAIN-20230921073711-20230921103711-00202.warc.gz", "language_score": 0.8220142722129822, "token_count": 154, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__101920788", "lang": "en", "text": "Wed, Dec 14|\nHolly Jolly Trolley\nHoliday fun for everyone!\nTime & Location\nDec 14, 2022, 5:00 PM CST – Dec 15, 2022, 9:00 PM CST\nImmanuel Hall, 320 S Grant St, Hinsdale, IL 60521, USA\nAbout The Event\nThis event is fun for all!\nGather your family or friends and secure your spot on the festive trolley experience! Enjoy special Nutcracker vignettes by the West Suburban Ballet Conservatory and holiday singing by the Hinsdale Chorale.\nTrolleys depart each half hour from Immanuel Hall.\nTickets include entertainment, trolley ride, beverages, and treats!", "domain": "music_and_dance"}
{"url": "https://www.hillwoodmusic.com/blog/2012/11/17/Vibrato.aspx", "date": "2020-07-06T08:27:54Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-29/segments/1593655890157.10/warc/CC-MAIN-20200706073443-20200706103443-00320.warc.gz", "language_score": 0.880670964717865, "token_count": 658, "dump": "CC-MAIN-2020-29", "global_id": "webtext-fineweb__CC-MAIN-2020-29__0__210371378", "lang": "en", "text": "Vibrato is rarely discussed\nbut is very important.\nIt is to music what icing is\nto the cake.\nVibrato is a steady change in\nIt expresses emotion like\nThere are 2 ways it’s done on\na stringed instrument.\n- – Think of the way a violinist or cellist moves\ntheir hand back and forth on the neck while playing a note. On the guitar this is the most\nsubtle type of vibrato. The idea is to keep the finger firmly pressing\ndown on the note/string while moving the fretting hand back and forth or\nleft to right. Changing the speed of the movement changes the speed of the\nvibrato. I use this type of vibrato for soft passages and for long tones,\nnot short, staccato notes.\n- – This is the most popular type and takes the longest\nto do well. Here’s the catch. With this type of vibrato the idea is to\nholdonto the fretted note/string and move the hand back and forth bending the string steadily.\nAnchor the base of the index finger to the neck. What beginner students do\nis move the fingers instead of the hand, which sounds like a spring going\n“boing”. It will never sound good or express the desired feeling.\nare 2 aspects of vibrato that must be mastered.\nA) The speed at which the pitch changes. i.e. slow – fast\nB) The width. i.e. how much does the pitch change.\nvariations: slow and wide Clapton (bluesy and soulful) and fast and narrow\n(B.B. King). The last thing to\nmaster is applying vibrato while bending a note. This is the most difficult but\nit’s powerful. When bending a note it’s important to first establish the pitch\nadd the vibrato, not the\nother way around. Ever hear a opera singer or violinist with such a constant\nvibrato that you can’t really hear the exact pitch? Nasty stuff. There are many\ntypes of vibrato. Angus Young and Jimmy Page are 2 guitarists that have a\nvibrato when they bend a note that is distinctly British (o.k. Angus is\nAustralian). Angus uses it half way through his solo on You Shook Me All Night\nLong and Led Zeppelin’s Since I’ve Been Loving You. Also, listen to the solo in\nAll Right Now by Free. There’s soulful vibrato, 60’s San Francisco vibrato, of\ncourse all the many blues players have there own sound.\nand mysteriously to me I’ve never heard 2 guitarists with the same vibrato. It\nis a unique stamp on a person’s playing in much the same way that no 2 voices\nare the same. Listen for different types of vibrato in music and you’ll find\nthe ones that appeal to you. Use different types of vibrato for different\nstyles of playing and you’ll sound like a seasoned player.", "domain": "music_and_dance"}
{"url": "https://liebermannolie.wordpress.com/2013/10/17/three-more-thoughts-on-miley-cyrus-bangerz/", "date": "2021-01-25T07:12:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703565376.63/warc/CC-MAIN-20210125061144-20210125091144-00575.warc.gz", "language_score": 0.9372705221176147, "token_count": 625, "dump": "CC-MAIN-2021-04", "global_id": "webtext-fineweb__CC-MAIN-2021-04__0__7187765", "lang": "en", "text": "Miley Cyrus has been in the news quite a bit lately, but one of the least talked-about aspects of the Miley of it all is the music. I gave Miley’s new album “Bangerz” a mixed review in The Eagle’s latest Album Reviews Brew.\n“In case anyone lived under a rock for the past few months, Miley Cyrus dominated the pop culture conversation with foam fingers, giant teddy bears, gratuitous nudity and problematic associations with hip-hop culture. “Bangerz,” her first album to fully abandon all traces of her Hannah Montana origins, is neither a game-changing triumph nor an outright disaster. Instead, it lands somewhere in the middle: several songs are excellent with strong vocal performances, but many of the raunchier hip-hop-flavored tracks fall flat.”\nRead the rest of my review here. Click through for three more thoughts!\n1. The guest spots on this album disappoint fairly consistently. Future lazily apes Ben E. King’s “Stand By Me” on the lackluster “My Darlin’.” Britney Spears’ robotic shtick is nearly indistinguishable from Miley’s on the anemic title track “SMS (Bangerz).” French Montana and Big Sean do nothing to reverse my feeling that they’re among the laziest, hackiest lyricists in hip-hop right now. Overall, the “featured” verses feel like they’ve been shoehorned onto the album in an attempt to demonstrate Miley’s connections to the worlds of pop and hip-hop, rather than showcasing Miley’s impressive chemistry with those acts.\n2. It’s equally encouraging and depressing to find that this album contains several excellent tracks beyond even the strong first two singles. “Adore You” opens the album on a lovely high note, and the Pharrell-produced “#GetItRight” injects a flirty, energetic vibe into an album that trends too frequently towards the dour. On a less bloated set of tracks, “Maybe You’re Right” might even pack an emotional punch. The glimmers of quality peaking through the cracks of Miley’s wild persona suggest that the wild persona isn’t entirely necessary, except for the purpose of boosting buzz. Let the music speak for itself, I say.\n3. Can we issue a moratorium on hip-hop producers dropping their names every time they put their fingerprints on a track? I’m fine with a Mike WiLL Made It shout-out once in a while, but hearing his blatant self-promotional interjection on every single one of his tracks on this album grates on the nerves. Pharrell has reached a point in his career when his distinctive, malleable musical style speaks for itself. Let’s hope Mike WiLL Made It makes it to that point soon.", "domain": "music_and_dance"}
{"url": "https://www.girlguidingnorfolk.org.uk/event/national-scout-guide-orchestra/", "date": "2018-07-17T16:56:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676589757.30/warc/CC-MAIN-20180717164437-20180717184437-00004.warc.gz", "language_score": 0.909611165523529, "token_count": 124, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__268900768", "lang": "en", "text": "The National Scout & Guide Symphony Orchestra ( NSGSO ) and Concert Band are still recruiting members for their 2018 summer week & concerts. In particular they are looking for 4 x violins, 2 x double bass & 2 trombones, check their website for the full list of vacancies. Ages 13-25.\nIt’s taking place Sunday 29 July – Sunday 5 August 2018 in Stourbridge, West Midlands, with concerts open to the public on 5 and 6 August.\nPlease pass onto any musical members (up to 25).\nMore information on http://apply.nsgso.com/", "domain": "music_and_dance"}
{"url": "https://www.pinkfeatherdc.com/", "date": "2023-12-04T07:06:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100525.55/warc/CC-MAIN-20231204052342-20231204082342-00291.warc.gz", "language_score": 0.9822197556495667, "token_count": 281, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__41759534", "lang": "en", "text": "Family, Filmy Fun!\nAs the mother of the groom, there was a long to do list on my plate and Pink Feather took a lot off that list. We hired PFDC to choreograph and teach 5 separate groups of family and friends for the Sangeet night and Reception night. Anshu is an amazing teacher and choreographer! She made the dance practices a fun and productive environment. She clearly has a lot of experience in teaching as she effortlessly taught the less experienced dancers. The choreography was a hit as all of the audience members cheered and clapped for the dancers. I would recommend Pink Feather to everyone for an easy and fun experience! Thank you PFDC!\nAnshu is a talented choreographer with a caring and patient personality! She choreographed 5 dance performances for my daughter’s wedding. We were a large group (37 Adults) who did not have any experience in choreographed dances. Anshu’s choreography was beautiful and fun; she broke down the steps so it was easy for us to learn. Anshu was flexible and went the extra mile to ensure we were ready for the big dance night. Thanks to Anshu, It was such a fun and enjoyable experience!! It was a complete transformation from when we started to the final performance on Sangeet night. She is amazing and I strongly recommend her!", "domain": "music_and_dance"}
{"url": "https://nashville.johnmayer.events/", "date": "2024-04-21T08:33:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817729.87/warc/CC-MAIN-20240421071342-20240421101342-00735.warc.gz", "language_score": 0.9854242205619812, "token_count": 209, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__105613324", "lang": "en", "text": "John Mayer is a renowned musician and songwriter known for his bluesy guitar work and soulful voice. He has released multiple hit albums throughout his career, including \"Room for Squares,\" \"Heavier Things,\" and \"Continuum.\" Some of his most popular songs include \"Your Body is a Wonderland,\" \"Daughter,\" and \"Gravity.\"\nJohn Mayer has won multiple awards throughout his career, including 7 Grammy Awards, 1 American Music Award and 1 People's Choice Award. John Mayer is hitting the road for his highly-anticipated US tour and will be performing in various cities across the country. He will be showcasing his latest hits along with some of his classic songs.\nGet your John Mayer tickets now through our website, and experience the magic of John Mayer Nashville concerts at Bridgestone Arena! Prices vary depending on the location and seating, so check out the options and choose the one that's right for you. Don't wait - secure your spot now and get ready to be mesmerized by John Mayer's incredible talent!", "domain": "music_and_dance"}
{"url": "https://theidoguide.com/what-is-a-circle-dance-at-a-jewish-wedding/", "date": "2023-12-05T03:15:17Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100540.62/warc/CC-MAIN-20231205010358-20231205040358-00478.warc.gz", "language_score": 0.9323035478591919, "token_count": 3337, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__161823796", "lang": "en", "text": "Table of Contents\nOne of the most beloved and joyous traditions at a Jewish wedding is the circle dance, also known as the hora. This dance involves wedding guests holding hands and dancing in a circle, often around the couple, to lively traditional Jewish music. But what is the significance of this cherished tradition? Let’s explore the origins and cultural significance of the circle dance at a Jewish wedding.\n- The circle dance, or hora, is a traditional Jewish wedding dance that involves guests holding hands and dancing in a circle to lively Jewish music.\n- The circle dance is a joyous celebration that promotes community and unity among guests, with its circular formation and continuous motion symbolizing unity and eternity.\n- The circle dance has historical roots in Jewish tradition and culture and remains an important and beloved tradition at Jewish weddings around the world.\nAn Overview of Jewish Wedding Traditions\nWeddings are joyous occasions filled with cultural and traditional significance. This is especially true for Jewish weddings, which have a rich history of customs and practices passed down through generations. These traditions are an integral part of the celebration, connecting the couple and their families to their heritage and community.\nOne of the most well-known Jewish wedding traditions is the circle dance, also referred to as the “hora.” This dance involves everyone forming a circle and joining hands, then moving together in a circular motion to upbeat music. The circle dance is often called at some point during the wedding reception and is a highlight of the evening.\nHowever, the circle dance is just one of many traditions that make up a Jewish wedding. Other customs include the signing of the ketubah (marriage contract), the breaking of a glass to symbolize the destruction of the Temple in Jerusalem, and the reciting of the Seven Blessings.\nOverall, Jewish wedding traditions serve a significant purpose in honoring the couple’s commitment to each other and their faith, while bringing together loved ones in celebration.\nThe Circle Dance: A Joyous Tradition\nThe circle dance is an essential part of Jewish wedding celebrations, bringing together the bride and groom with their family and friends. During the dance, participants form a circle and dance together in a continuous motion, creating a sense of community and joy that reflects the significance of the occasion.\nOften referred to as the “hora,” the circle dance is popular at Jewish weddings around the world and holds a special place in Jewish wedding traditions. It is typically called upon by the band or DJ at some point during the reception, and guests are quick to join in on the dance floor.\nThe circle dance is a joyous tradition that symbolizes the unity and happiness of the newlyweds and their loved ones. It is a time for celebration and connection, as participants hold hands and dance together in a circle, moving to the beat of the music.\nThe Significance of the Circle Dance at Jewish Weddings\nThe circle dance is an essential part of Jewish wedding traditions, representing the joyous celebration of the newlyweds. It symbolizes unity, community, and love, bringing together family and friends in a joyous display of camaraderie. The dance is a testament to the couple’s commitment to each other and their community, as well as their shared history and cultural heritage.\nThrough the circle dance, guests join together in a collective celebration of the couple’s love and happiness. It is an opportunity for everyone to take part in the joy of the occasion, creating an unforgettable experience that will be cherished forever.\nThe Role of Community and Unity\nThe circle dance, also called the “hora,” is an essential part of Jewish wedding dance traditions. It symbolizes the importance of community and unity, bringing together all of the wedding guests in a joyous and celebratory dance.\nAs the wedding band strikes up an energetic tune, the guests form a circle and begin to dance, holding hands and moving in a continuous circular motion. The bride and groom may even be lifted up into the air on chairs, surrounded by their loved ones as they dance.\nThis is more than just a fun dance; it is a representation of the strength and support that comes from being part of a community. Everyone joins in, regardless of age or background, creating a vibrant and inclusive atmosphere of togetherness.\nThe circle dance is often called out at Jewish weddings as a way to unite the guests and create a sense of collective celebration. It is a beautiful expression of Jewish tradition and culture, and a testament to the power of community to bring people together in joy and solidarity.\nSymbolic Elements of the Circle Dance\nThe circle dance at a Jewish wedding holds deep symbolic significance, with every aspect of the tradition representing an important element of the couple’s union and the community’s celebration.\nThe circular formation is one of the most recognizable and meaningful elements of the circle dance. The circle itself symbolizes unity and eternity, as there is no beginning or end. This formation signifies the couple’s commitment to each other and their shared future, as well as the enduring support and love of their community.\nThe continuous motion of the circle dance is also highly symbolic. The dance never stops, representing the ongoing nature of the couple’s relationship and the constant flow of love and support from their loved ones.\nIn addition, the act of holding hands during the circle dance represents the strong bond and connection between all of the wedding guests, as well as their desire to support and uplift the couple as they embark on their new journey together.\nOverall, the circle dance is not only a beautiful and joyous tradition, but also one that holds deep meaning and significance for Jewish wedding celebrations.\nTraditional Circle Dance Steps and Music\nThe traditional circle dance at Jewish weddings involves a simple yet lively rhythmic pattern. The steps involve participants holding hands and moving in a clockwise direction, taking small steps to the beat of the music. The circle dance is typically led by a designated dancer who may be a professional or a respected member of the community.\nMusic plays a significant role in the circle dance, and traditional Jewish wedding music sets the tone for the joyous celebration. Klezmer music, a style of traditional Jewish music, is often played during the circle dance, and the tempo and rhythm of the music dictate the pace of the dance.\nThe music generally starts slowly and gradually builds up to a faster tempo, creating a frenzy of excitement and energy among the participants. As the pace quickens, the dance becomes more exuberant, with participants raising their arms, waving handkerchiefs, or clapping their hands to the beat of the music.\nThe circle dance is typically the climax of the wedding celebration, and its energetic and joyous atmosphere is infectious, encouraging even the most unlikely participants to join in.\nThe Historical Origins of the Circle Dance at Jewish Weddings\nThe circle dance, also known as the hora, has been a beloved tradition in Jewish weddings for centuries. Its origins can be traced back to Eastern European Jewish communities, where it was used to celebrate important events such as weddings, bar mitzvahs, and other festive occasions.\nHistorically, the circle dance symbolized unity and continuity, connecting the past, present, and future. The circular formation represented the unbroken chain of tradition and faith that has been passed down through generations of Jewish families. It also symbolized the unbroken circle of life, with no beginning or end, signifying the eternal nature of the marriage union.\nThe dance was typically accompanied by traditional Jewish music, featuring instruments such as the violin, clarinet, and accordion. The rhythm was lively and upbeat, reflecting the joyous nature of the occasion and setting the tone for the festivities to follow.\nOver time, the circle dance has evolved and adapted to various Jewish communities around the world. In Israel, for example, it is often performed with a modern twist, featuring popular Israeli pop songs and incorporating elements of contemporary dance styles.\nDespite these variations, the circle dance remains a beloved tradition in Jewish weddings, a symbol of unity, continuity, and joyful celebration.\nCircle Dance Variations Across Jewish Communities\nThe circle dance, or “hora,” is a beloved tradition at Jewish weddings, but its specific variations and customs may differ depending on the Jewish community. For instance, in Sephardic Jewish weddings, the circle dance may be called the “Circling of the Groom” and is performed exclusively by men in honor of the groom. In Ashkenazi Jewish weddings, both men and women participate in the hora, with variations including the “three-step hora” and the “Tzena Tzena” dance.\nThe Yemenite Jewish community has its own unique circle dance known as the “Jewish Yemenite Step,” performed in a slow, circular motion with intricate footwork and arm gestures. Meanwhile, the Persian Jewish community may incorporate elements from traditional Persian dance into their circle dance.\nOverall, while the circle dance remains a prominent tradition among Jewish weddings, the specific variations and customs reflect the diverse cultural backgrounds and histories of the Jewish people.\nModern Interpretations of the Circle Dance\nThe circle dance has evolved over time, with modern interpretations reflecting contemporary Jewish wedding celebrations. While the traditional steps and music are still widely used, there have been new variations and innovations that have emerged.\nOne example of a modern interpretation is the incorporation of different types of music. While traditional Jewish music is still the most common choice for the circle dance, some couples choose to incorporate more modern or popular music to reflect their individual tastes and personalities.\nAnother modern interpretation of the circle dance is the inclusion of more diverse groups of people. Historically, the dance was typically performed by men and women separately, but in modern times, there is more inclusivity and everyone is encouraged to participate.\nAdditionally, some couples choose to put their own spin on the dance by incorporating different styles or adding unique elements to make it more personal and memorable.\nOverall, the circle dance remains a beloved tradition at Jewish weddings, and its evolution over time showcases the adaptability and vibrancy of Jewish culture and celebration.\nCircle Dance and Gender Roles\nThe circle dance is a joyous tradition at Jewish weddings, promoting community and unity among guests. However, the role of gender in the circle dance varies across Jewish communities.\nIn Orthodox communities, men and women may dance separately or together, with men leading the circle dance. In other communities, the circle dance is open to all guests, regardless of gender.\nSome communities have specific customs related to men and women’s participation in the circle dance. For example, in some Sephardic communities, the bride dances with the female guests while the groom dances with the male guests before joining together in the circle dance.\nOverall, the circle dance reflects the cultural values and traditions of Jewish communities, and its interpretation may vary depending on individual or communal beliefs and customs.\nCultural Significance and Emotional Impact\nThe circle dance at a Jewish wedding is steeped in cultural significance and has a powerful emotional impact on the couple and guests alike. It is a joyous and celebratory tradition that symbolizes unity and eternity.\nAs guests join hands and dance around the couple in a circular formation, they become part of a larger community united in celebration. The bride and groom are at the center of the circle, representing the focus and love of the wedding day.\nFor the couple, the circle dance is a deeply emotional moment. They are surrounded by loved ones, family, and friends, all sharing in their joy and happiness. It is a poignant expression of the couple’s commitment to each other and their community.\nThe circle dance also has historical significance, dating back centuries in Jewish tradition. It is a reminder of the rich cultural heritage of the Jewish people and their connection to tradition.\nOverall, the circle dance at a Jewish wedding is a powerful and poignant tradition that brings together the couple, their loved ones, and their community in a moment of joy and celebration.\nIn conclusion, the circle dance at Jewish weddings is a time-honored tradition that symbolizes community, unity, and eternal love. As discussed throughout this article, the circle dance plays an essential role in Jewish wedding customs, reflecting both historical and modern interpretations of Jewish culture. The circular formation of the dance represents the cyclical nature of life, while the continuous motion emphasizes the importance of unity and connection in Jewish communities.\nThroughout the generations, the circle dance has evolved and adapted to different Jewish communities, with unique variations and customs reflecting regional traditions and personal beliefs. This dance encourages participation from all wedding guests, promoting a sense of joy and celebration that is infectious and memorable.\nFor the couple, the circle dance represents a moment of pure joy and connection, surrounded by loved ones who share in their happiness. It is a cultural tradition that reflects the essence of Jewish wedding celebrations – a time for love, community, and shared joy.\nQ: What is a Circle Dance at a Jewish Wedding? Unveiling the Tradition\nA: The circle dance is a significant tradition in Jewish weddings where guests form a circle and dance together to celebrate the joyous occasion. It holds deep cultural and symbolic meaning within Jewish wedding customs.\nQ: What are some Jewish wedding traditions and customs?\nA: Jewish weddings are rich in traditions and customs. Some common traditions include the signing of the ketubah (marriage contract), the chuppah (wedding canopy), the breaking of the glass, and, of course, the circle dance. These customs reflect the values and heritage of Jewish culture.\nQ: What does the circle dance symbolize at Jewish weddings?\nA: The circle dance represents unity, community, and eternity. It symbolizes the connection between the couple, their families, and their community, creating a joyous and celebratory atmosphere.\nQ: How does the circle dance promote community and unity?\nA: The circle dance brings all the wedding guests together in a circle, encouraging them to join hands and dance as one. It fosters a sense of togetherness, solidarity, and collective joy, reinforcing the importance of community in Jewish traditions.\nQ: What are the symbolic elements of the circle dance?\nA: The circular formation and the continuous motion of the circle dance symbolize unity, eternity, and the cyclical nature of life. It represents the unbroken bond between the couple, their families, and their community.\nQ: What are the traditional steps and music associated with the circle dance?\nA: The traditional steps of the circle dance vary across different Jewish communities. However, it typically involves rhythmic movements, clapping, and linking arms while dancing to traditional Jewish wedding music, such as the Hora.\nQ: What are the historical origins of the circle dance at Jewish weddings?\nA: The circle dance has deep roots in Jewish tradition and culture, dating back to ancient times. It has been a part of Jewish weddings for generations, serving as a way to celebrate and honor the couple’s union.\nQ: How does the circle dance vary across different Jewish communities?\nA: The circle dance may have variations in its steps, music, and specific customs across different Jewish communities. Regional influences and cultural traditions can shape the way the circle dance is performed.\nQ: How has the circle dance evolved in modern times?\nA: In modern times, the circle dance has seen new interpretations and variations, reflecting contemporary Jewish wedding celebrations. It may incorporate different dance styles and music genres, while still maintaining the core elements of unity and celebration.\nQ: Are there any gender-specific roles in the circle dance?\nA: While there may be variations across different Jewish communities, the circle dance typically involves both men and women dancing together. It is a collective celebration that brings together people of all genders to celebrate the union of the couple.\nQ: What is the cultural significance of the circle dance at Jewish weddings?\nA: The circle dance holds immense cultural significance in Jewish weddings. It represents the joy, unity, and communal celebration of the couple’s love and the beginning of their married life. It is a deeply emotional and memorable moment for all those involved.", "domain": "music_and_dance"}
{"url": "https://alumni.wheelerschool.org/news/alumni-news/9/9-Composer-Nico-Muhly-99-creating-original-music-with-his-alma-mater-this-spring", "date": "2024-03-04T17:08:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476464.74/warc/CC-MAIN-20240304165127-20240304195127-00638.warc.gz", "language_score": 0.97080397605896, "token_count": 596, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__66189613", "lang": "en", "text": "Thirty-five high school musicians, one 9th-grade poet, and one world-class composer named Nico Muhly ‘99 will debut original music this spring at Wheeler. Muhly is donating his time and talent to compose a one-of-a-kind piece of music at his alma mater based on a poem selected from student submissions.\nMuhly will set 9th-grader Isabelle Mitchell’s poem, “A Trance” to music as a gift to the school and is working with the student singers and players as they learn the music. All students in the Upper School were welcomed to submit a short lyric poem of eight to sixteen lines, written in response to any topic of their choosing. Muhly read all the submissions and made the selection.\nWheeler’s Choral Music Director Kristin Sprague, who taught Muhly at Wheeler, says of the musical process underway, “The musicians come from all grades – 9 through 12, some play jazz, some classical, some both, some pop. It runs the gamut. They all have busy lives, but they’ve thrown themselves into this, and it’s quite exciting to see them dig in. The music is very challenging, but not above them. It really stretches them in a good way. And the thrill of seeing a student’s poetry set to music is indescribable. It’s always a treat to come to school to make music with kids, but this is icing on the cake!”\nNico Muhly is a composer and sought-after collaborator whose influences range from American minimalism to the Anglican choral tradition. The recipient of commissions from The Metropolitan Opera, Carnegie Hall, Los Angeles Philharmonic, Tallis Scholars and St. John’s College, Cambridge and others, he has written more than 100 works for the concert stage, including the opera Marnie (2017), which premiered at the English National Opera and was staged by the Metropolitan Opera in the fall of 2018.\nMuhly is a frequent collaborator with choreographer Benjamin Millepied and, as an arranger, has paired with Sufjan Stevens, Antony and the Johnsons and others. His work for stage and screen include music for the Broadway revival of The Glass Menagerie and scores for films including the Academy Award-winning The Reader. Born in Vermont, Muhly studied composition at the Juilliard School before working as an editor and conductor for Philip Glass. He is part of the artist-run record label Bedroom Community, which released his first two albums, Speaks Volumes (2006) and Mothertongue (2008). He lives in New York City.\nLearn more about Muhly and his works since graduation from Wheeler in 1999, here. You can find him on Spotify, Apple Music and Twitter.", "domain": "music_and_dance"}
{"url": "https://lifestoryography.wordpress.com/2016/12/16/angel-city-chorale-brings-on-the-joy/", "date": "2018-07-19T23:04:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676591332.73/warc/CC-MAIN-20180719222958-20180720002958-00034.warc.gz", "language_score": 0.9610710144042969, "token_count": 368, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__270820954", "lang": "en", "text": "Review by John K. Adams\nLast weekend, Angel City Chorale once again delivered Bring on the Joy, their program of glorious chorale music that was unambiguously and unapologetically Christmas music.\nIf you have never heard music that was transcendent, you have not heard an ACC concert. I can imagine God listening to them with pleasure and turning to his angelic choir to say, “Listen to them. Sing like them.”\nRanging in material from ancient to contemporary, with three Hanukkah songs included, the program offered a rich variety of selections all dedicated to celebrating God’s love for his creation and especially the birth of our Savior, Jesus.\nThere were also sing-alongs of traditional carols. The audience sang these beloved songs, joyfully joining artistry with worship. There are so many great Christmas songs available from across the centuries and cultures. ACC sang sublime arrangements from the best.\nThe concert was ably conducted by ACC founder, Sue Fink, including her personable introductions to each song which emphasized “diversity.” Associate Conductor Dan Barnett lent support on the sing-alongs. The orchestra provided warm accompaniment led by Concertmaster Liliana Filipovic and principal accompanists Mark McCormick and Gordon Glor. The many soloists all sang beautifully and with feeling.\nACC now embarks on their annual Tour of Hope, where the singers take their holiday program on the road, performing concerts for the homeless, the elderly and any who could benefit from an infusion of holiday spirit.\nStay tuned for ACC’s upcoming annual Spring Concert in June 2017. Visit AngelCityChorale.org for updates.\nNote: this review appeared originally in the Tolucan Times on December 9th, 2016.", "domain": "music_and_dance"}
{"url": "http://peteandpaul.com/", "date": "2013-06-19T19:41:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368709101476/warc/CC-MAIN-20130516125821-00016-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9490459561347961, "token_count": 227, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__212554127", "lang": "en", "text": "And what a spring it has been so far! Just got back from a wonderful Spring Gathering, maybe the best ever! (I say that every year.) I’ve been diligently rehearsing with friend and pianist Ryan Rogers who will be joining me at 68 Jay St. Bar this Saturday, May 19 for a 40-minute set. I will be opening for my dear friend Myshkin, of whom I am a passionate fan. I have not seen her in years and am delighted to be sharing the stage with her next week. We will, rehearsal time permitting, be doing some tunes together.\nThis is my last official gig for a good long time, probably until at least the end of the year. I’m taking the summer off of gigging and my next big project (besides helping to produce Roll in the Hay: A Celebration of Harry Hay in September) will be going into the studio (hopefully this fall) to do my first-ever full-length recording as a solo artist. More on this as it develops.\nHappy Spring! (And summer just around the corner.)", "domain": "music_and_dance"}
{"url": "https://www.canterburytrebles.com/about-us", "date": "2024-04-17T05:44:42Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817144.49/warc/CC-MAIN-20240417044411-20240417074411-00477.warc.gz", "language_score": 0.9723303914070129, "token_count": 651, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__138827742", "lang": "en", "text": "The Canterbury Trebles Women's Ensemble\nFounded in 2005, the Canterbury Trebles Women's Ensemble is a welcoming and accepting ensemble, aspiring to bring music for women’s voices to the Ottawa region and beyond. The choir has an eclectic repertoire ranging from Purcell and Verdi to Hatfield and Daley and often partner with local charities to raise funds. The choir has participated in Choral Canada's National Competition for Canadian Amateur Choirs, and has represented the National Capital Region at the Canadian Music Festival.\nThe Canterbury Trebles was originally created to offer graduates of the Canterbury High School Vocal Program a welcome place to sing. The ensemble has since been opened to the community and now includes women from a variety of experiences.\nJames Caswell, Director (2015-present)\nJames Caswell is the vocal and choral performance teacher at Canterbury High School, a position he has held for 22 years. He is also the Minister of Music at Glebe-St. James United Church. James has a strong passion for exploring choral music of a wide range of styles and he puts particular emphasis on building community and creating safe, collaborative spaces in the ensemble setting.\nJames has directed the Anglican Chorale of Ottawa, on six performing tours of cathedrals in England, Scotland, Ireland, and Wales. James was the music director of the Canadian Centennial Choir for 15 years, and previously was the music director and organist at First Baptist Church, Ottawa. He has been a guest conductor and clinician for many ensembles in the Ottawa region and is very excited to find renewed opportunities as a collaborative organist/pianist.\nHaving assumed the role of Artistic Director of the Trebles from founder, Robert Palmai, James is thrilled and honoured to continue his work with the Trebles in this, his eighth season as director, and the choir’s return to post-COVID activities.\nRobert Palmai, Founding Director (2005-2015)\nRobert has spent all his adult life as a music educator, accompanist and coach, conductor and church musician. He is the founding director of the Amadeus Choir of Greater Toronto, the Cantando Singers of Deep River, and the Canterbury Trebles Women’s Ensemble, which he conducted from 2005 to 2015. From 1993 to 2000, he was the musical Director of the Savoy Society of Ottawa. On Christmas Eve of 2018 he ended his service in church music ministry by retiring as organist and music director at Glebe-St. James U.C (GSJ UC).\nAfter his retirement from teaching at Canterbury High School in 2001, he kept himself active as an accompanist for university auditions and juries, RCM exams and Kiwanis Music competitions. During this time he also served as a volunteer for the local Kiwanis Music Festival.\nIn March 2019, he assumed the role of co-chair of property and grounds of GSJ UC. Robert and Susan now enjoy some travelling and are actively involved in the lives of their seven grandchildren. The recent purchase of a trailer hitch and a bike rack will enable the couple to enjoy cycling, wherever they go!", "domain": "music_and_dance"}
{"url": "http://argyleband.edublogs.org/band-directors/kathy-johnson/", "date": "2017-07-28T06:32:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-30/segments/1500549448095.6/warc/CC-MAIN-20170728062501-20170728082501-00164.warc.gz", "language_score": 0.9623815417289734, "token_count": 568, "dump": "CC-MAIN-2017-30", "global_id": "webtext-fineweb__CC-MAIN-2017-30__0__74041408", "lang": "en", "text": "Director of Instrumental Studies\nKathy Johnson is in her seventh year at Argyle High School and 27th year of teaching. Her responsibilities include directing the high school Marching Band, Wind Ensemble and Symphonic Band, teaching the beginner flute class and overseeing the instrumental music program in both middle school and high school. Under the direction of Kathy Johnson, the Argyle High School Band earned the honor of performing at the Texas Music Educators Conference as the 3A State Honor Band in 2009, performed at the Midwest International Band and Orchestra Clinic in Chicago in 2007, and is the reigning Texas 3A State Marching Band Champion earning the disticntion in 2008, 2010, & 2012. Both high school concert bands for which Mrs. Johnson is responsible consistently earn Superior ratings at the University Interscholastic League Marching and Concert and Sightreading Contests and Superior and “Best in Class” awards at the various festivals they have attended.\nPrior to teaching at Argyle High School, Mrs. Johnson taught in the Lewisville Independent School District for 20 years. During her time in LISD, Mrs. Johnson taught at Griffin Middle School, Arbor Creek Middle School, and McKamy Middle School where her students consistently earned Superior Ratings and “Best in Class” awards. Under her direction, the Griffin Symphonic Band advanced to the State Honor Band finals and placed 5th and 4th respectively in both 1986 and 1988. While she was Director of Bands at McKamy Middle School, Mrs. Johnson has had the distinct honor of conducting the McKamy Honor Winds at the Texas Music Educators Conference as the 2001 Class CC Honor Band and in Chicago at the 2001 Midwest International Band and Orchestra Conference. Mrs. Johnson also served as Fine Arts Department Head for McKamy Middle School.\nIn addition to teaching, Mrs. Johnson has played flute in the Dallas Wind Symphony for the past 26 years and also performed with the Camerata Chamber Winds. She is an active clinician and adjudicator in the metroplex area and teaches at several summer band camps throughout the state of Texas.\nMrs. Johnson attended The University of North Texas, where she received both her Bachelors and Masters Degrees in Music Education. While there, she studied flute under Dr. George Morey and Dr. Mary Karen Clardy.\nMrs. Johnson’s professional affiliations include Phi Beta Mu, the Texas Music Educators Association, the Texas Bandmasters Association, the Association of Texas Small School Bands, and the Texas Music Adjudicators Association. In addition, she has had the honor or serving on the UIL Technical Advisory Committee and holds offices in several of the aforementioned professional associations. Mrs. Johnson resides in Flower Mound with husband Eric and sons, Matthew and Adam.", "domain": "music_and_dance"}
{"url": "http://wbhsband.com/ensembles", "date": "2019-04-22T22:20:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578582736.31/warc/CC-MAIN-20190422215211-20190423001211-00538.warc.gz", "language_score": 0.9600239396095276, "token_count": 611, "dump": "CC-MAIN-2019-18", "global_id": "webtext-fineweb__CC-MAIN-2019-18__0__203415795", "lang": "en", "text": "The Wind Ensemble is the premiere ensemble of the band program at Willowbrook High School. Designed for students that have achieved the highest level of proficiency on their instrument, Wind Ensemble emphasizes advanced performance skills and musical interpretation and performs the finest available repertoire for the wind band. Students are placed in Wind Ensemble by audition and are expected to make a 100-percent commitment to the group, including attendance of all rehearsals, sectionals, clinics, and performances. Additionally, students enrolled in Wind Ensemble are strongly encouraged to take private lessons and are expected to include daily practice in their lifestyle in order to maintain the necessary level of musical proficiency. Members of Wind Ensemble are required to participate in solo and ensemble as well as marching band and pep band.\nSymphonic Band emphasizes the refinement of ensemble skills, musical interpretation, and technical proficiency through the performance of appropriate literature of various periods and styles. In addition to performing at several concerts during the year, Symphonic Band also participates in occasional clinics and festivals. Students are placed in Symphonic Band by audition and are highly encouraged to take private lessons and participate in solo and ensemble. Members of Symphonic Band are required to participate in marching band and pep band.\nConcert Band is designed to give students the opportunity to further their musical knowledge and development in an ensemble setting. In addition to performing appropriate literature of various periods and styles, Concert Band emphasizes the development of individual musicianship, ensemble skills, and technical proficiency. Concert Band performs at several concerts during the year, as well as occasional clinics and festivals. Students enrolled in Concert Band are highly encouraged to study privately, particularly if they have not previously taken private lessons, and are required to participate in marching band and pep band.\nPerhaps the most visible ensemble of the band program, the Marching Warriors perform at all varsity home football games throughout the fall, as well as the annual Lombard Lilac Parade, the Villa Park 4th of July Parade, and various other events during the year. Membership in the Marching Warriors is required for all students enrolled in Wind Ensemble, Symphonic Band, and Concert Band. Exemptions for fall sports will be considered on an individual basis by the director during the preceding spring semester. Students may also participate in Color Guard or Drumline with the approval of the director.\nJazz Ensembles I & II are extracurricular groups open to students interested in auditioning on saxophone (alto, tenor, and baritone), trumpet, trombone, drums/percussion, piano, bass, and guitar. In addition to performing at school concerts during the year, the Jazz Ensembles participate in several festivals and clinics throughout the Chicagoland area and can also be seen at occasional gigs in the community.\nPep Band performs for varsity home basketball games as well as other school spirit events throughout the year. Enrollment in this ensemble is required for all Wind Ensemble, Symphonic Band, and Concert Band members.", "domain": "music_and_dance"}
{"url": "https://www.feldmannbaritone.com/biography", "date": "2024-04-12T10:21:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296815919.75/warc/CC-MAIN-20240412101354-20240412131354-00401.warc.gz", "language_score": 0.9172220230102539, "token_count": 852, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__114820743", "lang": "en", "text": "B i o g r a p h y\nHailed for his \"fresh and resonant voice\" (Seen and Heard International),\nbaritone Gregory Feldmann is a rising artist on opera and recital stages alike. He continues with the International Opera Studio with Opernhaus Zürich for the 2023-24 season, where he will appear in Verdí's Macbeth, Sondheim's Sweeney Todd, and Giordano's Andrea Chenier, as well as the roles of Demetrius in Britten's A Midsummer Night's Dream and Moralès in Bizet's Carmen. Feldmann was a Young Artist with the 2022 Glimmerglass Festival, going on to cover Max Detweiler in The Sound of Music, as well as premiering the roles of Cedric and Matteo in Ken Ludwig's new Rossini pastiche, Tenor Overboard.\nOn the concert stage, Feldmann appeared in the Tonhalle Orchester Zürich's Matinee Kammermusik Series, singing Beethoven Scottish Folksongs and Schubert lieder with piano trio. He sang the role of Christus in Bach's Johannespassion with the Zürcher Bach Chor and the baritone solos of Fauré's Requiem with the Baseler Münsterkantorei in March 2024 under the baton of Annedore Neufeld. In January 2024, Feldmann appeared with the Ballett Zürich in Timekeepers, singing the bass solo in Stravinsky's Les Noces. He made his Carnegie Hall debut in November 2018 with MasterVoices, singing the Bass I solo in Handel's Israel in Egypt under Ted Sperling.\nA passionate recitalist, Feldmann enjoys a \"luminous\" partnership with pianist Nathaniel LaNasa (Oberon's Grove). Feldmann and LaNasa’s recitals have confronted national narratives and artistic legacies, with recital projects including Degenerate Music, a contrarian reimagining of the 1938 Entartete Musik exhibition in Düsseldorf. Here, Feldmann and LaNasa celebrated and uplifted composers that were censored by the Third Reich and asked questions of who historically has decided the classical canon. The duo presented Degenerate Music in their sold-out Carnegie Hall debut in 2019. Their most recent project, American Icons, partnered with oral historian Cynthia Tobar to explore national monuments and the communities living in their shadows. American Icons saw the premieres of songs by Shawn Chang, Molly Joyce, Matthew Ricketts, and Jorell Williams.\nFeldmann and LaNasa have partnered with organizations including the New York Festival of Song (to premiere Iain Bell’s We Two in October 2023), Sparks and Wiry CRIES (to premiere Curtis Stewart’s Do You See the Flag? in 2021), and the Musee d’Orsay and Royaumont Foundation (to produce their first studio release of Faure’s L’horizon chimérique and Ullmann’s Liederbuch des Hafis). The duo took First Prize in the 2021 Gerda Lissner Song/Lieder Competition and the 2019 Joy in Singing International Song Competition.\nFeldmann is a frequent collaborator with pianist Steven Blier and the New York Festival of Song. In October 2021, he curated and performed in NYFOS Next: 9 under 34, a concert of composers born after NYFOS' first concert. In January 2018, Feldmann and Blier gave two world premieres of John Corigliano's song literature, performing the cycle Rhymes of the Irreverent and song no comet ever scratched the sky with NYFOS at the Peter Jay Sharp Theatre.\nFeldmann was a recipient of the 2021 Richard F. Gold Career Grant through the Shoshana Foundation, and a graduate of the Artist Diploma in Opera Studies program at the Juilliard School, where he studied with Elizabeth Bishop, Randall Scarlata, and Sanford Sylvan.", "domain": "music_and_dance"}
{"url": "http://assets.conn-selmer.com/en-us/instruments/String-Instruments/violas", "date": "2024-04-18T08:39:42Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817200.22/warc/CC-MAIN-20240418061950-20240418091950-00592.warc.gz", "language_score": 0.964499294757843, "token_count": 123, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__147042944", "lang": "en", "text": "The viola is the alto voice in the string family. Like the violin, it is held under the chin, resting on the shoulder. Unlike the violin, the viola is slightly larger and is tuned five notes lower. It has a darker and warmer tone quality than the violin, but is not as brilliant.\nThe viola's tone is thicker and darker than the violin which makes it perfect for providing resonant solo passages in the middle of the orchestral range and the perfect antidote to the penetrating, crystal quality of the violin. It also blends particularly well with the clarinet and bassoon.", "domain": "music_and_dance"}
{"url": "https://www.twinlionwellness.com/danceclasses", "date": "2024-03-01T08:30:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475203.41/warc/CC-MAIN-20240301062009-20240301092009-00779.warc.gz", "language_score": 0.8788688778877258, "token_count": 111, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__6785763", "lang": "en", "text": "top of page\nWest Coast Swing Dance Classes!\nTwin Lion Wellness is partnering with Crossroads Church to bring you dance classes.\nNeed an opportunity to spark the inner child in yourself? Want to take your partner on a great date? Want to learn the basics of dance that works with all kinds of music? Come join us!\nWhere: Crossroads Church in NW Loveland\nWhen: April 15th and 29th from 3:00 - 4:30 pm\nHow much? FREE! Yes - free!\nbottom of page", "domain": "music_and_dance"}
{"url": "http://davidlomond.com/", "date": "2021-09-16T11:43:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-39/segments/1631780053493.41/warc/CC-MAIN-20210916094919-20210916124919-00702.warc.gz", "language_score": 0.9865319728851318, "token_count": 403, "dump": "CC-MAIN-2021-39", "global_id": "webtext-fineweb__CC-MAIN-2021-39__0__30268061", "lang": "en", "text": "Welcome & Aloha!\nDavid Lomond, the Hawaiian King, is a uniquely different Elvis tribute artist. The biggest reason why is his VOICE! Make no mistake, when it comes to Elvis, VOICE MATTERS! David made a living as a full time professional singer, entertainer, songwriter and recording artist for ten years before he started his Elvis shows. He is very honored and grateful to be an Elvis Entertainer. He brings a Hawaiian flavor with Aloha, the heart of Elvis, and his amazing VOICE to every show.\nOver his amazing career, he has performed all over the U.S.A., including Hawaii, Las Vegas, and Branson, MO. He has done many television and radio shows, as well as, commercials, along with many other great accomplishments and has received numerous awards. But what he treasures more than anything; what is most dear to his heart, is being ordained as a minister of the gospel of Jesus Christ and His Kingdom.\nDavid started his musical and voice training as a child. His talents and charisma were noticed at a young age. He began playing in bands throughout High School. He studied voice and guitar at the University Of Hawaii, while working as a tour guide, perfecting his comedy skills and his uncanny ability to sing like Elvis. Soon, he was performing on Hawaii’s biggest stages.\nFamous Hawaiian entertainers, like Don Ho, nicknamed him “the kid that sings.” David has a very powerful voice with excellent pitch and extraordinary control and he possesses a rare range ability as he sings from deep bass to high falsetto.\nDavid is recognized as an extraordinary Elvis tribute artist, a highly esteemed Hawaiian entertainer, and a very inspirational gospel singer and minister. View his video clips, listen to his sound bites and read his reviews. You’ll find he is easy to work with, accommodating, excellent at event planning and a tremendous asset and inspiration to any occasion.", "domain": "music_and_dance"}
{"url": "https://specialcollections.cmlibrary.org/repositories/2/resources/28", "date": "2023-03-28T02:16:27Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948756.99/warc/CC-MAIN-20230328011555-20230328041555-00586.warc.gz", "language_score": 0.8861993551254272, "token_count": 1282, "dump": "CC-MAIN-2023-14", "global_id": "webtext-fineweb__CC-MAIN-2023-14__0__87156340", "lang": "en", "text": "Charlotte Symphony Orchestra Collection, 1931-1997\nThis collection consists of programs, ASID House booklets, and newspaper clippings. Materials are arranged into four series:\nPrograms, 1931-1997, consists of loose and bound Charlotte Symphony Orchestra programs (1931-1997) and Oratorio Singers of Charlotte programs (1962-1982).\nASID House, 1974-1984, includes informational booklets on the Charlotte Symphony Orchestra’s ASID House. [The ASID House was built in 1917 on the corner of Coddington and East Morehead Extension by Charles Campbell Coddington. Members of the Carolinas District Chapter, the American Society of Interior Designers (ASID), and Edward H. Springs transformed the Coddington House into the Symphony Designer House in 1976.]\nNewspaper Clippings, 1934-1983, contains miscellaneous copies of newspaper clippings relating to the Charlotte Symphony Orchestra.\nManuscripts, c1926, is one manuscript of a play entitled, “The Pageant of Charlotte and Old Mecklenburg,” to celebrate the sesquicentennial of the believed Mecklenburg Declaration of Independence signing in 1776.\nCollection materials date 1934-1990 and are in good condition.\n- 1931 - 1997\n- Charlotte Symphony Orchestra (Organization)\n- American Society of Interior Designers (Organization)\n- Oratorio Singers of Charlotte (Organization)\nConditions Governing Access\nThis collection is open to the public without restriction. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material.\nConditions Governing Use\nPermission to duplicate or publish material from this collection must be obtained from the Robinson-Spangler Carolina Room, Charlotte Mecklenburg Library.\nBiographical / Historical\nThe Charlotte Symphony Orchestra's current goal is to do more than perform, but to also find a way to serve the community. This manuscript collection describes--through newspaper articles, concert programs, and other items--how the organization has been interwoven with the community from its beginning. Although the Armory-Auditorium was utilized by the Charlotte Symphony Orchestra, the Charlotte Symphony Orchestra used local school auditoriums for their concerts before Ovens Auditorium was built. Those schools included Alexander Graham Junior High School, Myers Park High School, Mineral Springs High School, and Piedmont Junior High School.\nSince the Orchestra's conception, the organization and its affiliates have performed at such community locales as Queens College's Dana Auditorium, the United States Naval Hospital, Davidson College, and the University of North Carolina-Charlotte. While the full organization may not have participated, individual Orchestra conductors and orchestral players have been participants in the Brevard Music Festival Orchestra and the Transylvania Music Camp. They have also performed during local church services including those held at Covenant Presbyterian Church, Myers Park Presbyterian Church, and Providence United Methodist Church.\nBeyond performing in various locations throughout the region, the Charlotte Symphony Orchestra--as an organization and as individual personnel--participated in collaborative efforts that allowed them to spread music beyond a season's regularly scheduled concerts. The Charlotte Symphony Orchestra collaborated with such artists as Ella Fitzgerald, the Atlanta Ballet Company, and the Carolina Ballet Company. The Orchestra also reached out to other musicians through smaller ensembles such as the Charlotte Symphony Youth Orchestra, the Charlotte Flute Club, the Mint Museum Ensemble, and the Charlotte Chamber Music Players.\n3.14 Linear Feet\n3.26 Cubic Feet\nLanguage of Materials\nThe Charlotte Symphony Orchestra was formed in 1932. It is the largest and most active professional performing arts organization in the central Carolinas. The Charlotte Symphony also includes small ensembles of musicians such as the Flute Club and two Youth Orchestras, among others. Some of these small ensembles perform outreach services to local hospitals, and other organizations.\nThis collection consists of programs, ASID House booklets, and newspaper clippings.\nThe Oratorio programs are a sub-series of programs but housed in Box 3 after the ASID House series.\nImmediate Source of Acquisition\nThe immediate source and date of acquisition for this collection is unknown.\nCharlotte Symphony Orchestra. “Mission & History.” http://www.charlottesymphony.org/files/ba2b0d97-fdcb-4c8b-93a5-593ded77f525--a8609306-7345-4ef8-b12a-b11f3f5f3354/press-kit-missionhistory.pdf\nHarry & Bryant Funeral Home. “In Memory of Joseph Little, July 16, 1919-October 13, 2012.” http://obits.dignitymemorial.com/dignity-memorial/obituary.aspx?n=Joseph-Little&lc=2734&pid=160457553&mid=5271450\nMaterials are in good condition.\nThe processing, arrangement, and description of this collection was completed by Sydney Carroll, February 2020.\n- Business Subject Source: Local sources\n- Concert programs Subject Source: Library of Congress Subject Headings\n- Concerts Subject Source: Library of Congress Subject Headings\n- Programs Subject Source: Library of Congress Subject Headings\n- Symphony orchestras Subject Source: Library of Congress Subject Headings\n- Theaters and Music Subject Source: Local sources\n- Charlotte Symphony Orchestra Collection, 1931-1997\n- Sydney Carroll\n- Language of description\n- Script of description\nPart of the Robinson-Spangler Carolina Room, Charlotte Mecklenburg Library Repository\nCharlotte Mecklenburg Library-Main\n310 N. Tryon Street\nCharlotte NC 28202 USA", "domain": "music_and_dance"}
{"url": "https://uebelundgefaehrlich.com/veranstaltungen/conway-the-machine/", "date": "2024-02-21T08:54:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473401.5/warc/CC-MAIN-20240221070402-20240221100402-00394.warc.gz", "language_score": 0.9800344705581665, "token_count": 176, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__29625339", "lang": "en", "text": "„Demond Price (born February 16, 1982), better known by his stage name Conway the Machine, is an American rapper from Buffalo, New York.\nHe is the brother of fellow rapper Westside Gunn and the cousin of Benny the Butcher. Price is signed to Westside Gunn’s record label, Griselda Records,\nand has released his entire discography on the label. In 2017, Shady Records signed a distribution deal with Griselda for Westside Gunn and Conway’s work,\nmaking the two the first rappers from Buffalo to achieve major label distribution.\nIn 2012, Conway was shot in the neck and shoulder; his face was partially paralyzed, giving him a signature slur.\nHe released his debut studio album, From King to a GOD in 2020, followed by God Don’t Make Mistakes released in 2022.", "domain": "music_and_dance"}
{"url": "http://shaanig.cc/home/x-factor-uk-s14e05-auditions-5-hdtv-x264/", "date": "2019-05-25T12:52:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232258058.61/warc/CC-MAIN-20190525124751-20190525150751-00073.warc.gz", "language_score": 0.8955499529838562, "token_count": 119, "dump": "CC-MAIN-2019-22", "global_id": "webtext-fineweb__CC-MAIN-2019-22__0__222076193", "lang": "en", "text": "Dermot O’Leary hosts as Britain’s biggest singing competition continues its fourteenth series. Simon Cowell once again heads up the judging panel, alongside seasoned judges and music industry veterans Sharon Osbourne, Louis Walsh and Nicole Scherzinger. As the auditions continue, Dermot will be standing by as always, offering support to the nervous hopefuls as they approach the judges and a shoulder to cry on for those who fail to make it through to the next stage. What weird and wonderful performances are still to come this year?\nSize: 395.5 MB", "domain": "music_and_dance"}
{"url": "http://www.livingcomposers.com/composerreg/samplepage.html", "date": "2018-02-26T03:02:44Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891817999.51/warc/CC-MAIN-20180226025358-20180226045358-00523.warc.gz", "language_score": 0.9602685570716858, "token_count": 175, "dump": "CC-MAIN-2018-09", "global_id": "webtext-fineweb__CC-MAIN-2018-09__0__140874314", "lang": "en", "text": "Sample Score or Part Page\nAre you really proud of how your music looks on the page? Performers don't want to have to spend half of their rehearsal time just trying to figure out how to read the music in front of them. Demonstrate the cleanness, readability and detailed notation of your score and parts by posting sample pages with your listing. Plus, this will give performers the opportunity to play through a few bars of the music before buying, and the ability to try out a piece before buying it has been rated one of the top features influencing sheet music purchases in an on-going survey conducted by Quest Haven Publishing.\nCost (per year): $1 per page.\nScanning or file conversion services are available for a fee if you are unable to send a ready-to-post digital graphic of your sample page. (PDF files are preferred.)", "domain": "music_and_dance"}
{"url": "http://www.settomusicecd.com/2nd-saturday-dance", "date": "2018-12-16T06:44:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376827281.64/warc/CC-MAIN-20181216051636-20181216073636-00042.warc.gz", "language_score": 0.8882219195365906, "token_count": 99, "dump": "CC-MAIN-2018-51", "global_id": "webtext-fineweb__CC-MAIN-2018-51__0__175113532", "lang": "en", "text": "2nd Saturday Dance Party\nCome for a fun evening of English Country Dancing with friends far and near!\nLocation: McMinnville Grange, 1700 Old Sheridan Road\nTime: 6:30-9:30 p.m. The first half hour will be easier dances.\nCost: $5 per person, ages 13 through adult\nDates: 2nd Saturday of every month\nOur next Dance Party will be on Saturday, December 8th! Hope to see you there!", "domain": "music_and_dance"}
{"url": "http://drinkthis.typepad.com/auralize/2006/11/index.html", "date": "2018-10-20T02:42:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583512501.27/warc/CC-MAIN-20181020013721-20181020035221-00179.warc.gz", "language_score": 0.9543324112892151, "token_count": 194, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__239459391", "lang": "en", "text": "Pop star Michael Jackson will launch his comeback with a performance of his hit single \"Thriller\" at the World Music Awards in London next week.\nThe World Music Awards will mark the 48-year-old Jackson's first live performance since he was cleared of child molestation charges in California last year, the BBC reported Wednesday.\nJackson will also be receiving the diamond award for his contribution to music at the awards ceremony on Nov. 15.\n\"It's his first performance in a long time,\" said a spokeswoman for the World Music awards. \"It's something of a comeback if you like.\"\nThe World Music Awards gives out prizes based on global record sales.\nHollywood actress Lindsay Lohan will host this year's ceremony, which will feature performances from Beyonce, Katie Melua and Mary J. Blige.\nJackson reportedly plans to recreate the groundbreaking video for \"Thriller\" on the World Music Awards stage, the BBC said.", "domain": "music_and_dance"}
{"url": "https://axisfoundation.org/otakar-kraus-music-trust/", "date": "2024-03-04T08:03:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476432.11/warc/CC-MAIN-20240304065639-20240304095639-00748.warc.gz", "language_score": 0.9773116707801819, "token_count": 783, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__11944218", "lang": "en", "text": "Otakar Kraus Music Trust\nMusic therapy helps children with additional needs\nThe Axis Foundation’s donation of £8,000 to The Otakar Kraus Music Trust (OKMT) enables seven pupils to attend OK Music School. Here qualified music therapists teach children and young people with physical, learning, mental or neurological disability or illness.\n“We are delighted that the Axis Foundation has approved our application to enable seven pupils with disabilities to attend OK Music School for 36 weeks. This will make a huge difference to our music therapy work and allow more children to enjoy the benefits of learning and performing music. Music therapy helps children with disabilities when nothing else can reach them” – Valerie Roy, Fundraising Manager, OKMT\nWhilst at the music therapy school, children interact and make friends, reducing isolation. They gain communication skills and become more confident. Improved listening skills and focus help their learning at school. And performing makes them feel happier, proud of their achievements and part of the community. Some children have passed Royal School of Music exams, and some have performed on national radio.\nThe children say:\n- ‘It makes me feel good about myself – I can do something well!’\n- “I love music because it gives me confidence and it takes me away from the pressures of real life. I make more friends here than anywhere else”\n- “OK Music School has been amazing helping my daughter to gain confidence and improve her memory and listening skills. She is able to verbalise that she is proud of herself.”\n- “E has blossomed, she had very low self-esteem when we started as she was unable to attend school due to her severe anxieties. It has been a Godsend for her mental health.”\nOKMT Survey Results\nOKMT asked parents what difference OK Music School was making to their child. The top survey results were:\n- Increased their confidence and self-esteem 100%\n- Improved their concentration and ability to follow instructions 79%\n- Improved their mental well-being 74%\n- Improved their listening skills 68%\nThe Axis Foundation Trustees additionally agreed a grant of £4,800 towards bursaries for 1-1 music therapy for children and young people and £120 for a new Yamaha Portable Keyboard. Valerie thanked us saying: “We are delighted to get the funding and we will increase our budget for the coming year for bursaries to £6,000. This will help us reach children, young people and families who receive very little regular help.”\nOK Music School Case Study\nD is 8 and is diagnosed with Autism Spectrum Disorder. He struggles with interacting with people he doesn’t know and with some motor skills. He lacks concentration and has some language and communication difficulties. Therefore it is hard for him to take part in activities where he could enjoy time and space with his peers. D had received speech and language therapy and some music therapy.\nBut then his mother heard about OKMT through a London Autism group.\nD started attending the OKMT Youth Choir, where he was silent for a few months until he finally joined in and started singing along. Then he joined OK Music school where he began to learn to play the piano. He thrived on the stable routine, and playing piano now provides him respite and happiness. His concentration and motor skills have improved, and he is now confident in a group of children and socially more aware of others. He took part in the Christmas concert in 2019 and played Twinkle Twinkle Little Star on the piano which gave him a great sense of achievement. His family were so proud and joyful to watch him playing in the concert in front of a big audience.\nD said: “I feel happy and excited to attend my music lessons!”", "domain": "music_and_dance"}
{"url": "https://www.yourpolecamp.com/vladapolefitdubai", "date": "2021-04-13T05:09:22Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072082.26/warc/CC-MAIN-20210413031741-20210413061741-00575.warc.gz", "language_score": 0.9445794224739075, "token_count": 142, "dump": "CC-MAIN-2021-17", "global_id": "webtext-fineweb__CC-MAIN-2021-17__0__117559509", "lang": "en", "text": "Being a co-founder and lead instructor at Pole Fit Dubai, Vlada has over 7 years experience in teaching and performing pole dancing and aerial arts.\nVlada is a certified Group Exercise Instructor; Pole Fitness Instructor by Vertical Dance UK (Level 1), recognized by REPs, ACE and PDC.\nShe is also member of the International Dance Council CID; a PDC Approved 3 star Pole Dance Instructor and a PDC Grading Level 5 Instructor (UK).\nVlada is a professional aerial arts performer and she has worked for the past six years in the UAE.\nPole Fit Dubai co-founder and lead instructor\n2016 Pole Sport & Art Russia 1st Place", "domain": "music_and_dance"}
{"url": "http://thecatalyst.ch/projects/improv/2017/music-in-improv-4-session-workshop/", "date": "2023-12-10T10:37:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679101779.95/warc/CC-MAIN-20231210092457-20231210122457-00451.warc.gz", "language_score": 0.9482182264328003, "token_count": 179, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__205696898", "lang": "en", "text": "This four-week long workshop is all about music in improv: singing and the interplay between music and acting. The course was compiled, developed and first held by Alex Seeholzer as part of The Catalyst’s weekly drop-in improv classes, with help from the amazing improv-pianist Samuel Muscinelli.\nThe full curriculum is available here.\nPlease feel free to use and distribute the curriculum – if you do, accreditation would be appreciated. If you need more detailed descriptions of some sections, don’t hesitate to contact me. Classes marked by asterisks below (*) will involve singing – this does not mean that you have to be able to sing well, so don’t be afraid to attend. In fact, bad singing in comedy improv can sometimes be more fun to watch than perfect pitch! The only thing that matters is your dedication.", "domain": "music_and_dance"}
{"url": "http://drmband.com/whats-happening/dave-joins-vinyl-legion/", "date": "2024-02-29T16:21:19Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474843.87/warc/CC-MAIN-20240229134901-20240229164901-00267.warc.gz", "language_score": 0.9305752515792847, "token_count": 224, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__1481286", "lang": "en", "text": "Recently Dave Spaulding was asked to join up with a local band, Vinyl Legion. They play mostly 80’s Rock with a bit of Country added in for good measure. You can see their gigs listed in our events section below.\nThere is a great article about the band, which you can find at: https://chelmsford.wickedlocal.com/news/20200221/arts-scene—-new-lineup-vision-for-chelmsford-based-band?fbclid=IwAR33nQ8aU1Zx7WKo_EYSEcW9_Ix9C37XlVew4F1QaeVbAaCNrZD8yTHqJAo\nCheck out Vinyl Legion at Fody’s Tavern in Nashua on March 28th from 9pm to midnight or if you like to do Open Mic’s, the next one they host is Friday, March 20th at 9pm at the Alberton W. Vinyl American Legion in North Chelmsford.", "domain": "music_and_dance"}
{"url": "https://top-breakingnews.com/2019/08/09/cds-for-concert-goers-help-rock-bands-boost-weak-billboard-rankings/", "date": "2022-01-18T15:56:54Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320300934.87/warc/CC-MAIN-20220118152809-20220118182809-00147.warc.gz", "language_score": 0.9344035387039185, "token_count": 409, "dump": "CC-MAIN-2022-05", "global_id": "webtext-fineweb__CC-MAIN-2022-05__0__79932385", "lang": "en", "text": "It’s a long way to the top if you want to rock ’n’ roll in 2019.\nGone are the days when a rock album could achieve the No. 1 spot on the Billboard 200 chart on the strength of record sales alone. Instead, rock acts have turned to their tours to get the boost, adding a CD to every ticket sold to help inflate their ranking.\nThe bundling strategy is particularly effective in rock ’n’ roll, since many rock albums lack viral hit singles whose millions of streams can carry an album to No. 1, like Drake found with “God’s Plan” last year.\nBands such as Vampire Weekend and the Raconteurs have outperformed established rockers like Bruce Springsteen this year thanks in part to the bundle, which can often mean additional fees for concert tickets for consumers and a physical copy of a CD they may never open. But for rockers, handing out CDs with concert tickets can be what they need for a No. 1 album ranking, a distinction that still carries a high premium in the industry. The bragging rights and marketing opportunities that come with the top spot can make a crucial difference.\n“The charts are a form of marketing,” said Merck Mercuriadis, a longtime music executive and founder of music investment company Hipgnosis Songs Fund. “If you’re able to say ‘I’m Jack White, and in 2019 I’m still having No. 1 albums,’ that’s a major statement to the industry.”\nRock albums used to dominate the Billboard 200 chart, but now they struggle to hit No. 1. That has led some artists to bundle albums with concert tickets, in hopes to lift their Billboard rankings.\nNote: Genre categories are based on a Wall Street Journal analysis of Spotify genres attached to each artist. Sources: Billboard (albums); Spotify (genres)", "domain": "music_and_dance"}
{"url": "https://www.christinaashlee.com/about/", "date": "2024-02-23T18:02:20Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474440.42/warc/CC-MAIN-20240223153350-20240223183350-00716.warc.gz", "language_score": 0.9844656586647034, "token_count": 277, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__20586385", "lang": "en", "text": "Christina is a Southern California DJ who has been spinning since 1999. Beginning with house parties and then doing mobile gigs for nearly 10 years, she learned to spin to a variety of crowds. But for as long as she can remember, her true passion was trance. While other genres can be fun to spin, Christina finds her passion in tech, uplifting, and hard driving trance. In addition to having a deep love for spinning, she's also had the desire to create music. Since 2016 she has produced a handful of tracks, which can be found on her SoundCloud as well as on Beatport and other streaming sites, and there are definitely some new works in progress!\nChristina is constantly digging, refining, and perfecting her skills as much as as possible. She's had the privilege of performing at Avalon in Hollywood and Garage Gallery in LA. She's worked with Odyssey Productions, May Day Events, as well as with many other talented DJ's and producers. She is also involved in a collaboration with DJ Cipher as DJ duo 'Rogue Vision'. Currently she is a resident DJ at DI.FM where you can hear her show Electronic Agenda every first Thursday (1pm PDT/4pm EDT). For all of her past shows and live sets, you can listen to her on SoundCloud (and for archives, check out MixCloud).\nThanks for stopping by!", "domain": "music_and_dance"}
{"url": "http://www.luckyji.com/tabla-the-free-percussion-android-app/", "date": "2013-12-08T22:19:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163824647/warc/CC-MAIN-20131204133024-00023-ip-10-33-133-15.ec2.internal.warc.gz", "language_score": 0.949456512928009, "token_count": 457, "dump": "CC-MAIN-2013-48", "global_id": "webtext-fineweb__CC-MAIN-2013-48__0__65480936", "lang": "en", "text": "The Android market is full of free Apps in the music and audio category. Now you can get an Indian taste in the percussion App segment on the Android. Developer Rodrigo Kolb has introduced a fantastic percussion Android App named as “Tabla”. Drummers, percussionists and music lovers will find the Tabla App pretty interesting and upto their liking. Tabla – The free Percussion Android App; has already found millions of users worldwide and you would also love to play this wonderful instrument app. With Tabla you can really enjoy and have a fabulous new experience altogether.\nTabla is a free finger percussion instrument app for Android users. With Tabla you can be sure to enjoy and have the most fun experience in finger drumming on Android. It is a free to use app and can be installed on Android 2.1 and above. It works perfectly well with all screen resolutions and is suitable for mobiles and tablets as well. It would be better if you have a big mobile screen only to enhance your Tabla playing experience.\nThe Tabla set in the App is designed on the lines of the Indian Table and have drum pads which generates Indian, Arabian and Latin percussion sounds. The Tabla is Multi touch percussion Android App and is capable of producing 10 different and realistic tabla sounds. You get high quality studio audio sound. It also has the feature of vibrating tabla drums when you touch them. You get various sounds on pressing different areas of the Tabla. If used together with earphones it produces great sound effects too. It also features other instruments like gong, chimes and gungru. So Tabla is really a cool, simple and awesome Android App.\nTabla has been one of the most played and loved instruments in the Indian Musical Traditions. Now with the introduction of Tabla App you can also be the one to enjoy its great sound and love the feeling of playing the fabulous Tabla percussion instrument with your own fingers. You need not be an expert player of Tabla to use Tabla App as it is really easy and simple in use. You only need an Android mobile or Tablet to get started with it. So install Tabla – The Free Percussion Android App; and enjoy this great App.", "domain": "music_and_dance"}
{"url": "http://archive.olats.org/pionniers/pp/asuar/asuar.php", "date": "2023-12-02T15:58:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100427.59/warc/CC-MAIN-20231202140407-20231202170407-00003.warc.gz", "language_score": 0.9438360929489136, "token_count": 510, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__256748707", "lang": "en", "text": "José Vicente Asuar composer and one of the pioneers in the use of computers for the creation in music, died after a prolific and generous life.\nAsuar died at the age of 83 leaving behind him a series of groundbreaking initiatives that inaugurate the creation of electronic music in Chile and South America, influencing a transversal generation of musicians and artists from several fields, always with a mixture of high intelligence and humility, one of his most beloved characteristics.\nIn 1958 he founds at the Arts Faculty of Universidad de Chile the first Laboratory for Electronic Music in Chile, parallel in time to the huge achievements of masters such as Pierre Boulez, Iannis Xenakis and Karlheinz Stockhausen.\nIn 1959 he composed \"Variaciones Espectrales\", one of his most solid masterpieces, composition that also gives the name to the documentary film made to honor his lifetime achievements.\nIn the Universidad de Chile he shared his knowledge as professor of acoustic and electroacoustic music, founding at the same time the Technology in Sound career.\nIn 1960 he takes this knowledge to University of Karlsruhe, in Germany, where he found the Electronic Music Lab, and in 1965 he raise the same methodology in Caracas, Venezuela.\nWith this experience, in 1978 he developed the first computer dedicated for the creation of electronic music in Chile, the COMDASUAR. He declared, in a clear provocation to the dogmatics of the classical and conservative identity of the chilean music scene that \"The piano or the violin is as artificial as a computer\", making clear his disruptive and irreverent methodologies, condition trespassed to his creations, in a very subtle, poetic and elegant way.\n\"The Virtuous Computer\" from 1973, and \" That's how the computer spoke\" from 1979, are just two examples of the rigorosity and dedication on the creation of music through experimental instruments that are nowadays massive creation tools, but that in that time, and in a country far away from the international circuit, an epic and huge contribution for the worldwide music and technology history. His thoughts and clarity to defend the creation of experimental music outside the commercial industry, is an inspiration for the chilean and international creative and experimental community.\nWe will remember his legacy, and put his name in the place that his kind, intelligent and generous humanity deserves.\nChilean Experimental Art and Music Community\n© Enrique Rivera & Leonardo/Olats, janvier 2017", "domain": "music_and_dance"}
{"url": "https://www.cello-festival-szekesfehervar.com/", "date": "2018-10-15T11:10:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583509170.2/warc/CC-MAIN-20181015100606-20181015122106-00290.warc.gz", "language_score": 0.9146047234535217, "token_count": 315, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__92684606", "lang": "en", "text": "It is a privilege for Székesfehérvár to host the International Cello Festival between November 25 and December 2, 2018. Being the Mayor of Székesfehérvár, I welcome the four internationally renowned members of faculty who established the International Cello Festival, as well as all participants and honored guests to this prestigious event. The one-week Festival Program will offer faculty and student recitals, chamber performances, premieres of new compositions, and special youth presentations. As Székesfehérvár is dedicated to music education, it is an honor for our city to have music courses and music literature symposiums taught by highly esteemed professionals during the International Cello Festival.\nThe International Cello Festival will appear as a new color on the music scene palette at Székesfehérvár. I hope this world-class Festival will establish a tradition of bringing outstanding cellists from around the world to Székesfehervár.\nIt is my great pleasure to invite professional and non-professional musicians, young and old music enthusiasts at Székesfehérvár to attend the wonderful program of the International Cello Festival. While enjoying exceptional music performances, I also encourage guests to get acquainted with Székesfehérvár, a historic capital of Hungary, so you might be inspired to return here in the near future.\nDr. András Cser-Palkovics\nMayor of Székesfehérvár", "domain": "music_and_dance"}
{"url": "https://sullivanupper.co.uk/extracurricular/music", "date": "2020-11-27T08:35:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141191511.46/warc/CC-MAIN-20201127073750-20201127103750-00283.warc.gz", "language_score": 0.9394810199737549, "token_count": 602, "dump": "CC-MAIN-2020-50", "global_id": "webtext-fineweb__CC-MAIN-2020-50__0__195056394", "lang": "en", "text": "|FRIDAY||Traditional Group||Break & Lunchtime|\nThe band rehearses each Monday after school and performs at Christmas time in Holywood town centre and also at the Spring Concert in the Ulster Hall. Pupils in Years 8-14 are welcome to attend. Last year their highlight was performing Bach’s Toccata and Fugue featuring the Ulster Hall Mulholland Organ.\nJunior choir is made up of pupils in Years 8-10 and has around 130 pupils attending on a weekly basis. Their performances include carol singing at Bloomfields shopping centre and the annual Spring Concert in the Ulster Hall. Their repertoire includes Traditional African and Indian pieces as well as popular and rock songs.\nThis is a group of around 20 pupils in Years 9 & 10 who successfully auditioned to be part of this small choral group. Last year they performed La Cucaracha and The Water of Tyne.\nThe training choir is made up of pupils in Years 11-14 and meets weekly at lunchtime and is currently rehearsing for Christmas.\nThis lively swing group play a variety of gigs including the Stormont Hotel and the Black Box Studio in Belfast. Their extensive repertoire includes well known film themes, big band sounds and contemporary Jazz.\nThe school brass group rehearse each week at breaktime and is open to pupils in Years 8-14. Last year their performances included the school carol service, prize day and the Spring Concert in the Ulster Hall. They have a varied repertoire of well known popular melodies and last year performed an arrangement of the Beatles Maxwell’s Silver Hammer.\nThis is a senior choir for pupils in Years 11-14 who perform a variety of music for SSA and also SATB. Along with the annual school musical events Sullivan Singers enjoy performing in the wider community including a joint performance with the choir of Holywood Parish. This year they are performing Karl Jenkins’ sacred setting Stabat Mater.\nThis Irish traditional group has been a popular group in the school for many years. They have recently incorporated Traditional Irish dancers into their performances and performed the lively King of the Fairies in the Ulster Hall. This year the pupils were given the exciting opportunity to travel to Washington to perform at the St. Patrick day celebrations.\nThe school orchestra is open to pupils in Years 8-14 and meets after school each week on a Thursday. It has around 80 members and performs a mixture of classical, film and popular music. Last year they performed Farandole from L’Arlesienne Suite by Bizet and Highlights from Wicked in the Spring Concert.\nThere are a number of smaller musical ensembles which meet on a weekly basis. These include string quartets, trios, rock groups and vocal ensembles.\nPupils have the opportunity to attend theory classes at break or lunchtime throughout the week. There are currently three levels to choose from, beginner, intermediate and grades 4/5.", "domain": "music_and_dance"}
{"url": "http://www.southcoastukes.com/ti-reentrantreview1.htm", "date": "2019-09-19T00:34:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514573385.29/warc/CC-MAIN-20190918234431-20190919020431-00528.warc.gz", "language_score": 0.9601180553436279, "token_count": 4871, "dump": "CC-MAIN-2019-39", "global_id": "webtext-fineweb__CC-MAIN-2019-39__0__99050181", "lang": "en", "text": "When the Portuguese first came to Hawaii, they brought with them a couple of small wood bodied plucked instruments that immediately caught the attention of the islanders. The Machete was strung as a lead/melody instrument in an open style very close to a linear alignment, while the larger 5-string Rajao was the rhythm instrument. The Hawaiians main interest was in song, not in the sort of parlour instrumental arrangements the Portuguese had composed for their string duos and trios (with guitar in the latter). But the Hawaiians also favoured the smaller Machete and its brighter tone. An adaptation quickly took place, resulting in what we now know as the Ukulele.The Rajão tuning, one that worked beautifully for vocal accompaniment, was moved to the smaller Machete/Ukulele. The 5th string went away, and the 4 strings left served as what we have known ever since as a uniquely Ukulele form of reentrant tuning. The notes are aligned in 4ths, but unlike in a traditional linear arrangement, the 4th string goes up an octave.Plain string material, first gut and later nylon were used in the beginning; fluorocarbon is now probably used more than anything. Regardless of the material, however, all these sets have one thing in common: a tendency toward an imbalance in tone and response among the strings; one that grows more pronounced as the gauges get heavier. It’s an inevitable consequence of a plain string single material set in the Ukulele Reentrant form.What happens is that there are two high bright notes – the thinnest strings - on the outsides, an intermediate tone 2nd string, and a heavy, somewhat dull 3rd string. We address that problem with our “Mixed Materials” approach (see the Our Materials page for more). Strings of varying higher density in the middle produce much more balanced tone. For the Ukulele’s common use, rhythm accompaniment for vocals, we feel this mixed material plain string approach produces the finest traditional Ukulele sets available. And yet reentrant tunings are wonderful options for somewhat non-traditional use as well. Instrumental playing, both single note and chord melody are excellent with reentrant tunings. But in these styles a player more often goes up the neck, and in those higher positions, even our higher density centre strings begin to lose clarity. One common solution is to add a wound 3rd string. In the past we have tried to compromise, by offering sets with an option for a plain or wound 3rd string; sets where the transitions from either 3rd string wouldn’t be too jarring. Offering this sort of 3rd string option is obviously an economical approach. And yet with a bit of reflection you realize that strings which transition well to and from a plain 3rd, won’t transition as well with a wound 3rd. As a matter of fact, a “set” of strings is ideally matched as a whole. Changing one component, when the sound is as different as it is in this instance, is simply too much of a compromise, even with all the materials we have to pick from. And one thing we have come to realize is that compromise based on economy is what other string companies do with the Ukulele – that’s not really us.So in the end, in spite of considerable inventory and management cost, we now offer not two, but three distinct types of strings for the Medium and Heavy Gauge Ukulele sets along with the two formulae we have always had for the Medium and Light Gauges. The all plain sets will be balanced around their 3rd string, while the wound sets will be balanced around the wound 3rd. Sets may share one, possibly even two strings between them, but in the majority of cases, all 4 strings in, for example, a Light Medium NW (no wound) set will be different than those in an Light Medium W3 (wound 3rd) set. In spite of our best efforts, we have come to the conclusion that simply slapping a wound 3rd string into a plain string set is often just as bad as slapping a wound 4th onto a group of reentrant strings to create a linear set-up.So Wound 3rd sets are now offered from Light Medium Gauges upward. And while Light and Extra Light Gauges have no need of wound strings, the warmer sounding “Soft” sets continue from Medium Gauges on down. Finally, we’ve added another uniquely Ukulele reentrant form to the mix. This is what we call Lili’u tuning. It gives the advantages of a reentrant form (it’s double reentrant) for strumming and chord melody, while providing the deep tone of a linear set-up. *************************************But before going into the differences to expect among these three groups we want to make a few remarks on a common error in string set selection. Folks have the idea that smaller instruments should have lighter gauge sets. There is very slight justification for that belief from two factors. First, a string needs a bit more tension to maintain its height above the fretboard as scale length increases. This is a relatively minor factor, however. Secondly, a smaller soundboard needs less energy to drive it than a larger one. This deserves a bit more consideration, but Ukulele players have distorted that idea way out of all proportion.There is no reason strings for a Soprano can’t have a relatively high tension (on a normally constructed modern instrument) or that strings on a lightly built Tenor can’t be low tension. The idea that the opposite should be true comes partially from the factors above, but more specifically from the recent practice of tuning all Ukuleles to the Key of C. The most blatant example of poor tuning comes on the Soprano. There, for years, the most commonly used sets have been “combination” Soprano/Concert sets – strings long enough to be used on either instrument. But these sets were never meant to be tuned to C on both instruments. Throughout most of its history, the Soprano was commonly in D tuning. Take a Soprano/Concert set – tune it to C on the Concert, then to D on the Soprano, and the tensions are now similar. As such, a combination set was both more economical for the string companies and their customers, and served its function well for both instruments.You can see at this point that if for some reason you needed to tune both instruments to the same tuning, then to maintain similar tension, the shorter scaled instrument would actually need heavier strings than the longer one. Yet for the last 30 years, as a result of a new, lower pitched modern Soprano tuning without change in the old string set designs, people have been stringing Sopranos at the very low end of acceptable tension. The idea has developed that companies like Martin must know what is appropriate, and influenced by this unintended tuning practice, the latest group of Ukulele players have become accustomed to the feel of Sopranos at the very bottom end of acceptable tension. Martin does know what is appropriate, but in their adherence to a tradition now abandoned by current players, their original intent has been completely lost. The resulting mistuned instruments give performance that is far less than ideal, and has played a major role in the Sopranos recent decline. The same sorts of distortions are found throughout the various sized Ukuleles when C tuning is always used. Tenors, for example can sometimes have more tension than necessary and Baritones are seldom strung well. We’ll deal with some of the specifics as we discuss individual sets or groups of sets below, but while there will always be some experimentation with a new instrument, your best bet is to rely on the Tension and Tuning charts that are outlined on the Strings Setspage, not the common distortions of what sort of tensions are appropriate on what sized instruments. Remember that while materials play an undeniable part in string set soundtension is usually even more important when it comes to bringing out the best in your instrument. This is why we stand almost alone in offering the sort of selection in tension that can mesh your preference in feel with your instruments best response. More specific discussion of our Tension ratings, and some tricks on how to get the best out of the ratings system can be found here:Southcoast Tension Ratings w/ String Selection TipsAnd also remember, you can also avoid these contortions in tension and tone most effectively on instruments that are for solo play, where after all sound is most important. Simply use traditional tuning practice. The Tuning Your Ukulele series shows the ins and outs of that in detail. Click here:Tuning Your UkuleleWhile specifics will be dealt with in individual reviews below, let’s now talk in a general way about the differences in the three Ukulele reentrant groups - the sorts of differences that will lead you to the string group best suited to your style of play.*************************************First, the NW series. These “no wound” sets are the traditional way to string the Ukulele - they incorporate no wound material. With the introduction of these three series of reentrant strings, the NW sets have been tweaked to do what a no wound set can do best: offer a powerful, full, rich sound. However, our sets are non-traditional in that we use mixed materials to accomplish this with better balance in tone and tension than can ever be obtained with the single material approach used by everyone else. For more details on our “mixed materials” approach, click here:Our MaterialsIn addition to this, in some of the lighter gauges, where sometimes on certain instruments, sets can give too bright and assertive a sound, you have a choice of two NW formulae, our standard formula, giving clear bright sound, or our “Soft” formula, giving a warmer sound and thicker feel to these light gauge sets and high tunings. More detail on those differences can be found here:NW String Sets - Standard or Soft*************************************Next, the W3, or “wound 3rd” series. These sets offer a sound profile the Ukulele has never seen before, and we are very proud to present them. In the past, sets of this nature were put together with a traditional wound material 3rd string simply swapped for the 3rd string in a plain set. That practice results in a far less than ideal set-up. With our W3 series, we present a polished low density 3rd string that gives a feel not that much different than a plain 3rd. First, it’s polished, so it’s not nearly as noisy as the older wound 3rd sets, and second, the low density means it’s much thicker than a traditional higher density wound 3rd would be. As a matter of fact, one slight bonus to using this set is that no alteration in set-up should be necessary when switching from a plain set - the low density 3rd has practically the exact same diameter as a plain 3rd string would have (please avoid the misinformation of online “string scientists” with their generalizations about string diameters).The resulting sound is something new as well. The problem heard in varying degrees with wound 3rd sets is the same problem that comes from the common practice of simply slapping a wound 4th into a reentrant set to create linear set-ups. The wound 4th tends to dominate the sound, droning over the other three strings. While this is less noticeable in a wound 3rd reentrant set, where the wound 3rd is the root of most chords, the problem is the same. But this low density 3rd doesn’t have much more volume or sustain than a plain 3rd, so the balance is tremendously better.Then we match the three plain strings to this low density wound 3rd string. Occasionally two of these strings will be different than those used in an NW set. More often all three will be different. They are selected not for the volume and power we look for in the NW sets, but for clarity. As such, in traditional strumming, do not look for what some people have come to expect from wound 3rd sets. Don’t look for much more sustain. In traditional strumming there’s a little difference - not much. Don’t look for much more emphasis on the bottom end. An NW set might actually have a bit more. Don’t look for more volume. The NW sets will have a slight advantage there as well.So why would anyone want a set with a touch lower volume and not much difference in the bass or in sustain? Take the NW and W3 Medium Gauge sets and start to play up the neck and the main difference immediately jumps out at you. The weakness of NW sets is when you start to go up the neck. With the shorter scaled Ukuleles there is the famous “plinkiness” in the sound. And with the longer scaled Ukuleles the sound up the neck is not so much plinky as dead. These W3 sets maintain much of the same clarity they have in 1st position chords when you start to move up the scale.And this is also where we’d point out that projection and volume are two different things. Where an NW set will have more volume in 1st position strums, up the fretboard, the W3 sets produce much greater projection, as NW sets start to go dead. And our W3 sets, in contrast to what you may have experienced before, do all this without any droning from the wound string - they pull this off with picture perfect balance.With the Heavy Gauge sets you may even want a W3 set for 1st position strums, as with heavier gauges, the plain strings start to lose their advantage even in standard strumming. So choosing between these two sets is a matter of picking the series that is best suited to your style of play or in some cases, your taste in sound. For 1st position strumming in medium to high pitch tunings, the NW series, with their smooth power will be the favourite for most. In heavier gauges, it will often come down to what sounds best on a given instrument, or the players preference in sound. But for those players picking notes or playing chord melody up the neck the W3s should always be a prime consideration. *************************************And then we have the Lili’u series. If what you had hoped for in a wound 3rd set was actually what the W3s don’t emphasize - long sustain and more bass, well, don’t despair. We’ve got you covered there as well. For that sort of sound profile our last Ukulele reentrant series, the Lili’u Series really delivers. Once again, you’ll hear something you’ve likely never experienced from an Ukulele before. This is what is called a double reentrant set. Compared to a Linear set, the 4th string goes up an octave, becoming a “high reentrant” string as is the case with traditional Ukulele sets. But with Lili’u tuning now the 1st string also drops an octave, making it a “low reentrant” string.This set-up is best known in it’s 4 course 6-string form, the tuning invented by none other than Sam Kamaka Junior. But it is played with 4 strings as well, most prominently by Dr. Byron Yasui. With these set-ups, we have double wound sets; the low density wound material we use in the W3 sets predominate in the two Medium Gauge sets, and higher density material is used exclusively in the two Heavy Gauges. We mentioned that these typical higher density strings cause an imbalance in a traditional wound 3rd set, but with a Lili’u set, the 1st string, being an octave down, now requires wound material for best sound as well. And so, as is so often the case with Linear strings, a double wound reentrant set does away with the overbearing drone of a traditional single wound reentrant set. The comparison to a double wound Linear set is apt in another respect as well. A Lili’u set gives reentrant tuning much of the same character as a double wound linear set. There is just as much sustain, the same sort of clarity, if not more, and if tuned to to same key, the 1st string will be only one note higher than a Linear 4th, meaning it will have much of the same depth as well.But with the deep note on the 1st string, there are important differences between a Lili’u set and a Linear set where the deep note is on the 4th. The most important of these is in 1st position strumming. Whereas a Linear set-up often sounds awkward in this setting, a Lili’u set up gives much better sounding 1st position strums. While the deepest note is only one step higher, putting it on the 1st string means your ear won’t “hear” it as the bass note, as is the case with a Linear strum. In other words, the awkward sounding inverted chords of Linear tuning go away. You still hear the 3rd string as your “root” as it should be. For more on this see Part 7 of the Tuning Your Ukulele series linked above. The other advantage is that the typical weakness of a Linear set - a 1st string that is either weak or overly tense is gone, and the set has a smoother, more focused sound. There’s always some sort of trade-off, however, and in the case of Lili’u tuning it comes with using it for melody playing. The low 1st string means that typical melody picking, while not impossible, would require dedicated practice. On the other hand, chord melody will require no adjustment at all; this is what Byron Yasui uses it for. And clawhammer and bass/strum work, while needing some slight adjustment in technique, are excellent with this arrangement as well.So 1st position chords from a Lili’u set-up have the same sweet sounds that traditional Ukulele reentrant chords have always given, while producing them with almost as much depth and just as much sustain as a Linear arrangement. It is a wonderfully effective set-up for those for those looking for greater depth for traditional Ukulele playing, and one that we are very pleased to present.Therefore the 4-string Lili’u set-ups should be prime consideration traditional playing styles where you want a sound with much of the depth of a Linear set-up and all the sustain. We can almost hear the sigh of relief from players who have been looking for 1st position strumming with sweet sounding chords, a deep tone and long, lingering notes.*************************************But what now if you’re just in love with the deeper Lili’u reentrant sound and while you mainly play traditional styles, you do some picking as well. Isn’t there a way to pull this off without a major adjustment in your picking patterns? Fortunately, the answer is yes! But the answer also involves buying a new Ukulele, one that accommodates 6 strings.The 6-string Ukulele was invented for just this sort of all around playing. In 1959, Hawaii was on the verge on becoming the 50th state, and the Islanders were in a celebratory mood. Sam Kamaka Junior was then in charge of the Kamaka Ukulele enterprise, having taken over from his father, Sam Sr. The elder Kamaka had started building Ukuleles almost from the creation of the instrument itself, and thus Sam Jr. learned the history of its inception from his father. He had the idea to create a unique design in honour of Hawaii’s statehood, and looked back to that early history for inspiration. The result was the modern 6-string Ukulele.The first models were apparently closer in size to the Rajão or Taropatch Fiddle, but rapidly grew to a body size more in line with a modern Tenor. Most manufacturers today simply add two strings to their existing Tenor bodies. But the tuning was something entirely new. The 4th course was single, the 3rd course was doubled in octaves with the variant being an octave higher than standard, the 2nd course was again single and the 1st course was again doubled in octaves, this time with the variant being an octave down. While D tuning was prominent on the Sopranos at that time, the 6-string took its cue from the old Rajão, and has always been formally tuned in C : g’ c’c” e’ a’a.Sam Junior called it the “Lili’u’” model, in honour of Hawaii’s last monarch, Queen Lili’uokalani. The name was an apt one, as the Queen was not only a renowned player of the Ukulele, but one of its foremost composers as well. She had penned “Aloha Oe”, a song many interpret as a farewell to Hawaiian independence, while imprisoned in ‘Iolani Palace following the overthrow of the monarchy. The result was spectacular. The 6-string Ukulele is probably the finest instrument in the Ukulele family when it comes to vocal accompaniment, having a full, rich chime which displays both depth from its octave 1st course, while keeping the flavour of the Ukulele reentrant sound and the advantages that arrangement gives in first position chords and strumming.And once again, folks like Sam Jr. and Byron Yasui understood that the choice of notes on any given set-up, and how the ear will interpret them are two different things. We mentioned above that the 4-string Lili’u set-up doesn’t display the sort of 1st position improper chord inversions one hears from a Linear set because the 1st string note, even though only one step off from a linear 4th, is not “heard” as a bass note. The same sort of effect comes into play with a 6-string. Picking a 4-string Lili’u set-up does leave you with a low 1st string that falls outside of traditional picking patterns. But with the 6-string, that low 1st is now paired with another 1st string an octave higher - one in the traditional octave. And when picked together, the ear “hears” the higher, 1st in the common octave as the dominant note. The low octave is simply “background depth”. You can hear it illustrated here on this demo from Peter Moss. You create your 6-string sets from the Lili’u page simply by using the Add-On option in the drop-down menu. The high octave 1st and 3rd strings are added to the 4-string Lili’u set, then packed and shipped together.*************************************And so with this background, let’s now go on to the reviews and tips for usage on specific sets.", "domain": "music_and_dance"}
{"url": "https://blog.ageoflearning.com/abcmouse-songs-now-available-on-top-streaming-services-spotify-applemusic-amazon/", "date": "2023-03-21T10:15:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00234.warc.gz", "language_score": 0.9299168586730957, "token_count": 332, "dump": "CC-MAIN-2023-14", "global_id": "webtext-fineweb__CC-MAIN-2023-14__0__196549833", "lang": "en", "text": "Complete Collection of ABCmouse Songs Now Available on Major Music Platforms!\nMusic has always been a big part of ABCmouse Early Learning Academy, which offers more than 175 songs that help bring learning to life for children. Now, for the first time, our complete collection of ABCmouse music is available on major music platforms worldwide, including Spotify, Apple Music, Amazon Music, Pandora, and Google Play. With a listener base of more than 300 million people in more than 100 countries, these platforms expand the reach of ABCmouse to many more families around the world.\nThe ABCmouse music collection features dozens of original compositions, including a song for each letter of the alphabet, songs that teach about numbers, shapes, colors, geography, and much more. The collection also includes many new arrangements of classic children’s songs. We produce and record all our songs in our on-site recording studios in our headquarters in Los Angeles.\n“Listening and singing along to music is a wonderful way for children to learn about the world around them and build rich vocabularies, particularly for young children who are not yet able to read,” said Dr. Rebecca Palacios, a Senior Curriculum Advisor and Curriculum Board Member at Age of Learning. “These ABCmouse songs will delight kids while developing important pre-literacy and literacy skills, and at the same time introduce young listeners to a wide range of musical styles.”\nFamilies can find our music under ABCmouse on Spotify, Apple Music, Amazon Music, Tidal, Google Play, Pandora, and several other music platforms. Happy listening!", "domain": "music_and_dance"}
{"url": "http://www.renoswings.com/page/2/", "date": "2018-02-22T10:18:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891814101.27/warc/CC-MAIN-20180222101209-20180222121209-00146.warc.gz", "language_score": 0.9478211402893066, "token_count": 620, "dump": "CC-MAIN-2018-09", "global_id": "webtext-fineweb__CC-MAIN-2018-09__0__237184855", "lang": "en", "text": "Posted by Clayton On November 9, 2015\nWe are excited to present our first Lindy Hop workshop. Clay and Cullen will be teaching a 3-hour workshop on Saturday, November 21st at the University of Nevada Reno from 1-4 PM. This workshop will benefit UNR’s Wolf Pack Swing Dance Club, and will be followed by social dancing until 7 PM. The workshop will be held in the Rotunda at the Knowledge Center on campus.\nThe workshop is open to the general public in addition to students – reserve your spot and purchase your workshop pass HERE. Please don’t hesitate to contact us with any questions at firstname.lastname@example.org\nHere is a short bio on the teachers, Clay and Cullen:\nProducts of the swing revival of the late 1990’s, Clay & Cullen Mitchell met (officially) on the dance floor in late 2000, and started teaching together shortly thereafter. They have traveled throughout North America, dancing socially and honing their skills. They have taught regular group classes, private lessons and workshops in Northern California. They moved to the Reno area almost 2 years ago, and are excited to share their passion for Lindy Hop, their favorite partner dance.\nLindy Hop is an energetic, engaging and most of all fun partner dance that was incubated in the ballrooms of Harlem to the sound of some of the premier swing bands of the early 1930’s. Lindy Hop underwent a revival in the early 1990’s when small, dedicated groups of Swedish and American dancers searched for, and found, some of the original professional swing dancers and convinced them to share the dance. Vintage swing dancing, and especially lindy hop, now exists in cities throughout the US and is also popular across Europe, Asia and the rest of the world.\nThis is a dance for everyone, there’s no need to have any previous dance experience and people of all ages, shapes and walks of life are part of the lindy hop community. The Wolf Pack Swing Dance Club and lindy hop scenes around the world focus on inclusivity, providing a fun, safe space for socializing and dancing, and on having fun while connecting with another dancer for about three to four minutes (the typical length of a swing tune)!\nWe hope to see you at the workshop – if you’re coming, wear comfy clothes, bring a water bottle and shoes that have some slip to them.\nPosted by Clayton On July 14, 2015\nYou have found a dedicated and growing group of swing dancers in the Reno/Tahoe/Carson City area.\nWe are bringing Vintage Swing Dancing (Lindy Hop, Jitterbug, Charleston, Shag, Balboa) to the Reno area. We are also a resource for information about West Coast Swing Dancing and Blues and Fusion Dancing.\nWe are just getting the website up and running, so bear with us. We are active on our Facebook page, and are starting to flesh out our calendar of dancing opportunities.", "domain": "music_and_dance"}
{"url": "https://myfilmagenda.com/west-side-story/", "date": "2022-05-24T12:44:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00034.warc.gz", "language_score": 0.7248892188072205, "token_count": 225, "dump": "CC-MAIN-2022-21", "global_id": "webtext-fineweb__CC-MAIN-2022-21__0__31918060", "lang": "en", "text": "— Watch at Home —\n*Purchases not made on this site\n“West Side Story” tells the classic tale of fierce rivalries and young love in 1957 New York City.\nWest Side Story\n|| Drama • Musical || 2021 || 156′\nRelease Date (U.S.A.) ► December 10, 2021\nRating ► [PG-13] Some strong violence, strong language, thematic content, suggestive material and brief smoking.\nAnsel Elgort; Rachel Zegler; Ariana DeBose; David Alvarez; Mike Faist; Josh Andrés Rivera; Ana Isabelle; Corey Stoll; Brian d’Arcy James; Rita Moreno.\nAdapted for the screen from the original 1957 Broadway show, with book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and concept, direction and choreography by Jerome Robbins.\nLeonard Bernstein (Original Music Composer)", "domain": "music_and_dance"}
{"url": "https://elsdenmusic.com/elsden-music/press-information/casper-hoedemaekes-heim/", "date": "2023-12-04T20:53:46Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100534.18/warc/CC-MAIN-20231204182901-20231204212901-00554.warc.gz", "language_score": 0.8946992754936218, "token_count": 148, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__76411789", "lang": "en", "text": "Release Date: 01/07/2023\nThe debut release of London-based Dutch bass player Casper Hoedemaekers, Heim is an intimate duo of double bass and piano, an inviting, after-hours meditation on the idea of home.\nIn the five original compositions, there are themes of European identity, lockdown, displacement running through the five original compositions on this album. They show a tangle with tradition, drawing on jazz in its European and American vernacular. The minimal instrumentation of the music allows the rich sonority of the double bass to sound through, revealing the delicate counterpoint of its melodic lines with the piano.\nPlease get in touch if you’d like a review copy", "domain": "music_and_dance"}
{"url": "http://www.grandpianist.com/", "date": "2019-09-23T20:05:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514578201.99/warc/CC-MAIN-20190923193125-20190923215125-00108.warc.gz", "language_score": 0.9566842913627625, "token_count": 127, "dump": "CC-MAIN-2019-39", "global_id": "webtext-fineweb__CC-MAIN-2019-39__0__37826900", "lang": "en", "text": "Great news for Billy Andrusco fans! Although it has been awhile since Billy has been\nin the studio, upon hearing the vocal rendition of Augusta, the theme song for The\nMasters golf tournament, he was inspired. Leonard Cohen's Hallelujah was another\nsong he had always wanted to record, and so, spontaneously, the process of building\nout an album's worth of material continued. This collection of songs tells a story that\ntakes the listener on a journey of memorable tunes from decades gone by. A must\nhave for Billy fans! Click on \"Order Form\" to get your copy now!", "domain": "music_and_dance"}
{"url": "https://bachddsoc.org/", "date": "2023-09-29T09:35:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510501.83/warc/CC-MAIN-20230929090526-20230929120526-00270.warc.gz", "language_score": 0.8875768780708313, "token_count": 334, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__184095527", "lang": "en", "text": "\"This an incredible historic spot for Jazz. The venue is tiny, with a real personal vibe and all good seats with a concert most Sunday afternoons.\"\n\"Wow, I'm kicking myself for not coming before. Saw Kendrick Scott Oracle this weekend and the show was incredible.\"\nHalf Moon Bay, CA\n\"The best venue in the SF Bay Area to see world class jazz in an intimate setting.The most lovely people attend the concerts so it's good vibes all the way around.\"\nPete transformed a tiny beach-side shack into one of the most intimate\nand vibrant jazz venues in the world. Through the years, our concert\nhall has come alive with a long list of jazz legends, including Betty\nCarter, Bill Evans, Dexter Gordon, Stan Getz, Max Roach, McCoy Tyner,\nBobby Hutcherson, Art Blakey, Etta James, Milt Jackson, and Eliane\nElias, to name just a few. It’s no wonder that the Bach has been listed\nas a DownBeat magazine “Great Jazz Venue” for several years running.\nAnd beyond jazz, we have featured classic notables including the Kronos\nQuartet and Mariano Cordoba. Pete’s vision and spirit live on at the\nBach through his daughters, as they carry on with a unique mix of\nquality local, upcoming, and world class programming.\nInterview with Pete Douglas\nVisit our Gallery for more historical musical moments!Visit Gallery", "domain": "music_and_dance"}
{"url": "https://www.zodiak.fi/en/sidestep/2020", "date": "2022-10-02T01:14:52Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030336978.73/warc/CC-MAIN-20221001230322-20221002020322-00395.warc.gz", "language_score": 0.9352957010269165, "token_count": 868, "dump": "CC-MAIN-2022-40", "global_id": "webtext-fineweb__CC-MAIN-2022-40__0__90633343", "lang": "en", "text": "Welcome to experience the week-long, wildly abundant dramaturgic offering of Side Step 2020! Our line-up is full of intense trips of varying duration from the peaks of party mountains to fever dream valleys and back again.\nThe programme of this year's Side Step was born out of a desire to create a whole that focuses on the plurality of the making of art and the diversity of artistic vision, power of expression, artistic practice and artist personalities. It resists easy summarisation under one title, slogan or demand.\nWe want to make Side Step 2020 a celebration of multiple ways of inviting the audience to the worlds of the performances by the sometimes very different artists, of different ways of offering these experiences and the meanings that arise from them. The performances in this year’s line-up are both overabundant and subtle yet powerful. The programme also features works that tune into the act of performance with a very delicate touch — but still, or perhaps exactly because of it, with great impact.\nEven though the themes of the performances are difficult to bundle together, the art of performance, the personalities of the performers and strong choreographic vision are the primary factors that fascinate us and attract our attention. We want to give the stage to works that exhibit energy, aesthetic qualities and attitudes rarely experienced here, works in which the personal sphere and certain idiosyncratic extravaganza come together in exhilarating and amazing ways to tickle the inner worlds of the audience quietly — or sometimes brazenly.\nWe have also wanted to invite young Finnish artists to the festival, to give a platform for them to showcase their work as an essential part of the international line-up, and to support their relationship with the audience, their artistic thinking and their work as performers.\nSide Step 2020 wants to celebrate the diversity and the richness of today’s dance and performance art. The festival is also a place of coming together that enables us to speak about art also in the coming years in different places, deliberately yet in surprising ways. And what is best, this edition of the festival comes with three fabulous festival clubs that we can enjoy together. The heart of the festival is the Side Bar that opens in Zodiak’s lobby for the festival week – one hour before the first performance every day of the festival and all night for the festival clubs.\nArt makes fissures to existing ideals for light to shine through. We invite the audience of Side Step to explore these cracks and to surrender to the new ideas and observations that emerge through them. Let us celebrate the full beauty and roughness of art. La Vie En Rose!\nSide Step Tickets 2020\n60 € incl. service fee\nFestival pass holder is entitled to collect performance tickets to all festival performances with entrance fee (1 ticket per show).\nFestival pass holders are advised to reserve their seats to the desired performances by collecting the performance tickets in advance while purchasing the festival pass. NB. The festival pass does not serve as a ticket and does not guarantee a seat in the performances.\nFestival passes can be purchased from Tiketti and Zodiak. The most convenient way to buy the pass is via the Tiketti website. Remember to reserve seats for the individual performances at the same time.\nPlease show the festival pass, together with your individual performance ticket, at the entrance. Both the festival pass and any performance tickets collected with it are personal.\nThere is a limited amount of festival passes available.\nPerformances at the Cable Factory: 30,50/24,50/16,50 €\nPrices via Tiketti (incl. service fees)\nPerformances at Stoa: 31,00/25,00/16,50 €.\nPrices via Lippu.fi (incl. service fees)\nReduced price applies for students, retired, unemployed, and theatre and dance professionals with a valid certificate.\n- Zodiak’s season and serial tickets are not valid for festival performances.\n- Purchased tickets cannot be returned or exchanged.\n- Ticket reservations cannot be made by e-mail or text messages.", "domain": "music_and_dance"}
{"url": "http://heyrhody.com/stories/rehoboth-contra-dance,28884", "date": "2018-10-16T19:24:55Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583510866.52/warc/CC-MAIN-20181016180631-20181016202131-00214.warc.gz", "language_score": 0.8708672523498535, "token_count": 125, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__58291670", "lang": "en", "text": "There will be a Rehoboth contra dance on Friday, October 12, at 8:00 p.m. at Goff Memorial Hall, 124 Bay State Road, Rehoboth, MA 02769. All dances will be taught by caller Lisa Greenleaf. Music will be performed by Stomp Rocket, with Dave Langford, Glen Loper, and Bethany Waickman. Beginners welcome. Partners not necessary. $10; $8 students. For information, call 508-252-6375; http://www.contradancelinks.com/rehoboth.html.", "domain": "music_and_dance"}
{"url": "http://www.esteemedevents.co.uk/services/bands/", "date": "2016-05-05T08:30:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2016-18/segments/1461860126377.4/warc/CC-MAIN-20160428161526-00070-ip-10-239-7-51.ec2.internal.warc.gz", "language_score": 0.8719506859779358, "token_count": 127, "dump": "CC-MAIN-2016-18", "global_id": "webtext-fineweb__CC-MAIN-2016-18__0__32318566", "lang": "en", "text": "Our great selection of live entertainment are guaranteed to provide the perfect early evening atmosphere or get the party started, the choice is yours.\nWe offer from just a single vocalist with an acoustic guitar, all the way to a full on rock concert! We can even provide a covers karaoke band where YOU will be the star of the show, belting out the hits to your crowd of adoring fans!\nOur hand picked live entertainers can provide a real mixture of classical, jazz, soul, funk, indie and rock covers, ensuring every Esteemed Event goes with a real swing.\nLet us entertain you!", "domain": "music_and_dance"}
{"url": "https://www.ctaccordion.com/caa-blog?Page=6", "date": "2023-12-01T06:53:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100276.12/warc/CC-MAIN-20231201053039-20231201083039-00319.warc.gz", "language_score": 0.9806824922561646, "token_count": 144, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__249437294", "lang": "en", "text": "Last September, 2016, the CAA was awarded a grant through the Arts and Cultural Collaborative, Waterbury Region, to deliver a program that introduced the accordion to band students at Wolcott High School. This is one of many outreach activities that are taking place locally as well as on a national level. The program in Connecticut involved classroom instruction about the accordion, opportunities for the students to learn the rudiments of the instrument as well as hear guest artists in solo and ensemble format. The program will allow the students to join the CAA orchestra on their own instruments in concert on May 21 at the Mattatuck Museum. They will also perform for their own student body at Wolcott High School on May 24.", "domain": "music_and_dance"}
{"url": "http://www.sync-blog.com/sync/2011/10/rocksmith-takes-music-games-to-11.html", "date": "2013-05-22T09:50:06Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368701562534/warc/CC-MAIN-20130516105242-00090-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9558191299438477, "token_count": 904, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__43948081", "lang": "en", "text": "Just when you though the music game craze was over and done with, Ubisoft is back with the first and only game that lets you plug in any real guitar.\nIf you’re ready to hang up your plastic peripherals in music games like Guitar Hero and Rock Band, you’ll have a blast rocking out with Ubisoft’s Rocksmith.\nWhile the game might be a bit intimidating for non-musicians, Rocksmith is worth the price of admission for its engaging gameplay, great music and perhaps most importantly, real-world applications, as you can really learn how to play guitar in a fun and interactive manner.\nIf you already own a six-string, Rocksmith costs $79.99 for the game and a “patch cord” converter cable that has a quarter-inch jack on one end (to plug into your guitar) and a USB connection on the other end (to plug into a PlayStation 3, Xbox 360 or Windows PC). If you don’t already own an electric guitar you might opt for the $199.99 bundle, which includes a Gibson Epiphone Les Paul Junior guitar, as well as the game and cable. The Epiphone is an “entry level” guitar, my musician friends tell me, but two bandmates who came over to play said they were impressed with the quality of the guitar after holding and strumming it.\nSimilar to previous music games, you’re tasked with jamming along to popular rock songs from today and yesterday. But instead of pressing buttons on a plastic peripheral with large colourful buttons that trigger samples, you’re really playing notes or chords to rack up points. Think of your television as a guitar amplifier as what you play can be heard through the speakers. The game offers some helpful tools to get started, such as an easy-to-follow string tuner and a way to adjust guitar latency (the lag between hitting the strings and hearing the sound). There is no paper manual in the box, but the in-game tutorials will help newbies nicely.\nThe game includes more than 50 rock songs on the disc, including The Rolling Stones’ “(I Can’t Get No) Satisfaction,” David Bowie’s “Rebel Rebel,” Lenny Kravitz’s “Are You Gonna Go My Way,” Nirvana’s “In Bloom” and The White Stripes’ “Icky Thump,” to name a few — many of which need to be unlocked by performing well. Each of these tunes feature the real lead, rhythm and combo guitar licks, but Rocksmith automatically adjusts to your skill level; the game gets easier if you’re having trouble (slowing down and switching to single notes instead of chords) or it will get more difficult if you’re breezing through the tracks and racking up a lot of points.\nWhile not tested for the purposes of this review, the game includes a split-screen multiplayer option to play with friends or family. There’s also a variety of in-game effects or “pedals” to tweak the sound – such as distortion or reverb – and you can unlock and play various mini-games to hone your skills, such as racing, action and puzzle diversions.\nVisually speaking, the game isn’t too impressive – the dark environments and lackluster audience aren’t much to look at – but this is more acceptable for a music-focused game. Plus, there’s no support for other instruments (drums, bass, vocals, synthesizer, etc.), so those expecting a complete Rock Band-like experience might be disappointed.\nSo, who is it for, exactly? I’d argue the game is ideal for those who’ve always wanted to learn how to play guitar — and likes rock music — but it’s also a “game,” too, therefore fans of Rock Band and Guitar Hero who want a deeper and more challenging experience will also find this a sound investment. You’ll save a bundle if you already own a guitar, of course, but $200 for an electric guitar, cables and a 50-song game isn’t a bad deal either.\nAlso, here’s a trailer to the game:", "domain": "music_and_dance"}
{"url": "https://www.okcasa.net/the-fitness-benefits-of-ballet-dance-classes/", "date": "2022-08-12T01:55:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882571538.36/warc/CC-MAIN-20220812014923-20220812044923-00427.warc.gz", "language_score": 0.9497334361076355, "token_count": 639, "dump": "CC-MAIN-2022-33", "global_id": "webtext-fineweb__CC-MAIN-2022-33__0__108143365", "lang": "en", "text": "Adult Ballet Classes Melbourne – Would you like to have longer, leaner muscles and improved coordination? If so, an adult ballet barre classes may be perfect for you and offer a refreshing alternative to the typical gym experience. At Dance Dynamics, you can discover how Ballet fitness in Melbourne can help you reap these benefits and much more.\nHow Ballet Can Improve Your Fitness Level\nThere are many reasons to dance, whether as a challenge, to have fun, or as a form of exercise. When considering a new dance class, it may be helpful first to figure out where your interests lie. If you’re looking to improve your overall fitness, you may be surprised at how effective ballet can be.\nIn recent years, ballet has become a popular fitness trend, yet some misconceptions remain around this classic dance style. For example, many people think you need to have a petite “dancer’s build” to do ballet. This couldn’t be further from the truth! Ballet is a perfect way to get in shape, no matter your body type or whether you are age 15 or 75.\nThe idea of starting a ballet class may sound intimidating, but you can rest assured that our professional dance instructors will work with you at your level to ensure you are comfortable each step and plié along the way. Our ballet dance classes in Melbourne focus on both the exercise and fun aspects of this dance form. Our group classes can help you tone up and burn fat, all while having a more socially engaging experience than you likely would with your usual workout routine.\nIf you’ve never considered ballet to be a cardio experience, taking a ballet dance class at one our Melbourne studios may just change your mind. Our ballet barre classes, for example, provide a high-energy workout inspired by the classic movements and forms of ballet for a continuous fat-burning routine. Over time, both traditional ballet and barre workouts have the potential to get you in the best shape of your life. Not only that, you may find that ballet is the best way to de-stress and get some much-needed ‘me’ time, where the rest of your cares can wait while you focus on your moves.\nWhere to Find a Great Ballet Dance Class in Melbourne\nAt Dance Dynamics, we offer ballet barre classes for all ages, including adults and kids, as well as nearly 20 other dance styles for dancers and movers of all types. Even seniors and those with special needs can benefit from our dance-based fitness classes. With over 180 classes per week, you are sure to find something to match your interests and requirements. All our classes focus not only on physical fitness but improving mental health as well, helping you to feel great about yourself and your abilities. Each class is also an excellent way to meet new people and make supportive friends along the way who share your interest in dance.\nIf you’d like to know more about how you can benefit from ballet fitness in Melbourne, be sure to visit one of our studios or check our timetable for upcoming classes before signing up for a membership with Dance Dynamics.", "domain": "music_and_dance"}
{"url": "http://www.wraithnj.com/music/index.php?q=f&f=%2Faudio", "date": "2023-09-30T18:32:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510707.90/warc/CC-MAIN-20230930181852-20230930211852-00218.warc.gz", "language_score": 0.9708389639854431, "token_count": 169, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__18544910", "lang": "en", "text": "|Welcome to the Wraith family music site. I am the author of this site, William Wraith, IV. I love to play classical guitar and have put my recordings on this site. My dad, William Wraith, III sings and plays guitar. I have included some recordings of his, as well. My guitar teacher in Lima, Peru, Humberto Pimentel Fonseca, got me started, and I've played continuously since then. My dad recorded him and a friend of his Fernando Rodriguez playing guitar in 1969 and 1970. Enjoy the content on the site. If you want to get in touch after visiting the site, email me: bwraith (at) wraiths (.) com. The address is garbled to confound email harvesting programs, but you can figure out how to redo that address.", "domain": "music_and_dance"}
{"url": "https://jasonpdoherty.wordpress.com/my-recordings-music/", "date": "2020-09-29T13:02:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-40/segments/1600401643509.96/warc/CC-MAIN-20200929123413-20200929153413-00059.warc.gz", "language_score": 0.9386603832244873, "token_count": 148, "dump": "CC-MAIN-2020-40", "global_id": "webtext-fineweb__CC-MAIN-2020-40__0__267948901", "lang": "en", "text": "I have recorded hundreds of songs and released several albums under the artist name Motherhalo. These are some of my recordings that I would like to share with you here. There are a lot of genres represented, so feel free to browse through my albums.\n- Peripheral Hallucinations II LP (Electronic, 2017)\n- Illuminator (Instrumental Piano, 2009)\n- Motherhalo LIvE + (Singer-songwriter, 2012)\n- 23 Plus Signs (Experimental-industrial, 2012)\nIf you would like to hear even more of my music, visit my Bandcamp Artist Page HERE.\nUpdates and recent recordings can be found on my Soundcloud page HERE.", "domain": "music_and_dance"}
{"url": "http://thebagpiper.org/", "date": "2018-10-23T06:27:05Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583516071.83/warc/CC-MAIN-20181023044407-20181023065907-00461.warc.gz", "language_score": 0.9330167174339294, "token_count": 323, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__57774701", "lang": "en", "text": "With my 40+ years of performing experience, my professional musicianship will provide you with top-quality music for your special event. Whether it be a funeral, wedding, birthday party, graduation, corporate event, or golf tournament, my bagpiping will be a memorable experience for you and your guests. Serving the greater San Francisco Bay Area, I offer Irish and Scottish, patriotic, and hymnal music for your selection and perform in full highland dress with Campbell tartan.\nI’ve performed at over 350 weddings and 700 funerals. Some of my past performances include playing with six-time Grammy-winners The Chieftains, leading the Oscar award for “Brave” into the Pixar studio headquarters, performing for the cast and crew of “Star Trek Into Darkness”, playing for the Mayor of San Francisco, and being part of a group that played for the Queen of England on her visit to San Francisco. In addition, I have been featured on Live 105 radio station, a TV commercial for Tennent's Scottish beer, Channel 11 KNTV morning news, and the Raiders playoff half time show.\nI studied under World Champion Pipe Major Donald Shaw Ramsay, B.E.M. I have played in numerous pipe bands, including The San Francisco Irish, Alameda County Sheriffs, Dunvegan, The Seattle Clansmen and The Diablo Highlanders.\nIf interested, I can supplement my performance with drummers, Scottish Highland dancers, and Irish step dancers for added entertainment value. I’ll be happy to discuss your needs and make arrangements.", "domain": "music_and_dance"}
{"url": "https://composer.ucoz.ua/load/naukovi_statti/naukovi_statti_zarubizhnikh_avtoriv/marta_mateo_music_and_translations/66-1-0-466", "date": "2022-06-25T04:46:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103034170.1/warc/CC-MAIN-20220625034751-20220625064751-00341.warc.gz", "language_score": 0.9205952882766724, "token_count": 254, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__223404344", "lang": "en", "text": "Marta Mateo Music and Translations\nThe translation of musical texts – or music-linked translation, in Harai Golomb's terms (2005: 121-162) – has only recently started to receive attention from translation researchers. One reason for this may be the methodological challenges that its study entails, for it redraws traditional boundaries such as those between 'translation'*, 'adaptation'*or 'rewriting', it questions essential concepts such as 'authorship' or 'source-text' and it clearly calls for a multidisciplinary approach (Susam-Sarajeva 2008: 188-9). Two monographic publications have now joined the small group of articles so far devoted to Music and Translation: Gorlée 2005 and Susam-Sarajeva 2008, which show that the translation of musical texts goes well beyond opera,takingmultiple forms – from the (literal) translations of CD inserts or printed libretti to sung translation, the rewriting of song lyrics, surtitling, subtitling* or dubbing*. This entry will present an overview of the field, focusing mainly on the translation of opera in its various forms – as it has attracted most attention–, and that of songs and musicals.", "domain": "music_and_dance"}
{"url": "http://smithsrestaurant.net/Jazz%20at%20Smiths.htm", "date": "2017-09-26T09:10:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-39/segments/1505818695375.98/warc/CC-MAIN-20170926085159-20170926105159-00025.warc.gz", "language_score": 0.9205213189125061, "token_count": 133, "dump": "CC-MAIN-2017-39", "global_id": "webtext-fineweb__CC-MAIN-2017-39__0__244621624", "lang": "en", "text": "LIVE MUSIC AT SMITHS\nwith Jeremy Sassoon and Guests\nHear some of the region's finest musicians play jazz and lots more !\nMeals and drinks at menu prices - the music comes free !!\n7.15pm ….. Music from 7.30pm\nLIVE MUSIC AT SMITHS IN SEPTEMBER\nTuesday 5th Zoe Kyoti ( vocals / guitar )\nTuesday 12th Ellis Davies ( vocals / guitar )\nTuesday 19th Jeremy Sassoon ( vocals / piano )\nTuesday 26th Paul Bytheway ( vocals / guitar )\nUS ON 0161 788 7343 to book your table !!", "domain": "music_and_dance"}
{"url": "https://www.dolomitisuperski.com/en/Dolomiti-Super-Stories/alpe-di-siusi/Swing-on-Snow", "date": "2024-02-21T18:04:27Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473524.88/warc/CC-MAIN-20240221170215-20240221200215-00235.warc.gz", "language_score": 0.8989152312278748, "token_count": 261, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__34735055", "lang": "en", "text": "Alpe Di Siusi\nJazz in the mountain huts, soul on the slopes and traditional tunes in the restaurants in the evenings: From 13.03.-15.03.2024 and from 20.03.-22.03.2024, musicians from all over the Alpine region will be bringing musical cheer to the Dolomites Region Seiser Alm at the Swing on Snow festival from morning to night. Bands and singers will be getting old and young, winter sports visitors and music lovers alike, into the party mood. The modern interpretation of traditional folk music with jazz, soul and pop reflects the musical culture of the Alps; listeners can swerve in time to the beats and rhythms, and weave their way downhill to the sounds of the tuba, bass, dulcimer and accordion. Renowned musicians such as the exceptional South Tyrolean guitarist Manuel Randi or the renowned wind ensemble Federspiel await you.\nConcerts will be played at the valley station of the cable way Seiser Alm and the slopes of the Seiser Alm in the mornings and afternoons in the huts and evenings in the villages of Kastelruth, Seis am Schlern, Völs am Schlern and Tiers am Rosengarten.", "domain": "music_and_dance"}
{"url": "https://nycago.org/people/janet-yieh/", "date": "2024-02-21T18:47:27Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947473524.88/warc/CC-MAIN-20240221170215-20240221200215-00585.warc.gz", "language_score": 0.9361915588378906, "token_count": 363, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__117723696", "lang": "en", "text": "Janet Yieh serves as Associate Organist at Trinity Church, Wall Street in New York City. An innovative concert recitalist and sacred music specialist, Janet was named one of ’20 under 30’ to watch by The Diapason magazine in 2017. She has performed concert tours throughout the United States and across the globe, with highlights including New York’s Alice Tully Hall, Washington’s National Cathedral, Yale University’s Woolsey Hall, Taipei’s St. John’s Cathedral and Japan’s Momoyama St. Andrew’s University Chapel. She has collaborated with the Paul Winter Consort, the Washington Chorus at the Kennedy Center, and Trinity’s NOVUS NY orchestra at Carnegie Hall. She regularly premieres new works for the organ, and has been featured on the national radio show Pipedreams, New York’s WQXR, New Jersey’s WWFM, Connecticut’s WMNR, and two CD recordings. A native of Alexandria, Virginia, Janet’s former teachers include Thomas Murray, Paul Jacobs, John Walker, Wayne Earnest and Victoria Shields. She holds a Master’s of Musical Arts Degree and Master’s Degree in Organ Performance from the Yale School of Music and Yale Institute of Sacred Music and a Bachelor of Music from the Juilliard School. Janet has served as Organ Scholar at Christ Church and Trinity Church on the Green in New Haven, and Director of Music for Berkeley Divinity School at Yale. She is a Colleague of the AGO, co-chair of the Northeast AGO Young Organists Board and a member of the Association of Anglican Musicians.\nCategories: Class of 2022, Current Board Members", "domain": "music_and_dance"}
{"url": "https://kinderchor.berlinerkonzert.org/en/the-childrens-choirs/", "date": "2019-09-23T16:21:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514577363.98/warc/CC-MAIN-20190923150847-20190923172847-00186.warc.gz", "language_score": 0.9083688855171204, "token_count": 355, "dump": "CC-MAIN-2019-39", "global_id": "webtext-fineweb__CC-MAIN-2019-39__0__109566672", "lang": "en", "text": "The Children's Choirs\nof the Berliner Konzert Chor\nThe encouragement and promotion of singing from an early age is one of our fundamental goals. For more than forty years the Berliner Konzert children’s choirs have been providing children from five to fourteen years of age the opportunity to participate not only in their own concerts but also in those of the main choir.\nThe regular rehearsals take place once a week under the direction of Olga Kisseleva and also include voice training. Additional choir activities take place on the outskirts of Berlin, including the occasional mini-concert tour. Information about the concert dates of our young “Spatzen” (“sparrows”) is included below.\nFor children ages fourteen and older there is our youth choir, the Berliner Konzert Jugendchor. The training and experience received in the children's choirs makes for an easy transition to the youth choir.\nGive us a call for more information, if your child would like to sing with our “Spatzen”.\nSunday, 2 December 2018\nTHE FIRST NÖEL - Christmas concert in the Fellowship Hall of the Evangelical Church Alt-Schmargendorf, Kirchstraße 15, 14199 Berlin | 4:00 p.m.\nSunday, 9 December 2018\nChristmas Concert of the Potsdam Men's Choir, Potsdam Nikolaisaal, Wilhelm-Staab-Str. 11 | 3:00, 6:30 p.m.(Große Spatzen)\nSunday, 16 December 2018\nAt the Christmas Market at Gendarmenmarkt | 1:00 p.m.", "domain": "music_and_dance"}
{"url": "https://www.themackerelmakery.net/product-page/dipsticks-music", "date": "2021-06-15T03:20:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-25/segments/1623487616657.20/warc/CC-MAIN-20210615022806-20210615052806-00405.warc.gz", "language_score": 0.8268928527832031, "token_count": 103, "dump": "CC-MAIN-2021-25", "global_id": "webtext-fineweb__CC-MAIN-2021-25__0__200583517", "lang": "en", "text": "Dipsticks Music by Talking Tables, Sing the first line of a song for your friends and family to sing the next line.\nBonus points for guessing the song title and artist.\nContains 80 double sided sticks.\nRecommended for ages 7+.\nSuitable for 2+ players.\n- Packaged height: 18.0cm;\n- Packaged width: 5.5cm;\n- Packaged depth: 5.5cm;\n- Packaged weight: 0.133kg.", "domain": "music_and_dance"}
{"url": "https://veronikanyssa.wordpress.com/2011/07/08/sabaton-rock-am-hartsfeldsee-dischingen-germany-25-06-2011-r/", "date": "2020-11-25T08:16:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141181482.18/warc/CC-MAIN-20201125071137-20201125101137-00609.warc.gz", "language_score": 0.6839195489883423, "token_count": 173, "dump": "CC-MAIN-2020-50", "global_id": "webtext-fineweb__CC-MAIN-2020-50__0__71387984", "lang": "en", "text": "SABATON @ Rock Am Härtsfeldsee – Dischingen, Germany – 25. 06. 2011 *R\nSABATON official website: http://www.sabaton.net/\nThis entry was posted on July 8, 2011 by Veronika Nyssa. It was filed under Rock am Härtsfeldsee 2011, Sabaton and was tagged with 2011, am, band, Brodén, Daniel, dischingen, Falun, Festival, germany, haertsfeldsee, Härtsfeldsee, Joakim, June, metal, Montelius, Mullback, music, Musik, Myhr, Oskar, Pär, power, RAH, Rikard, rock, Sabaton, Sundén, Sundström, Sweden.", "domain": "music_and_dance"}
{"url": "https://vikosan.vn/doja-cat-diversity-and-innovation-in-music/", "date": "2024-04-23T21:27:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818740.13/warc/CC-MAIN-20240423192952-20240423222952-00320.warc.gz", "language_score": 0.9061861038208008, "token_count": 734, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__99346590", "lang": "en", "text": "Doja Cat, a true musical maverick, has etched her name in the annals of the music industry by seamlessly blending diversity and innovation into her craft. This article delves into the multifaceted dimensions of Doja Cat’s musical prowess, exploring the diverse genres she effortlessly traverses and the innovative approaches that define her unique sound.\n**Eclectic Soundscapes: A Genre-Defying Journey**\nOne of the standout features of Doja Cat’s music is its genre-fluid nature. From the hip-hop-infused beats of “Juicy” to the disco-inspired rhythms of “Say So” and the R&B sensibilities in “Streets,” Doja Cat defies categorization. Her ability to fluidly move between genres showcases a true mastery of sound and an openness to experimentation that captivates audiences across the musical spectrum.\n**Lyrical Wit and Versatility: Crafting Sonic Narratives**\nDoja Cat’s lyrical prowess is equally diverse, with each song telling a unique story. Whether delivering playful and catchy verses or delving into more introspective themes, her lyrics resonate with authenticity. This versatility in storytelling contributes to the relatability of her music, connecting with listeners on a personal level.\n**Innovative Production Techniques: Pushing Sonic Boundaries**\nAt the heart of Doja Cat’s innovation lies her approach to production. Her tracks often feature unconventional beats, unexpected instrumentals, and intricate arrangements that challenge traditional norms. This commitment to pushing sonic boundaries results in music that feels both fresh and unpredictable, creating an immersive experience for the listener.\n**The TikTok Phenomenon: Social Media as a Catalyst**\nDoja Cat’s awareness of digital trends and her embrace of platforms like TikTok have played a pivotal role in propelling her music to viral success. Songs like “Say So” became anthems for dance challenges, showcasing the symbiotic relationship between her innovative sound and the ever-evolving landscape of social media.\n**Visual Storytelling: Music Videos as Artistic Canvases**\nIn addition to her sonic creativity, Doja Cat’s music videos serve as visual masterpieces that complement and enhance the narrative of her songs. Each video is a carefully crafted piece of visual storytelling, featuring bold aesthetics, imaginative concepts, and an undeniable flair for artistic expression.\n**Fashion Forwardness: A Visual Extension of Creativity**\nDoja Cat’s innovation extends beyond music and visuals to the realm of fashion. Her bold and eclectic fashion choices not only contribute to her overall persona but also serve as an extension of her creative expression. From red carpet appearances to music video ensembles, she consistently showcases a fearless and trendsetting approach to style.\n**Global Collaborations: Bridging Cultures and Sounds**\nThe diversity in Doja Cat’s music is further enriched by her collaborations with artists from around the world. Engaging with diverse voices and styles, she transcends geographical boundaries, creating a global fusion of sounds that resonates with audiences internationally.\n**Conclusion: A Sonic Visionary**\nIn conclusion, Doja Cat’s music is a testament to her status as a sonic visionary. Her ability to seamlessly blend diverse genres, coupled with innovative production techniques and a keen understanding of digital trends, places her at the forefront of modern music. As she continues to evolve and experiment, Doja Cat’s impact on the musical landscape will undoubtedly continue to shape and redefine the industry.", "domain": "music_and_dance"}
{"url": "http://mindhealthfortune.com/2016/12/19/celebrities-who-talked-about-their-death-before-it-happened/", "date": "2017-04-26T21:20:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121665.69/warc/CC-MAIN-20170423031201-00347-ip-10-145-167-34.ec2.internal.warc.gz", "language_score": 0.9843809604644775, "token_count": 212, "dump": "CC-MAIN-2017-17", "global_id": "webtext-fineweb__CC-MAIN-2017-17__0__10452278", "lang": "en", "text": "1. Jimi Hendrix\nEven though Jimi Hendrix’s mainstream career only lated four years, it was enough to make him arguably the greatest guitarist of all time and one of the greatest musicians ever. He was the recipient of several music awards during his lifetime and after his death. But before achieving enormous success with his critically acclaimed debut album, Are You Experience?, he recored “The Ballad of Jimi,” a haunting tune that many fans suggest Jimi Hendrix was portraying his own death. He sings, “Many things he would try/For he knew soon he’d die,” “Now Jimi’s gone, he’s not alone/His memory still lives on” and “Five years, this he said/He’s not gone, he’s just dead.” Five years after the recording of the song, on September 18, 1970, Jimi Hendrix died accidentally from barbiturate-related asphyxia.", "domain": "music_and_dance"}
{"url": "http://salikon.dk/loom_tchaikovsky_swan_lake.html", "date": "2019-02-18T09:31:29Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247484772.43/warc/CC-MAIN-20190218074121-20190218100121-00577.warc.gz", "language_score": 0.9850154519081116, "token_count": 545, "dump": "CC-MAIN-2019-09", "global_id": "webtext-fineweb__CC-MAIN-2019-09__0__151736414", "lang": "en", "text": "Pyotr Il'ich Tchaikovsky (1840-1893)\nBallet in the Letters of Tchaikovsky\nIn the summer of 1871, Tchaikovsky went to stay with his sister Alexandra Davydova on her estate at Kamenka, in the Ukraine. For her children he wrote a little domestic ballet which he called \"Swan Lake\". Everybody was involved, including his brother Modest as the Prince, and the entertainment was long remembered with pleasure by the family.\nBy the end of May 1875, Tchaikovsky had for unknown reasons received the commission for a full-length ballet on \"Swan Lake\". He accepted and told Rimsky-Korsakov that he accepted:\n\"Partly because I want the money, but also because I have long had the wish to try my hand at this kind of music.\"\nLacking a proper musical tradition to give expressive substance to its ballet tradition, which had hitherto depended largely upon the purely decorative and virtuoso, the Russian theatre was not ready for so ambitious a score as \"Swan Lake\", and innovations were regarded as suspect. The first to rebel were the orchestral players. Bemused by the unprecedented difficulty of the score, they found little help from their conductor. The dancers, required to act out a dance drama rather than merely show their paces in a set of pretty numbers or exhibitionist turns, were at a loss. On top of that the décor was feeble, as contemporary drawings show, and was prevented from achieving any kind of expressive unity by being parcelled out between three different designers. The ballet became a complete fiasko and on the 7th of December 1877, Tchaikovsky wrote to the composer Sergei Taneyev:\n\"Listened to the Leo Delibes's ballet \"Sylvia\". In fact, I actually listened, because it is the first ballet, where the music constitutes not only the main, but the only interest. What charm, what elegance, what richness of melody, rhythm, harmony. I was ashamed. If I had known this music early then, of course, I would not have written \"Swan Lake\"\".\nThe history of \"Swan Lake\" as a successful ballet really dates from the 1895 revival of the complete work with choreography by Marius Petipa and Lev Ivanov, at the Maryinsky Theatre in St. Petersburg. Unfortunately Tchaikovsky did not live to see it. He died in 1893 convinced of Swan Lake's failure.\nResearch: John Warrack and Thomas Kohlhase\nTranslation of Tchaikovsky letters: Olga Gerdt", "domain": "music_and_dance"}
{"url": "http://digitalcommons.georgiasouthern.edu/music/", "date": "2017-06-26T19:10:51Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-26/segments/1498128320863.60/warc/CC-MAIN-20170626184725-20170626204725-00508.warc.gz", "language_score": 0.898012638092041, "token_count": 126, "dump": "CC-MAIN-2017-26", "global_id": "webtext-fineweb__CC-MAIN-2017-26__0__262884503", "lang": "en", "text": "Department Chair: Steven A. Harper\nThe Department of Music endeavors to be everything that great music itself is: inspiring, engaging, and profoundly affecting.The Department’s 33 faculty members exemplify the University’s long-standing commitment to first-rate teaching and professional excellence. Offering richly diverse and intriguing experiences on the stage and in the classroom that are hallmarks of a Georgia Southern education, the Department of Music fosters an environment where majors and non-majors can participate in meaningful music-making.\nBrowse the Department of Music Collections:\nMusic Faculty Bookshelf\nMusic Faculty Publications", "domain": "music_and_dance"}
{"url": "https://towerbluesband.com/about", "date": "2024-04-20T20:39:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817674.12/warc/CC-MAIN-20240420184033-20240420214033-00054.warc.gz", "language_score": 0.9376859068870544, "token_count": 226, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__101805408", "lang": "en", "text": "Tower Blues Band showcases a variety of genres clashed into one live performance for your listening pleasure! They’re a fun, local band that has played hundreds of live performances covering classics that captivate and engage the audience. They’ve comfortably entertained in many venues ranging from bars, wineries, breweries to large festivals as their loyal fanbase continues to grow along with their ever-growing setlist. This band can rage a late night show or captivate an intimate listening-room crowd!\nCome out with family, friends and followers and enjoy Tower Blues Band’s rendition of great classics! Be sure to check out their gig schedule for the next live show near you.\nFormed in 2013\nClassic Rock, R&B, Jazz, Blues and Country\nNorthern Virginia – each band member made NOVA home through military service\nDave M (Guitar / Vocals)\nLou S (Drums)\nHerman G (Bass / Vocals)", "domain": "music_and_dance"}
{"url": "http://icusfq.ec.chinesecio.com/zh-hans/node/616", "date": "2018-06-20T15:10:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267863650.42/warc/CC-MAIN-20180620143814-20180620163814-00202.warc.gz", "language_score": 0.9657886028289795, "token_count": 528, "dump": "CC-MAIN-2018-26", "global_id": "webtext-fineweb__CC-MAIN-2018-26__0__78784907", "lang": "en", "text": "The Moon Festival, which is the second most important event in the Chinese lunar calendar, fell on September 27 this year. In order to promote Chinese culture and celebrate this great festival, the Confucius Institute of Alfred University invited the famous Tianhan Traditional Chinese Orchestra from Hunan province and arranged a series of activities on traditional Chinese music.\nOn September 22, the director and conductor of the Tianhan Traditional Chinese Orchestra, Mr. Yulin Liu, gave an exciting lecture on traditional Chinese music in the Miller Performing Art Center with his five excellent musicians. These five musicians were Dizi (Chinese flute) player Miss Yi, Erhu (Chinese fiddle) player Miss Yan, Pipa (Chinese lute) player Miss Liu, Yangqin (Chinese dulcimer) player Miss Yi, and professional dance teacher and Peking Opera singer Mrs. Sun.\nIn the lecture, Mr. Liu gave a brief introduction to the history of traditional Chinese music and its development nowadays. After that, he presented the five typical traditional Chinese musical instruments. His audience, students from the art class, learned the structure of the five instruments, their timbre, characteristics, and other professional knowledge from the lecture. They also noted the similarities and differences between Eastern and Western music. Then the Tianhan Traditional Orchestra brought several famous solos and ensembles to the audience, which won the warm applause of students.\nThe lecture on that day not only brought beautiful music to students, but also provided a chance for the musicians and students to exchange their opinions about music.\nOn September 24, Tianhan Traditional Chinese Orchestra arrived at North Syracuse. They gave two marvelous performances for the teachers and students at Gillette Road and Roxboro Road Middle Schools. The varied programs, which included the famous traditional pieces “Strolling in Suzhou”, “Grapes Harvest”, and “Moon over the Peaceful Lake in autumn”, Peking Opera, and an introduction to Chinese musical instruments, amazed the audience, which responded with lots of applause. More than 400 students enjoyed the demonstrations. One student told his teacher after the performance, “I feel so calm when I hear the ‘Moon over the Peaceful Lake’.” The performance on that day was a big success, and many students asked for the musicians’ autographs afterward.\nIn these two demonstrations, students enjoyed traditional Chinese music, played the traditional Chinese musical instruments themselves, and gained some interesting knowledge about those instruments. All of these inspired them to learn more about China, and they all had a nice time.", "domain": "music_and_dance"}
{"url": "http://www.andykern.com/", "date": "2018-01-20T13:06:01Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-05/segments/1516084889617.56/warc/CC-MAIN-20180120122736-20180120142736-00604.warc.gz", "language_score": 0.9586210250854492, "token_count": 100, "dump": "CC-MAIN-2018-05", "global_id": "webtext-fineweb__CC-MAIN-2018-05__0__62105923", "lang": "en", "text": "Andy attended SAE in Nashville after doing live sound and multimedia work in San Antonio during college. He has worked with many diverse artists and producers in his 15 years in Nashville. He has been nominated for, and won, a regional Emmy for his live broadcast and post production work for Music City Roots, Scenic City Roots, Rock My Soul, & Bluegrass Underground all airing on PBS locally and nationwide. Check your local listings for air times.\nPhone: (615) 498-8944", "domain": "music_and_dance"}
{"url": "http://www.capitoltheatretamworth.com.au/events/350/Carter_&_Carter_-_Country_Gospel_Show/", "date": "2017-08-20T09:53:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-34/segments/1502886106367.1/warc/CC-MAIN-20170820092918-20170820112918-00453.warc.gz", "language_score": 0.9131907820701599, "token_count": 292, "dump": "CC-MAIN-2017-34", "global_id": "webtext-fineweb__CC-MAIN-2017-34__0__114048810", "lang": "en", "text": "Presented By Crestway Music\nEach year there are more guests, more surprises and the choir of young Academy Country Music Graduates continues to grow and take part in even more of the show.\nCarter & Carter will be singing songs from their award winning Gospel Albums including classic gospel songs that the crowds have come to know and love including What A Wonderful World, Turn Your Radio On, How Great Thou Art, This Little Light Of Mine, Put A Little Love In Your Heart, mixed in with Carter & Carter’s original songs like God Didn’t Make Mistakes, He’s Got The Whole World In His Hands, Lead Me Home, Good News, Raise Your Voice to name a few.\nThis year Carter & Carter are joined two by crowd favourite Multi- Golden Guitar Winner Brendon Walmsley, and chart toppers Billy Bridge and Rebecca Lee Nye. Plus a choir of young Country Music Academy graduates will be performing throughout the show with a few of the graduates teaming up with Carter & Carter for some exciting collaborations. And of course there is always the ever popular finale with everyone onstage - a spectacular and moving finish that will be a highlight of your festival.\nThis show is always a popular fixture on the Tamworth Festival calendar so book early to ensure you don’t miss out.\nCome along, bring your family, friends and your voice for an incredible afternoon of singing and celebrating Country Gospel Music.", "domain": "music_and_dance"}
{"url": "https://bigsummit.biz/rick-barker/", "date": "2022-12-08T17:29:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446711344.13/warc/CC-MAIN-20221208150643-20221208180643-00649.warc.gz", "language_score": 0.9658789038658142, "token_count": 207, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__296320513", "lang": "en", "text": "With over 25 years experience in the music industry, Rick Barker is looked upon as one of the industry’s best marketers and artist developers, having spent three years managing the day-to-day operations of superstar Taylor Swift.\nBarker’s impact on music extends to the industry’s record labels. He was the first record promoter hired by Big Machine’s Scott Borchetta, where he had a role in the label’s first Number One record with singer-songwriter Jack Ingram. Barker later went on to found his own marketing and consulting firm, at which his first client was Sony Music Nashville.\nHe is also the mastermind behind the Music Industry Blueprint, a development service now teaching artists from around the world everything they need to know about the complicated music business. His marketing strategies have since been featured in a number of publications, including Billboard Magazine, Success Magazine and Pollstar.\nRick also co-authored The $150,000 Music Degree and launched SocialMediaForMusic.com", "domain": "music_and_dance"}
{"url": "https://fhs-music-boosters.ticketleap.com/holiday-festival-of-the-arts-2017/details", "date": "2020-06-01T13:54:01Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-24/segments/1590347417746.33/warc/CC-MAIN-20200601113849-20200601143849-00281.warc.gz", "language_score": 0.9053884148597717, "token_count": 135, "dump": "CC-MAIN-2020-24", "global_id": "webtext-fineweb__CC-MAIN-2020-24__0__41725326", "lang": "en", "text": "You do not want to miss our 5th annual Holiday Festival of the Arts! Get into the spirit of the season with an evening of Music and Art featuring Local Artist and Folsom High School's award winning musicians: (Click on the group to see performances from previous years.)\n- Jazz Band I\n- Jazz Choir I\n- Chamber Orchestra\n- Trombone Choir\n- Ballet - Hawkins\n- Live Art - Watch murals come alive during the show\n- Several local artists.\nPREMIUM & GENERAL SEATING AVAILABLE\nPremium seating reserved for the first few rows.\nGeneral Seating - First come first serve.", "domain": "music_and_dance"}
{"url": "https://doylestownhistorical.org/hammerstein-oscar/", "date": "2023-09-30T00:22:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510529.8/warc/CC-MAIN-20230929222230-20230930012230-00246.warc.gz", "language_score": 0.9724476933479309, "token_count": 156, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__271868282", "lang": "en", "text": "American songwriter, theatrical producer, and theatre director of musicals for almost 40 years.\nHe won eight Tony Awards and two Academy Awards for Best Original Song. Many of his songs are standard repertoire for vocalists and jazz musicians. He co-wrote 850 songs.\nHammerstein collaborated with numerous composers, such as Jerome Kern, with whom he wrote Show Boat, Vincent Youmans, Rudolf Friml, Richard A. Whiting, and Sigmund Romberg, but he is best known for his collaborations with Richard Rodgers, as the duo Rodgers and Hammerstein, whose collaborations include Oklahoma!, Carousel, South Pacific, The King and I, and The Sound of Music.\n(July 12, 1895 – August 23, 1960)", "domain": "music_and_dance"}
{"url": "http://rocknrollweekend.com/HP%20Pick-ups%20and%20Controls.htm", "date": "2018-08-19T09:16:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-34/segments/1534221215075.58/warc/CC-MAIN-20180819090604-20180819110604-00555.warc.gz", "language_score": 0.9010740518569946, "token_count": 740, "dump": "CC-MAIN-2018-34", "global_id": "webtext-fineweb__CC-MAIN-2018-34__0__53264746", "lang": "en", "text": "Features: Custom Back (Bridge)\nHP-B -- A completely balanced coil configuration produces great harmonics and a high output with just the right blend of sustain and distortion. You get the best of both worlds: from sweet warm tones to raw rock 'n' roll sustain. (Hand wound in Meridian MS)\nAvailable in zebra (cream & black)\nRecommended for Bridge position.\nResonant Peak: 5.5khz\nHum Canceling: Yes\nBridge: Super harmonics, with high output that doesn't sound hard or dark\nFeatures: Custom Front (Neck)\nHP-F -- This pickup is for players who need an accurate, clear tone for fast runs. The brighter sound has slightly less output and is a good match with HP-B (Bridge)\nAvailable in zebra (cream & black) (Hand wound in Meridian MS)\nRecommended for Neck position.\nD.C. Resistance: 7.72k\nResonant Peak: 8.0khz\nHum Canceling: Yes\nNeck: Ultra clean and clear for articulating runs\nHP Special Wiring description:\nThe NEW HP Special comes stock with Push-Pull pots for coil tapping capabilities. This feature makes the HP Special completely versatile giving the player a multitude of tones to choose from humbucking rock-n-jazz tones to single-coil blues-n-country tones all in one instrument.\n· Master Volume knob Push-Pull Bridge pick-up\n· Master Tone knob Push-Pull Neck pick-up\nThe difference between low, medium and high\nThere are a couple of differences. Low output pickups drive the front end of your amp less and tend to produce a more bluesy or more vintage distortion. They have a very open feel to their tone. High output pickups drive your amp harder and can sound more compressed with a tighter feel. Also, higher output pickups with the same magnet type tend to sound darker because the resonant frequency of a larger coil is lower than that of a smaller coil. Medium output pick-ups tend to fall somewhere in between depending on their magnet and wire type.\nHP pick-up height:\nA good starting point for the distance from the bridge pickup to the strings is 3/32 of an inch. The neck pickup can be set to provide a good output balance when compared to the bridge or to produce a particular tone when used together with the bridge. If a pickup is too close to the strings the tone tends to get muddy and lack clarity, and if placed too far away the tone will be thin and lacking in character. All pickups have a \"sweet spot\" where its tone will be optimal for a given guitar and pickup combination.\nCoil splitting refers to the ability to disable one coil in a humbucker-type pickup. This offers the player the option of getting a single coil-type tone from a humbucker-loaded guitar. Many pickups have three- or four-conductor wiring that allows for one coil to be disabled by shorting one coil to either ground or hot. All Custom Shop HP pick-ups come stock with four-conductor wiring\nPush pull pots are potentiometers with switches installed on the bottom to the pot chassis. The stem of the pot can be pulled to activate the switch. The most common varieties are SPST on/off and DPDT on/on. Push pull pots are very useful for adding coil splits and series/parallel wiring to humbucker loaded guitars without altering the look of the guitar. They have numerous other uses as well and can be used any time additional switching is required.", "domain": "music_and_dance"}
{"url": "http://www.fuegobeats.com/submit/", "date": "2017-07-22T18:39:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-30/segments/1500549424090.53/warc/CC-MAIN-20170722182647-20170722202647-00210.warc.gz", "language_score": 0.9080960750579834, "token_count": 254, "dump": "CC-MAIN-2017-30", "global_id": "webtext-fineweb__CC-MAIN-2017-30__0__236212468", "lang": "en", "text": "Fuego Beats Radio wants to help aspiring and established artists/bands promote their music. Submit HOT music and we will play it on the show for the world to hear. The Fuego Beats Radio crew is passionate about great music and wants to give artists the unbiased opportunity to be heard.\n*DISCLAIMER* All submissions must be mp3 format with a bit rate of 128kb/s or higher. All metadata must be filled out within your file or the song will not be accepted. Additionally your email should include pictures, websites and a bio or press release. We feature only good music and aim to be the first to air new singles, so make sure to send them to us.\nPlease submit all music submissions to firstname.lastname@example.org, with the title in this format, “Your Name – Your Song Title – Music Submission”.\nPlease Include in the email, Artist/Band Name, Your Location, Song Name, Song Title, Album Name, Social Media Info & Short Bio. Please Attach the song with album or single cover.\nAll submissions that ignore this format will not be considered. If your song is selected to be placed in our rotation, we will contact you and let you know.", "domain": "music_and_dance"}
{"url": "https://www.asiartisans.org/content/3-newsflashes/asia-news/264-2017-northeast-guitar-expo.html", "date": "2018-11-13T00:06:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-47/segments/1542039741176.4/warc/CC-MAIN-20181113000225-20181113022225-00414.warc.gz", "language_score": 0.9345529079437256, "token_count": 128, "dump": "CC-MAIN-2018-47", "global_id": "webtext-fineweb__CC-MAIN-2018-47__0__187041769", "lang": "en", "text": "The largest guitar show in the Northeast!\nOn October 15, 2017, the Northeast Guitar Expo will again bring our regional guitar community together for a great day to see amazing new and vintage instruments. All types of guitars, basses, electrics, acoustics, and related musical products will be on display. This event is a unique opportunity to meet many great master luthiers and to see, play, and purchase fine handmade instruments directly from the builder. Or maybe find that elusive vintage guitar… Visit their website for details.\nOakdale Theatre and Convention Center\n95 S. Turnpike Road, Wallingford, CT", "domain": "music_and_dance"}
{"url": "http://www.anthonysabilities.com/blog/2012/03/11/nalani-sarina-music-from-the-soul/", "date": "2013-05-24T18:29:05Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368704943681/warc/CC-MAIN-20130516114903-00036-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9269636273384094, "token_count": 326, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__159441350", "lang": "en", "text": "They sang my blog’s theme song and have a ton of talent…\nI am proud to introduce my friends, Nalani & Sarina!\nThey are two beautiful, talented, and hardworking twin sisters from New Jersey who are about to make a significant impression in the music industry.\nOnly at the age of 18, Nalani & Sarina have composed and arranged their own material, are investing in voice lessons with Greg Drew (Hayley Williams, Lenny Kravitz, Avril Lavigne), and paid for their record all from their classical piano teaching earnings while managing their daily work load as honor students.\nAlthough Nalani & Sarina’s music falls under the likes of Sarah Bareilles, Colbie Caillat, and other pop artists, their musical inspiration comes from a deeper place. Drawing from the influences of Bob Dylan, Leonard Cohen, and The Beatles, Nalani & Sarina want to convey essential meaning to their captivating songs and wish to develop their sound to become an icon and not just the favorite flavor of the week.\nNalani & Sarina’s personalities, their work ethic, passion and dedication will indisputably bring a refreshing and inspiring feeling to all who will be a part of their dream.\nEnjoy the inspiring song, “Start All Over”, by Nalani & Sarina, below…\nCheck out more of Nalani & Sarina below:\nAre You a Fan? Then Follow Nalani & Sarina On:\nPlease comment below if you enjoyed this inspirational song! :)", "domain": "music_and_dance"}
{"url": "https://technuevo.com/dusty-hill-net-worth-uncovering-the-bass-legends-fortune/", "date": "2023-09-26T03:51:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510130.53/warc/CC-MAIN-20230926011608-20230926041608-00380.warc.gz", "language_score": 0.9790374040603638, "token_count": 1201, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__156733518", "lang": "en", "text": "Dusty Hill, the legendary bass player of ZZ Top, earned a massive fortune throughout his music career that spanned five decades. With numerous hit songs and albums to his name, Dusty Hill’s net worth at the time of his death was a matter of fascination for fans and industry experts. In this blog post, we’ll uncover the financial details of Dusty Hill’s career and explore the components that contributed to his impressive net worth.\nEarly Life and Career Beginnings\nDusty Hill was born on May 19, 1949, in Dallas, Texas. His musical journey began at an early age when he and his younger brother Rocky Hill joined a popular band called The Warlocks. Later, Dusty joined the psychedelic group The Moving Sidewalks and toured extensively across the country. He then formed a band with fellow guitarist Billy Gibbons, which eventually was named ZZ Top. In the early days of his career, Dusty played bass and sang backing vocals for the band.\nZZ Top’s Success and Wealth\nIn 1970, ZZ Top released their debut album “ZZ Top’s First Album,” which received positive reviews from fans and critics alike. The band’s breakthrough came in 1973 with their album “Tres Hombres,” which spawned the hits “La Grange” and “Jesus Just Left Chicago.” Their subsequent albums such as “Fandango!,” “Tejas,” and “Deguello” kept the momentum going with hits like “Tush,” “Cheap Sunglasses,” and “Gimme All Your Lovin’.”\nThe success of ZZ Top brought in a massive influx of wealth for Dusty Hill. Throughout his career, he toured the world, sold millions of records, and amassed a sizable fortune from album sales, merchandise sales, and royalties.\nSolo Projects and Collaborations\nApart from ZZ Top, Dusty Hill contributed to various solo projects and collaborations with other artists. He recorded two solo albums, “Dusty Hill’s Blues” and “Side Tracked,” which showcased his skills as a lead vocalist and songwriter. He also played bass on successful tracks such as “Don’t Look Back” by Boston and “Sharp Dressed Man” by Nickelback.\nEndorsement Deals and Merchandise Sales\nDusty Hill’s partnership with Gibson Guitars and Orange Amplifiers was well-known in the music industry. He also collaborated with several merchandise brands, including Hot Wheels and Rock and Roll Hall of Fame. The sales generated from his signature musical instruments and merchandise contributed to his net worth.\nReal Estate and Investments\nDusty Hill invested his wealth in various real estate and business ventures. In 2020, he listed his California home for sale for $6.5 million, which was featured in Architectural Digest. In addition, he invested in a local bar and restaurant chain and several other real estate properties.\nLegal Disputes and Settlements\nLike many other musicians, Dusty Hill faced legal challenges throughout his career. In 1984, he and ZZ Top producer Bill Ham were sued by the band’s original drummer. They were found guilty of breach of contract and had to pay damages of $630,000.\nCharitable Contributions and Philanthropy\nDusty Hill was known for his generosity towards various charitable causes. He and ZZ Top contributed to organizations such as St. Jude Children’s Research Hospital, MusiCares, and Little Kids Rock. In addition, Dusty performed at benefit concerts and held auctions of his personal items to raise funds for charity.\nLegacy and Tribute\nDusty Hill left behind a rich legacy as a musician and bass player. His contribution to ZZ Top’s success and influence on the music industry were recognized by several music legends such as Billy Joel and Slash. The band’s tribute to Dusty Hill after his passing was a testament to his irreplaceable role in ZZ Top’s sound and success.\nIn conclusion, Dusty Hill’s net worth was estimated to be $60 million at the time of his death. His success with ZZ Top, solo projects, and collaborations contributed to his wealth, along with endorsement deals and real estate investments. Despite facing legal disputes throughout his career, Dusty’s philanthropy and charitable contributions made him a beloved figure in the music industry.\nQ1. What was Dusty Hill’s estimated net worth?\nA1. Dusty Hill’s estimated net worth was $60 million at the time of his death.\nQ2. What were some of ZZ Top’s hit songs?\nA2. Some of ZZ Top’s hit songs include “La Grange,” “Tush,” “Gimme All Your Lovin’,” and “Sharp Dressed Man.”\nQ3. Did Dusty Hill have any solo projects?\nA3. Yes, Dusty Hill released two solo albums, “Dusty Hill’s Blues” and “Side Tracked.”\nQ4. What was Dusty Hill’s involvement in philanthropy?\nA4. Dusty Hill and ZZ Top contributed to organizations such as St. Jude Children’s Research Hospital, MusiCares, and Little Kids Rock.\nQ5. What was the value of Dusty Hill’s California home?\nA5. Dusty Hill’s California home was listed for sale for $6.5 million in 2020.", "domain": "music_and_dance"}
{"url": "http://specificallyunspecific.blogspot.com/2005/05/music-festival-this-summer.html", "date": "2018-07-15T19:27:08Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676588961.14/warc/CC-MAIN-20180715183800-20180715203800-00410.warc.gz", "language_score": 0.9318795800209045, "token_count": 101, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__138024608", "lang": "en", "text": "Tuesday, May 24, 2005\nMusic Festival this summer\nThis is an early notice of a very cool event happening this summer in Grand Rapids, Michigan. Irish music band Craic Wisely and the African drum group Red Frog Drum and Dance Ensemble will headline a concert on August 18, 2005. The show takes place at Studio 28 on the southwest side of Grand Rapids. Founders Brewery is the sponsor, so there promises to be good food and good drinks. Watch for more details as they become available.", "domain": "music_and_dance"}
{"url": "http://www.magrath.co.uk/litigationspy-articles-list/the-intellectual-property-enterprise-court", "date": "2018-10-17T14:51:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583511175.9/warc/CC-MAIN-20181017132258-20181017153758-00159.warc.gz", "language_score": 0.9703162908554077, "token_count": 222, "dump": "CC-MAIN-2018-43", "global_id": "webtext-fineweb__CC-MAIN-2018-43__0__139088605", "lang": "en", "text": "The Ukulele Orchestra of Great Britain was recently left feeling high strung in the Intellectual Property Enterprise Court after judge Richard Hacon refused to dance to its tune and grant injunctive relief against the United Kingdom Ukulele Orchestra.\nThe Ukulele Orchestra of Great Britain applied for an injunction against the United Kingdom Ukulele Orchestra to prevent the use of its name after the latter announced a tour of the UK due to start in Lincoln on 15 October of this year. The Ukulele Orchestra of Great Britain which has been performing for at least 25 years claimed that its reputation could be unfairly tarnished by it being confused with the German based United Kingdom Ukulele Orchestra.\nThe United Kingdom Ukulele Orchestra pluckily defending against the injunction argued that any injunction would force them to cancel their forthcoming tour costing them tens of thousands of pounds. The argument struck a chord with Judge Richard Hacon and he refused to grant the injunction. He said that the Ukulele Orchestra of Great Britain should have acted sooner and that the United Kingdom Ukulele Orchestra had been performing for some years now.", "domain": "music_and_dance"}
{"url": "https://crowdfund.coloradocollege.edu/project/9562", "date": "2021-01-24T09:25:58Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703547475.44/warc/CC-MAIN-20210124075754-20210124105754-00019.warc.gz", "language_score": 0.9379808306694031, "token_count": 146, "dump": "CC-MAIN-2021-04", "global_id": "webtext-fineweb__CC-MAIN-2021-04__0__48286534", "lang": "en", "text": "The B-Side Collective was founded in 2016 in response to the music scene at Colorado College. Recognizing the many ways in which the music scene can be limiting and the ways in which privilege can dominate a musical space, the group formed to offer an inclusive community for women, gender non-conforming, and queer/LGBTQIA+ students. The B-Side Collective offers the CC community a space for gathering, creating music and art, performing, and community-building. The collective provides instruments, equipment, and practice rooms as well as a performance venue for Colorado College artists, expanding accessibility and inclusivity in the music environment on campus.\nChoose a giving level\nYour gift will help supply sheet music for students.", "domain": "music_and_dance"}
{"url": "http://lifetea.org/Kid%20Rock%20Tabs%202021", "date": "2021-05-09T12:48:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-21/segments/1620243988986.98/warc/CC-MAIN-20210509122756-20210509152756-00215.warc.gz", "language_score": 0.7138452529907227, "token_count": 1614, "dump": "CC-MAIN-2021-21", "global_id": "webtext-fineweb__CC-MAIN-2021-21__0__105485446", "lang": "en", "text": "Kid Rock tabs, chords, guitar, bass, ukulele chords, power tabs and guitar pro tabs including so hott, times like these, when it rains, prodigal son, roll on. 13.05.2002 · Kid Rock - \"Picture\" feat. Sheryl Crow [Kid Rock] G Livin' my life in a slow hell C Different girl every night at the hotel D C G I aint seen the sun shine in 3 damn days G Been fuelin' up. BORN FREE TAB by Kid Rock @ Ultimate-Guitar.Com. 23.12.2008 · \"Roll On\" [Intro] B Gm F E Mmmm I love it when you play it like that Come on. Play [Verse 1] B F Sittin' here alone I'm lookin' back on where I've roamed CmCm7 E And laughing how I. ROLL ON TAB by Kid Rock @ Ultimate-Guitar.Com.\nAll Summer Long by Kid Rock tab with free online tab player. One accurate version. Recommended by The Wall Street Journal. Kid Rock all, Official, Chords, Tabs, Pro, Power, Bass Tabs, Drum Tabs, Video, Ukulele Chords tabs including when it rains, times like these, only god knows why, born. Kid Rock - 41 guitar tabs Add new tab Related for Kid Rock. Kihn Greg tabs Killing Heidi tabs Killing Joke tabs Khaled tabs Keziah Jones tabs Key Francis tabs Home / K / Kid Rock tabs. Kid Rock tabs view allAll Summer Long tab. 30. All Summer Long chords. 6. Kid Rock Tabs arranged alphabetically. New and popular versions of Kid Rock easy to print and share. Picture by Kid Rock text guitar tab. One accurate version. Recommended by The Wall Street Journal.\n09.10.2018 · 50 videos Play all Mix - Kid Rock Cowboy GUITAR TAB YouTube; Kid Rock Rare Radio Interview with Bobby Bones - Duration: 8:55. Bobby Bones Show 281,598 views. 8:55. TOP 20. Bawitdaba ver 2 bass tabs; About Kid Rock. Robert James Ritchie born January 17, 1971, known by his stage name Kid Rock, is an American singer-songwriter and rapper with five Grammy Award nominations. Kid Rock is known for music that incorporates elements of hip hop, rap metal, blues-rock, hard rock, southern rock, funk and country music. Kid Rock - All summer long sweet home alabama mashup. chords All summer long sweet home alabama mashup ver. 1. Kid Rock - All summer longsweet home alabamacountry grammar mash-up. Kid Rock guitar tabs. ULTIMATE TABS has guitar tabs, ukulele tabs, guitar chords, bass, keyboards, drums, flute and many songs from Kid Rock. Chords for Kid Rock - Picture. I was off to d C rink you a D way [Both] I G thought about you for a long time C C an't seem to get you off my mind I D can't nderstand why we're living C life this G way I found your E picture today I swear I'll c G hange my ways I just c D alled to say I wan C t you to come back G home I f E ound your picture.\nAt E- you will learn how to play Kid Rock's songs easily and improve your skills on your favorite instrument as well. Daily, we added a hundreds of new songs with chords and tabs, just for you;. If you still haven't found what you're looking for, please send to us. Bass tablature for First Kiss by Kid Rock. Rated 5.0 out of 5 by 1 user. Submitted by Twiggybass on January 28, 2016. Kids Wanna Rock by Bryan Adams tab with free online tab player. One accurate version. Recommended by The Wall Street Journal.\nKid Rock Different Versions Chords, Tab, Tabs. Key Variations. Play Advices. Chords Diagrams. Guitar Tabs Universe. 08.03.2014 · Sorry can't write tabs atm but you can under ultimate guitaror guitar. But here is an observation to where the guitar chords go: SOLO INCLUDED Enjoy the tabular and. All Summer Long Chords by Kid Rock. Learn to play guitar by chord / tabs using chord diagrams, transpose the key, watch video lessons and much more.\n04.01.2009 · Free printable and easy tab for song by Kid Rock - All Summer Long. Tab ratings, diagrams and lyrics. Sometimes it just takes a slight stylistic adjustment: before 1998, Kid Rock was just another unsuccessful hip hop artist striving to exist. With his fourth album, Devil Without A Cause, he switched to rap metal and instantly became a million-selling superstar.\n02.11.2017 · 50 videos Play all Mix - Kid Rock - Sugar Pie Honey Bunch Audio YouTube FIRESTONE band be my babe tonight - Duration: 3:17. Pauline Clarke 2,580,621 views. Bass tablature for All Summer Long ver 2 by Kid Rock. Rated 5.0 out of 5 by 1 user. Submitted by Twiggybass on June 6, 2017. Bawitdaba by Kid Rock Tab Different Versions Chords, Tab, Tabs. Key Variations. Play Advices. Chords Diagrams. Guitar Tabs Universe. 75 free, accurate Kid Rock guitar, bass, and drum tabs at tTabs.\nXa Pro 3d Wide 2021\n0ctober 2018 Kalender 2021\nLacrosse Primaloft Tröster 2021\n93 Fahrenheit In Celsius 2021\nEast Sussex England 2021\nDainik Panchang In Hindi 2021\nPrivate Harry-potter-tour Durch London 2021\nHauptgesundheit Rn Jobs 2021\nGröße Definition Webster 2021\nFrische Tomaten- Und Basilikumsoße 2021\nTimberland Chukka-stiefel Aus Schwarzem Leder 2021\nJim Carrey Pinguin Film 2021\nZwei-faktoren-theorie Charles Spearman 2021\nSephora Kommende Verkäufe 2019 2021\nSo Entfernen Sie Floh-eier Vom Hund 2021\nUltratools Whois Ip 2021\nNikon D750 Gebraucht 2021\nTag 10 Embryotransfer 2021\n7 Deadly Sins Movie 2021\nPure Luxury Linen Company 2021\nWie Den Laubfrosch Etappenweise Zu Zeichnen 2021\nAddiy Kara Lederbooties 2021\n880 Quadratfuß Zu Metern 2021\nCami-einsätze Für Niedrig Geschnittene Oberteile 2021\nIui Vollständiges Verfahren 2021\nGtx 750 Ti Treiber 2021\nLebensläufe In Meiner Nähe Geöffnet 24 2021\nPhoto Editor Pro Kostenlos 2021\nU-bahn Doppelt Fleisch Wraps 2021\nNcert Of Maths Klasse 7 2021\nKaffee Aprilscherze 2021\nZöpfe Und Mann Brötchen 2021\n2012 Für Immer Briefmarken 2021\nFrau Doc To Pdf Converter 2021\nSchulurlaub Antrag Auf Tod In Der Familie 2021\n6 Buchstabe Des Griechischen Alphabets 2021\nHome Hero Vacuum 2021\nIndien Gegen England 2. T20 2018 Live 2021\nMoen Shower Schwarz 2021\nCarters Kleinkind Mädchen Schneeschuhe 2021", "domain": "music_and_dance"}
{"url": "https://thealways.band/testimonials/", "date": "2024-04-14T04:38:34Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816864.66/warc/CC-MAIN-20240414033458-20240414063458-00667.warc.gz", "language_score": 0.9829292297363281, "token_count": 2256, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__77537072", "lang": "en", "text": "what they say\nNo need to take our word for it! Check out what past clients had to say about The Always.\nThank you to Joe and the band for making our evening so special! Honestly couldn’t have wished for a better wedding band! Forever grateful!\nDan – Wedding\nJust watching back our wedding video and we cannot thank the The Always enough for making our evening a night to remember. From start to finish the dance floor was full! The flexibility in their setup was a big selling point for us and they fully met the brief. Their communication was excellent throughout – could not recommend these guys enough!\nStacey – Wedding\nI could not recommend The Always enough, we were so lucky they were available at short notice for our wedding. From the start their communication was excellent and they can be flexible in their set up to meet your requirements. On the night they had everybody up dancing from the first song right through to the last! Thanks for a great night guys!\nStacey – Wedding\nWe booked The Always for our wedding in June 2022. The band were amazing! All our guests loved the music. When we contacted Joe he responded quickly and was very happy to cater to our requests for music.\nRebecca – Wedding\nThe Always played at our wedding and we absolutely loved them as did all our guests. Me and my now husband were amazed when they said they could play every single song in our long and specific list of requests! I can’t imagine our wedding without them, they were so fun. They even let me and my maid of honour sing the last song.\nSasha – Wedding\nHired for our wedding. Great communication, flexible with set lists and all ages enjoyed the music! Really pleased 😀\nMia D – Wedding\nI just wanted to thank you again for being so amazing at our wedding (11/09/21). Not only were your sets incredible but you were so patient with a few of our guests, who by the time you arrived had definitely had one too many!\nWe have had such great feedback from our guests and most are saying you guys were the best band they have ever had at an event! 😊 We wanted a full dance floor and that’s exactly what we got, all credit to you.\nHannah – Wedding\nWe needed a pro band for a hotel event for our end of year ball. We booked The Always as a 4-piece with keys and they were outstanding and so understanding of our timings (things did overrun quite a bit). Thank you so much and hopefully will see you next year!\nCian – Corporate Event\nWe booked The Always for our wedding in Devon and just wow. We booked the full 5 piece band with keys, and it was so good. Having the upright bass was a real awesome part of the aesthetics. Also a huge thank you for performing our first dance live, it was quite an obscure song so it is hugely appreciated! I would recommend anyone thinking of booking The Always , don’t think. Just do it!\nTom & Ellie – Wedding\nI booked the trio The Always for my partner’s 30th birthday. These guys seriously know how to get he party started!! My partner is a huge Killers fan, and the band obliged with playing around 4 of the Killers songs!\nWill – 30th Party\nHow do you book a band for your wedding when you have different tastes in music from your partner? The bands repertoire was very interesting, there was something we could both agree on and a lot we thought our guests would enjoy.\nA week before our wedding we heard from the band. Joe was brilliant, we gave them a list of their repertoire that we liked, also a list (rather large) of music we’d like them to play as part of the disco. They also did requests on the night. The last comment we made with Joe was “You boys know what you are doing, do your best.”\nJoe and the lads did not let us down, they were absolutely superb. We can’t thank them enough for how amazing they made our wedding reception. Everyone was up and dancing.\nChatting with our guests the next morning, everyone thought they were perfect & would highly recommend. If we had any regrets, it was that the night had to finish. We would definitely book them again. We booked the band based on their reviews and thank you to everyone who left them a review because the band are outstanding, and we highly recommend them to anyone. An invite to see them again wouldn’t go amiss. Thank you again Joe & crew.\nJames & Lauren – Wedding\nJoe!! You guys were honestly amazing! We had so many comments about how good the band was. I think one of our guests has even booked you for their wedding next year? If so, we will see you there on the dancefloor! Thank you so much!\nFrancis – Wedding\nWe booked The Always for a midweek beach wedding with a small guest list. We were worried that a band was a little too much, but as soon as the band started, all those worries were put aside. They even managed to do some requests some of our guests had! Highly recommended!\nLeona – Wedding\nWow! We cannot recommend The Always higher! We wanted a festival style wedding with a Mumford style band. We were so glad we found The Always, and even happier when they were available! They were so good, I don’t think we stopped dancing all night! Thank you so much guys!\nAmy & Nathan – Wedding\nJust wanted to say a huge thank you for playing for our wedding last month. If anyone asks for a band recommendation, I will send them to you!\nJames – Wedding\nJoe! Thank you so much for everything you guys did! Not only did we have the nightmare of having to move the date three times, but you were so accommodating the entire process, and the evening was so good. You guys really were perfect!\nHolly – Wedding\nA small thank you from us for making our special day so memorable. Joe – we really appreciate all the effort checking what we wanted for a cracking acoustic set. People didn’t stop talking about the energy you all had throughout the evening. Thanks for the memories!\nLeigh & Jill – Wedding\nThe Always played at my son’s wedding on 6th October. They were brilliant! They made the evening wonderful for the bride & groom and all the guests. The set was perfect, with something for everyone. We loved it.\nTeresa – Wedding\nWe booked the band for our wedding reception in September this year, they were awesome, everyone loved them (young and old!)! We wanted to avoid the usual cheesy wedding band/DJ and wanted more of a rock/ indie vibe as well as something that would keep everyone entertained and they exceeded expectations! Really good mix of music, would definitely recommend!\nSophie – Wedding\nThe band played at our wedding last week and were just amazing! Really made our night with our favourite songs. Very helpful & friendly, adjusted the set to suit our mad evening. Highly recommended and sounded incredible! Can’t thank them enough.\nJames – Wedding\nJoe & the band performed at the village’s summer regatta event, probably over 500 people there and everybody was dancing. We decided to go for the PA upgrade with engineer option, and I am very glad we did as the band sounded superb!\nTom – Summer Regata\nTo say they where awesome is an understatement. From the time they started to the final songs. They kept the party going, with an amazing range of music and created a party atmosphere which made our special day even more memorable. We also decided to have Joe to perform the acoustic set at the ceremony and he definitely didn’t disappoint. He is an incredible guitarist and singer. Thank you guys you are awesome.\nHelen – Wedding\nThe Always played at my daughter’s wedding on Saturday…the dancefloor was never empty! A great range of music which everyone really enjoyed. Many thanks to Joe for going out of his way to fit in our booking. It was a great evening – we would highly recommend. Thank you so much to Joe for your set at the drinks reception, he definitely didn’t disappoint.\nLisa – Wedding\nThank you so much for playing at our wedding you were bloody amazing! Everyone loved you and are still talking about it now! We will definitely be booking you again! Thank you so much love Mr & Mrs Scott\nHannah – Wedding\nThe band played at our wedding at the Deer Park. They listened to our requests from their playlist and their covers were awesome! We didn’t want the band to stop! Highly recommend this band for weddings/events.\nBeverley – Wedding\nJust got back from a long honeymoon so late with the review! What a great night! Everyone said how good you all were, and I know my best friend’s daughter is going to book you for her wedding next year, so will see you again. You kept everyone on the dancefloor, thanks again for making our day so special. We highly recommend these guys.\nKaren – Wedding\nHi Joe, Sorry for the late message, Lauren & I will get round to writing you guys a review, but are away at the minute. Just wanted to send a quick message thanking you guys for our wedding set. You guys were amazing and everyone loved you guys. And we have a lot of critics when it comes to music so well done absolutely spot on. Thank you again, you guys really put the icing on the cake for our wedding.\nJames – Wedding\nThe band played for my sister Dawn and John’s wedding last night and they were fantastic and amazing. Fabulous voice and the music was just brilliant. They made the night. Thanks Joe and team. You are legends. X\nRachel – Wedding\nThe band played for us at our party at Oake Manor Club near Taunton. They helped to make the night a success and all our guests commented on how good they were.\nHelene – Wedding\nThe band played at our wedding 3 weeks ago and were absolutely brilliant! Thank you guys for a great night, we totally danced our socks off. We can highly recommend this band for a party or a wedding where you all want to really let your hair down.\nKate – Wedding\nHaving seen The Always at a previous wedding, we decided to book them for ours because they are just that good! Highly, highly recommend to anyone in the South West wanting a wedding band. True professionals!\nJoe – Wedding\n“Joe!! You guys were honestly amazing! We had so many comments about how good the band was. I think one of our guests has even booked you for their wedding next year? If so, we will see you there on the dancefloor! Thank you so much!”", "domain": "music_and_dance"}
{"url": "https://glanville-hicks.info/2020/07/19/works-for-flute-by-bate-and-pgh/", "date": "2023-12-10T05:49:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679101195.85/warc/CC-MAIN-20231210025335-20231210055335-00705.warc.gz", "language_score": 0.986716091632843, "token_count": 355, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__17599380", "lang": "en", "text": "On 24 February 1937, having recently arrived in Paris, PGH noted in her diary that she had written the first movement of a flute concerto. Stanley Bate was also in Paris and this was the year he composed a flute sonata, recorded the following year for the Oiseau-Lyre label by Marcel Moyse (flute) and his son Louis (piano) so perhaps both composers were inspired by the playing of Moyse, then a professor at the Conservatoire and a friend of Nadia Boulanger. Although PGH’s concerto must have been completed—in 1943 she offered the score to the ABC in Australia—it has since been lost. Louise Dyer (of Editions de l’Oiseau-Lyre) was prepared to offer Bate a recording contract for whatever he wrote but found him difficult to work with. The flute sonata was reviewed in Music & Letters by E.R. (Edmund Rubbra?), who described it as “well-oiled music that, once it gets started, is able to go on its own momentum ad infinitum”. He also made the usual complaint about Bate’s immaturity, adding, “We shall know the stature of this young composer only when he has ceeased to gather hints on note-manipulation from a certain widely-influential Parisian school”. The flute sonata has recently been recorded by James Dutton with Oliver Davies for Willowhayne Records. It is a delightful work, typically French in its lightheartedness and typically a product of the Boulangerie in its whimsical meanderings with spicy modernist inflections.", "domain": "music_and_dance"}
{"url": "https://eduardoraon.com/od-kovaca-do-knapa-from-blacksmith-to-miner-2018", "date": "2023-10-04T17:04:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511386.54/warc/CC-MAIN-20231004152134-20231004182134-00363.warc.gz", "language_score": 0.862521231174469, "token_count": 715, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__102139360", "lang": "en", "text": "From Blacksmith to Miner (50', Slovenija 2018)\nsound film screening accompanied by live music performance\nBridko Bebič Travelling Cinema artistic team, lead by musician Bratko Bibič, has made an audiovisual artistic piece based on selected movie scenes taken from five contemporary dance movies made by Iztok Kovač, Sašo Podgoršek and EN-KNAP Production between 1995 and 2014 (in Slovenian, “kovač” means “blacksmith” and “knap” means “miner”, hence the title From Blacksmith to Miner). Fifty minutes long kaleidoscope of moving images, selected, edited and recomposed together with corresponding original soundscapes is accompanied by a live vocal-instrumental concert by Bibič on accordion & piano, Eduardo Raon on harp & electronics, and Vid Drašler on drums & percussion.\n“From Blacksmith to Miner” is an audiovisual artistic work based on selected movie scenes taken from five contemporary dance movies made by Iztok Kovač, Sašo Podgoršek and EN-KNAP Production between 1995 and 2014. It features six sequences/movements: “Game, System, Coincidence”, “Tunnel”, “Balladur”, “Ensembles and Labyrinths”, “From Shower to Dust”, “Happylogue”. After the opening of the film with the reflection on the art of music improvisation and principles of walking, the journey continues through various situations and actions of dancers building up the rules of their doing, walking, waiting, making sounds and music, meeting and dancing on the cliffs, in abandoned industrial interiors and undergrounds of mines where they face and interact with the past and present miner’s work and culture.\nBridbo Bebič Traveling Cinema artistic team:\nBratko Bibič – idea, concept, selection and creative re-editing & re-composition of audio-visual material, composer, arranger, improvisation, accordion, piano, voices, production\nEduardo Raon –creative audio-visual editing, (sequences Baladur), composer, arranger, improvisation, harp, electric sound systems, technical production\nVid Drašler - composer, arranger, improvisation, percussion, sound and noise producing implements, voice.\nt: +386 (0) 40 454 575\nZavod EN-KNAP Ljubljana\nt: +386 (0) 1 620 87 84\nf: +386 (0) 1 620 87 82\nf: +386 (0) 1 620 87 82\nThis project has been co-produced by Zavod Alcedo and EN-KNAP Productions with the support of Slovenian Cinematheque and SCCA – Center for contemporary art (Slovenia). The premiere took place at Slovenian Cinematheque within the EN-KNAP anniversary week (25 years of EN-KNAP Productions and 10 years of EnKnapGroup).", "domain": "music_and_dance"}
{"url": "https://bobdenson.com/lessons", "date": "2024-04-15T06:13:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816942.33/warc/CC-MAIN-20240415045222-20240415075222-00245.warc.gz", "language_score": 0.9070640206336975, "token_count": 157, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__13863288", "lang": "en", "text": "Welcome to BD Music Lessons!\nClick below to schedule your FREE 15 minute consultation and your first online lesson on Zoom. Have an entire curriculum tailored and customized to YOUR exact goals by a public school music teacher with over 20 years experience! Here, we charge the USA national average for private lessons, $70 per hour/$40 per half hour, in exchange for instruction that is well above average. Lessons available from age 10 and up!!\nOver 22 years experience teaching private lessons\nOver 12 years experience in public schools\nFull-time Public School Teacher as Guitar Program Instructor at a High School\nPublic School Music Teacher at Pre-K, Elementary, Middle, and High School levels.\nBachelor in Music Education\nK-12 Public School Music Teacher Certification", "domain": "music_and_dance"}
{"url": "https://studiodeals.nl/product/avid-mbox-studio/", "date": "2023-02-07T18:32:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500628.77/warc/CC-MAIN-20230207170138-20230207200138-00035.warc.gz", "language_score": 0.7655870914459229, "token_count": 909, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__78065573", "lang": "en", "text": "Avid MBOX Studio\nAvid MBOX Studio, USB-C 2.0 Audio Interface, Integrated high-impedance re-amping output with ground lift for flexible guitar recording, Two-channel effect loop with switchable output impedance, Additional Bluetooth stereo input and output, With max. resolution 24 bit / 192 kHz and up to 21 inputs and 22 outputs, 4 High-quality combined preamps for microphone and instrument signals with variable input impedance, Switchable +48 V phantom power, -10 dB pad, phase inversion and high-pass filter, Complete monitor control with 2 stereo monitor paths, 2 individually adjustable stereo headphone outputs and source selection as well as integrated talkback microphone, 2 Large rotary controls with push-button function for gain and volume as well as push-buttons for basic channel and monitoring functions provide instant access to all important parameters, DSP-based monitor mixer with switchable soft limiter and parametric, 4-Band channel EQ per input, plus reverb and delay, 4 Buttons and 2 footswitch connections for user-definable functions, plus start button for Mbox Control application, Ergonomic metal desktop enclosure with Kensington security lock, MIDI input and output: 5-pin DIN connector, 2 Footswitches / foot pedal inputs: 6.3 mm TRS jack, Dimensions (W x D x H): 288 x 225.3 x 105.2 mm, Weight: 2.8 kg@+*Analogue inputs:*@+@+, 4x Combo input (XLR / 6.3 mm jack balanced), 4x Line / Fx return input (6.3 mm jack balanced), Max. input level: 14 dBu, gain range: 60 dB, dynamic range: 112 dB (Mic / Line), 108 dB (Instr), THD+N: 0.001 % (Mic / Line), 0.004 % (Instr),, ON mic input: -129 dB (A-weighted), frequency response: 20 Hz to 20 kHz, ± 0.125 dB@+*Analogue outputs:*@+@+, 4x Monitor output (6.3 mm jack balanced), 2x Line / FX send output (6.3 mm jack balanced), Max. output level: 19 dBu, dynamic range: 110 dB (monitor / line), 103 dB (Hi-Z), THD+N: 0.0012 % (monitor), 0.002 % (line, Hi-Z), frequency response: 20 Hz to 20 kHz, ± 0.125 dB (line, monitor), ± 0.3 dB (Hi-Z), 2 Headphone outputs: 6.3 mm jack stereo, Dynamic range: 102 dB, frequency response: 20 Hz to 20 kHz, ± 0.2 dB, output power: 120 mW > 32 Ohm@+*Digital inputs:*@+@+, Optical input (8 channels ADAT or 2 channels S/PDIF), Coaxial S/PDIF output, Bluetooth with forwarding to MBox Control@+*Digital outputs:*@+@+, Optical output (8 channels ADAT or 2 channels S/PDIF), Coaxial S/PDIF input, Bluetooth@+*Scope of delivery:*@+@+, MBOX Studio USB interface, USB-C cable, USB-C socket to USB-A plug adapter, Power adapter 12 V DC, Registration card, Pro Tools Studio Annual Subscription (one-year licence), Sibelius Artist Annual Subscription (one-year licence), Ignition Pack 3, MBOX Control application, Printed, multilingual Quick Start Guide@+@+*Important note:* You can test the product without product registration for a period of 30 days without any restrictions. For this purpose, please download a 30-day test version of the required software: https://my.avid.com/get/pro-tools-ultimate-trial. If you register the product provided for the product after delivery and before expiry of the revocation period, you have no right of revocation (cf. also § 3.3. of our GTC). Furthermore, you are not entitled to a money-back guarantee for the 16 days remaining after the expiry of the withdrawal period, provided that you do the product registration intended for the product within the money-back period (see also § 4.5. of our GTC).", "domain": "music_and_dance"}
{"url": "http://www.swisspiano.org/neukom.html", "date": "2020-01-21T11:57:12Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-05/segments/1579250603761.28/warc/CC-MAIN-20200121103642-20200121132642-00465.warc.gz", "language_score": 0.9422323107719421, "token_count": 158, "dump": "CC-MAIN-2020-05", "global_id": "webtext-fineweb__CC-MAIN-2020-05__0__114169975", "lang": "en", "text": "Born in 1956, Martin Neukom studied musicology, mathematics, and psychology at the University of Zurich, as well as music theory at the Musikhochschule Zürich and choral conducting at the Kantorenschule Zürich. He works as a teacher of music theory and as a composer. He is engaged in sound synthesis and composition with computers. He was commissioned by the HMT (Hochschule Musik und Theater Zürich) to write the book, Signale, Systeme und Klangsynthese - Grundlagen der Computermusik, which was accepted as his doctoral thesis by the University of Zurich. He is head of the Computer Music department at the Institute for Computer Music and Sound Technology (ICST).", "domain": "music_and_dance"}
{"url": "http://www.smartartssolutions.com/online.html", "date": "2019-08-24T03:24:17Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-35/segments/1566027319470.94/warc/CC-MAIN-20190824020840-20190824042840-00179.warc.gz", "language_score": 0.8335116505622864, "token_count": 133, "dump": "CC-MAIN-2019-35", "global_id": "webtext-fineweb__CC-MAIN-2019-35__0__144818185", "lang": "en", "text": "Home | About Us | Clients | Online | Contact Us\nWhether it be music, dance, opera or visual arts, with over twenty years experience in promoting arts and entertainment, Smart Arts Solutions will ensure your event targets the right interest group either via print or online listings.\n© Smart Arts Solutions\n020 7233 6753 | 07779 907 417\nConcert News Online provides information about performing arts throughout the UK including music, opera, dance, theatre and visual arts events with direct links to relevant booking sites and venues.\nThe Concert News Online home page is updated weekly with featured articles Concert News Online believes are the most newsworthy and relevant.", "domain": "music_and_dance"}
{"url": "https://www.jenksdanceacademy.com/molly/", "date": "2021-01-18T06:30:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703514423.60/warc/CC-MAIN-20210118061434-20210118091434-00423.warc.gz", "language_score": 0.9874778985977173, "token_count": 268, "dump": "CC-MAIN-2021-04", "global_id": "webtext-fineweb__CC-MAIN-2021-04__0__241052702", "lang": "en", "text": "Molly has only been in Oklahoma for 2 years, but has loved calling this state her home, after previously living in Pennsylvania and Texas. She began taking dance when she was 7, and quickly fell in love. After changing studios in middle school, she began to take more & more classes to broaden her training. She began teaching dance in high school, and has been teaching ever since. She has taught a variety of classes at several studios over the course of her moving around, but feels like she has finally found her “home” since finding JDA. You won’t find her just in the dance classes though, Molly also is the instructor for two different fitness classes that JDA offers. She found her passion for teaching fitness when she took a class in Texas with a friend, and realized how similar to dance group fitness really was! She teaches PiYO (a pilates yoga fusion) and CiZE (cardio dance classes).\n“We have had a wonderful experience in this dance school and this is my daughter’s first time in dance and it has truly been amazing! I think you have a tremendous school!”\n“We have been at a few different studios in the Tulsa area and I have to say this is the best experience we’ve had!”", "domain": "music_and_dance"}
{"url": "https://www.thestudy.qc.ca/archive-news/details/~board/news-archive/post/celebrating-as-a-community-2021", "date": "2022-12-06T11:22:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446711077.50/warc/CC-MAIN-20221206092907-20221206122907-00442.warc.gz", "language_score": 0.9510036706924438, "token_count": 253, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__262246509", "lang": "en", "text": "On December 16th, The Study community enjoyed the premiere of our annual Holiday Concert, a festive showcase filled with delightful musical performances by students from Kindergarten to grade 11.\nAfter a warm introduction by Head of School Kim McInnes, Arts Captains Juliana Lieberman & Elaine Wang (both '22) presented a skit featuring Ms. Bosnakyan as \"The Grinch Who Stole Music.\" After a hilarious appearance from the Grinch, every grade presented their songs and slowly but surely, the Grinch learned to love music!\nStudents in Kindergarten to Grade 2 performed songs about music, celebrating the fact that this year, they are able to sing with their classes once more. Grades 3 to 5 performed songs about joy. The evening also included fantastic performances from Grades 6 to 9, as well as the Junior and Senior Concert Bands, the Senior Choir and Trillium Orchestra.\nThank you to our talented and dedicated music teachers Ms Tamburro and Ms Papamihelakis for their hard work putting together this concert. Thank you to the SPA for the festive decorations, and to Live City for editing the concert video. And of course, thank you to all Study students for your enthusiastic participation!", "domain": "music_and_dance"}
{"url": "http://thestandbystudios.com/", "date": "2017-04-27T12:57:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122167.63/warc/CC-MAIN-20170423031202-00256-ip-10-145-167-34.ec2.internal.warc.gz", "language_score": 0.9493861794471741, "token_count": 174, "dump": "CC-MAIN-2017-17", "global_id": "webtext-fineweb__CC-MAIN-2017-17__0__132527157", "lang": "en", "text": "Standby Studios provides multiple services for all your recording needs. We are a nationally accredited, full production facility with a history of excellence in recording on the local and national level. We specialize in:\nStandby Studios has one of the most talented staffs on the market today. Headed by musician and master engineer Don DiBiase, Standby Studios is operated by musicians for musicians.\nStandby Studios not only features the best technical excellence, but an environment designed to be comfortable and, therefore, creative and productive. We ave a very comfortable, laid back studio atmosphere. Our sound room is professionally designed to capture the optimum sound responses. We also feature state-of-the-art equipment to ensure the best sound recording experience you can capture. In short, our environment is the best in the industry for creating the brilliant recording you are striving to capture.", "domain": "music_and_dance"}
{"url": "http://iranchannel.org/archives/327", "date": "2013-06-20T09:52:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368711240143/warc/CC-MAIN-20130516133400-00099-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9704469442367554, "token_count": 257, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__208033336", "lang": "en", "text": "“JTM partnered with musical group Op-Critical and Persian musician and poet Shamim Azade in the video/song ‘Flowers For Your Guns,’ a song that reaches out to the Iranian police and soldiers to stop the violence against their own people,” the project says.\n“We also have a current campaign called the ‘Free Iran Campaign’ where we post music videos from many Iranians and/or Persian musicians who have wrote songs in support of freedom in Iran. We hope to continues this and many other campaigns, using our website, Twitter, and our videos on our YouTube Channel, to continue this work to help bring about peaceful change in Iran,” according to the group.\nSome of the Iranian bands play in the United States, with the duo Kiosk playing at the US Capitol (pictured).\n“The musicians and artists from Iran are speaking the voices of the people despite attacks and imprisonment of them by the authorities. We want to make sure that these voices are heard loud and clear, far and wide. Therefore, we are launching our new Protest Music From Iran Campaign asking Iranian musicians of all genres to send us videos and MP3s of their protest songs to firstname.lastname@example.org.”", "domain": "music_and_dance"}
{"url": "https://toniosagan.com/rise-this-song-is-sick-premiere/", "date": "2024-03-03T05:30:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476205.65/warc/CC-MAIN-20240303043351-20240303073351-00064.warc.gz", "language_score": 0.9449887275695801, "token_count": 122, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__64730096", "lang": "en", "text": "“Rise”, featuring Moon Hooch, premiered today on ThisSongIsSick.com and is the newest single off of the upcoming album In The Garden by Tonio Sagan.\nMoon Hooch comprises of Michael Wilbur and Wenzel McGowan on saxophone and James Muschler on drums. The trio have collaborated with Tonio in the past; Wilbur is also featured on the track “The Future”, which released in March. Both tracks are available for streaming on all major platforms.\nIn The Garden is slated for a Summer 2019 release. Stay tuned!", "domain": "music_and_dance"}
{"url": "http://www.ewestminster.org/category/microphones/", "date": "2017-02-27T22:38:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-09/segments/1487501173866.98/warc/CC-MAIN-20170219104613-00102-ip-10-171-10-108.ec2.internal.warc.gz", "language_score": 0.9558679461479187, "token_count": 640, "dump": "CC-MAIN-2017-09", "global_id": "webtext-fineweb__CC-MAIN-2017-09__0__265233720", "lang": "en", "text": "For a newbie, it is difficult to navigate the world of sound without losing track somewhere along the line. It takes a lot of trying and testing to get the combination of sound, vibrations, and acoustics right before being able to put a recording out. If there is even one thing off the mark, then, the entire process of recording a vocal/instrument goes to waste. There are so many nuances that a bad microphone could do more harm than good.\nWhen buying a microphone for vocal recording, resort to expert reviews. This is the best way to ensure that your vocals are as stand out as someone else’s. (Experts agree) best microphone for vocals is one that is able to best capture your sound. Each person’s voice is distinctive and has its own vibrations, in order for these acoustics to be best captured and recorded, the equipment must be right. This is where expert opinions come into play. It is best if you ensure that you know exactly why you need the mic for – male or female voices, the kind of register those voices are singing in, do you need it to record instrumentals as well? – once that is clear then the choices are filtered immediately.\nTake, for instance, the Sennheiser e935 – even though this is not a studio mic, this is one that is best suited for a live show. The mic is a dynamic cardioid mic offering a smooth and natural sound. The transient response ensures that not a single sound is missed out and everything sung reaches the throng of screaming fans out there! The mic is made entirely of metal, so this is one for the road – it’s tough and can handle any amount of roughhousing. It doesn’t have a very high sensitivity to impact so even if you’re holding the mic while executing a big dance move, nothing will happen. Pick the SEnnheiser e935 if you have a tour coming up!\nAnother mic worth looking out for is the Audio Technica AT2020. This is a well-made mic that gives good sound despite the fact that it doesn’t adapt any of the features which are considered standard specs. The Audio Technica at2020 best review!! is this – this mic delivers superb sound and very professional sounds in any home studio environment. Anything more would be overselling the product.\nAnother great recording mic is the Blue Yeti microphone. The mic has extra recording modes in-built which means more options and a more full-range of sound. As a USB microphone it packs quite a lot of features which means it is perfect for artistes on the go. This can only mean good things for those who want to invest in this mic. Experts call it “sonically flexible” since it has many recording modes and delivers very good sounds on all modes. These multi-recording modes ensure that all nuances are captured effectively.\nWhat’s important when using a microphone is the sound. Nothing else matters. It’s important to note all the features and also analyse your requirements before spending money hiring or buying a microphone.", "domain": "music_and_dance"}
{"url": "https://polazen.com/kiefer-sutherland-country-music-man/", "date": "2024-03-04T09:34:44Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476432.11/warc/CC-MAIN-20240304065639-20240304095639-00119.warc.gz", "language_score": 0.9877102375030518, "token_count": 223, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__100646159", "lang": "en", "text": "After Tennessee we drove into North Carolina and stayed in Asheville — a vibrant, hispter, farm-to-table, organic, liberal and beautiful city surrounded by gorgeous nature I fell in love with. If I ever have a chance (and this is me calling out to the universe) I would move there in a heartbeat. We heard about the “Orange Peel”, a famous music venue that has hosted amazing artists and was named one of the top 5 music venues in America.\nAs luck would have it, the musician playing on the only night we could go was Kiefer Sutherland who, turns out, is now a musician playing country music and kicked off his first tour a week before. He was so humble and thankful and vulnerable that I almost don’t mind that his music, in my opinion, was not that memorable. It’s very brave to come out after years of speaking other people’s scripted texts and sing his own. I will say that he owned the stage like a master and his crazy strong presence is undeniable. Plus, he wore a cowboy hat.", "domain": "music_and_dance"}
{"url": "https://www.frank-andersen.com/eva-kloborg.aspx", "date": "2024-04-23T06:48:25Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818468.34/warc/CC-MAIN-20240423064231-20240423094231-00639.warc.gz", "language_score": 0.9305766224861145, "token_count": 563, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__77269462", "lang": "en", "text": "- Principal Character Dancer\n- Ballet Master and Bournonville Teacher\n- Knight of the 1st Degree of the Danish Dannebrog Order\nPlease see pictures below\nEva Kloborg is educated at the Ballet School of the Royal Theatre. Eva Kloborg became an apprentice in 1964 and in 1966 a dancer of the Royal Danish Ballet, where she was appointed Character Dancer in 1992.\nIn 2016 she celebrated her 50th Anniversary as a dancer with the Royal Danish Ballet. Today she is a Principal Character Artist with the Royal Danish Ballet.\nPerformances at the Royal Danish Theatre\nEva Kloborg has danced a large number of roles with the Royal Danish Ballet since her debut as Calliope in Apollon Musagetes in 1966. Among others Chopiniana, Opus 1, Aureole, Moors Pavane, Andrea and Louise in The King’s Volunteers on Amager, Elisa and Victorine The Conservatory, Pas de Deux from Flowerfestival in Genzano, Teresina in Napoli, Effy in La Sylphide and Lady Capulet in Romeo and Juliet.\nAs a character dancer she has also performed:\nMadge and Anna in La Sylphide,The Queen in Swan Lake, The Queen and Carabosse in Sleeping Beauty, The Stepmother in Cinderella, Madame Larina in Onegin, Mrs. Christine and Muri in A Folktale, Veronica in Napoli, The Pianist in The Lesson, Bertha in Giselle.\nTeaching and directing\nFrom 1995 - 1999 she was Ballet Mistress and teacher for the Royal Swedish Ballet. From 1990 - 2008 she was a full time Ballet Mistress and a teacher at the Royal Danish Ballet School as well as the Royal Danish Ballet in the Bournonville repertoire.\nShe has also been teaching the Bournonville Classes as guest teacher with Alicia Alonso and the National Ballet of Cuba, at the Stanislawskij Theatre Ballet in Moscow, at the Vietnam National Ballet in Hanoi.\nBeside of that she is a permanent Guestteacher with the INOUE Ballet in Tokyo, with the National Ballet of China in Beijing and with Nina Ananiashvili and the State Ballet of Georgia in Tbilisi.\nShe is also co-producing August Bournonvilles ballets around the world with Frank Andersen. Cities include Florence, Havana, Tallinn, Beijing, Tokyo, Prague, Shenyang, Moscow, Ljubljana, Portland, Hanoi, Havana, Stockholm, Wellington, Helsinki, Tbilisi, Montevideo, Vancouver and Lisbon.", "domain": "music_and_dance"}
{"url": "http://greatamericansongbook.weebly.com/", "date": "2017-02-19T11:43:01Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-09/segments/1487501169769.33/warc/CC-MAIN-20170219104609-00364-ip-10-171-10-108.ec2.internal.warc.gz", "language_score": 0.9025519490242004, "token_count": 211, "dump": "CC-MAIN-2017-09", "global_id": "webtext-fineweb__CC-MAIN-2017-09__0__51444068", "lang": "en", "text": "Great American Songbook showcases the very best of popular song from Stephen Foster to the end of the 1950s. It includes recordings which range from the 1920s to the 21st century. The great singers like Frank Sinatra,Ella Fitzgerald,Bing Crosby,Al Jolson,Judy Garland,Tony Bennett,Fred Astaire,Perry Como,Sarah Vaughan,Doris Day,Peggy Lee,Nat King Cole,Barbra Streisand and big bands performing timeless standards by Irving Berlin,Cole Porter,George and Ira Gershwin,Jerome Kern,Richard Rodgers,Lorenz Hart,Oscar Hammerstein,Harold Arlen,Johnny Mercer,Gus Kahn,Vincent Youmans and many others. It also includes the very best of Hollywood and Broadway from the golden age of Tin Pan Alley including original cast recordings from the 20s to the 50s. New interpretations of standards aren't forgotten so you'll also hear the likes of Rod Stewart, Michael Buble and Harry Connick Jnr.", "domain": "music_and_dance"}
{"url": "https://www.localpassportfamily.com/2020/05/tips-for-preparing-kids-to-play-an-instrument-violin-for-kids.html", "date": "2023-12-06T14:31:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100599.20/warc/CC-MAIN-20231206130723-20231206160723-00464.warc.gz", "language_score": 0.9499760270118713, "token_count": 1919, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__275779616", "lang": "en", "text": "Are you considering the violin for kids but are unsure of what to do before starting? Here are 10 tips from a seasoned violinist and teacher to help prepare your young child to play an instrument before they even start lessons.\nAs a violin teacher, friends and family often ask me what the best age is to start violin for kids. The truth is, there’s no one perfect answer, but there are a few criteria I use when evaluating whether a child is ready.\nWhen I Started Playing and Teaching the Violin\nI personally started playing the violin when I was 5 years old. While my uncle plays Indian-style violin, neither of my parents are instrumentalists, nor did they know anything about childhood violin-playing. So while they encouraged daily practice, the burden of that practice and figuring out how and what to do fell largely on me.\nI began teaching students when I was in my late teens, after I was sufficiently accomplished as a player myself that I felt “legit” enough to train someone else. In truth, an excellent instrumentalist isn’t necessarily an excellent teacher, and vice versa. Still, that was the point at which I felt comfortable teaching violin for kids. I had also done a decent amount of babysitting and such by that point, so I felt comfortable around children in general.\nSome are Prepared to Play the Violin for Kids\nOver that time, I’ve noticed some children are ready to dive and and start learning right away. Others struggle to get started, and it can be a frustrating few months of acclimating to daily practice and other musicianship skills.\nI’ve found that doing certain things before starting to actually play the instrument can be really helpful as kids prepare to play. These are all things parents can do with even very young children for months or even years before they start their instrument that will make the transition smooth and fun.\nTips for Starting to Play Any Instruments for Kids\nAfter nearly 20 years of playing, here are some tips for preparing for the violin for kids. While my experience is as a violin teacher, almost all of these tips apply to children considering any instrument. They’re also great general skills for families who just want their kids to appreciate music!\nI hope these tips are helpful to your families!\nThis post about the violin for kids contains affiliate links, but all opinions are 100% my own. That means I earn a small commission if you purchase through my link, but doesn’t change your price.\n10 Tips for Preparing Kids to Play an Instrument:\nTips for Violin for Kids\nInclude Music in Your Daily Lives\nLong before a child begins playing an instrument, music should be a familiar and enjoyable activity. When it comes to violin for kids (especially young children), it’s very common for teachers to use either a Suzuki method or modified Suzuki method. That means they’ll rely heavily on ear training and playing based on listening (instead of reading music at the beginning).\nBecause of this, it’s especially helpful if your child is familiar with basic concepts of pitch (how high or low a note is) and rhythm (beat). This can be as simple as singing nursery rhymes together, or even just listening to songs you like on the radio.\nPlay Music YOU Enjoy\nOn that note, children don’t necessarily need to listen to kid songs. The best music to play for them is music YOU enjoy, because that means it will happen more regularly. It also means it will feel more enjoyable to you, and your children will sense that.\nThe worst thing is feeling like you MUST play certain children’s nursery songs and feeling bored by them. Chances are, your children will catch onto that. Most all music has both pitch and rhythm, so don’t worry so much about the genre.\nLet Them Encounter Instruments\nMany orchestras do things like “instrument petting zoos,” where kids can go and hear a little concert, then go and touch and feel the instruments. It’s a great way to encourage interest and exploration.\nIf you’re committed to the violin for kids, I highly recommend getting an inexpensive student violin (these are the student violins my children use in the beginning) even before you start lessons so your child can learn to gently touch it and look at it. It’s very motivating to see an actual, real-life instrument!\nDoes this seem like an odd tip? Many children’s books incorporate rhymes and meter, which is great for establishing beat and pattern in young minds. Even the ones that don’t have rhyming passage often still have a melodic flow to them. Plus, when you read aloud, you can add in emotion and intonation. Your children will pick up on those cues, and will be prepared to hear differences in pitch.\nAlso, books are great for connection and also for increasing attention span gradually. More on that below!\nHere are some of our favorite books about the world, as well as some of our favorite children’s books about art!\nBe Active with Rhythm\nYoung children often learn best when using their gross motor skills. They need to run and flip and jump and hop. Why not incorporate rhythm into that? Count while doing hopscotch or jump rope, or make up rhymes to go along with rhythms. DANCE. Allow them to move to music!\nPractice Following Directions and Doing Hard Things\nThe violin for kids is a fairly exact discipline. Especially in the beginning, there isn’t tons of latitude for how to hold the instrument or what to start playing. They’ll gain more flexibility as they develop the skills to exercise it, but the beginning months tend to be fairly regimented.\nBecause of that, I always recommend that children are able to follow simple two-to-three-step directions prior to starting a string instrument. It will be a lot less frustrating for both the child and the parent helping with practice if your child already has built the capacity to follow through on directions.\nOn that note, following directions can sometimes be hard for young children. That’s okay. Keep trying. Allow them the chance to work at harder things. Give them the chance to PRACTICE a skill. Learning music is hard, and practice is a difficult part of that. It’s sometimes frustrating! Allowing them to develop grit and persistence before starting music lessons will help them persevere through those challenges.\nWhen children have already had experience with practice (even if it’s just practicing listening to a book, or practicing singing the ABCs), they get familiar and comfortable with that daily ritual.\nLet Kids Make Noise\nI know, it’s so annoying. But all those super annoying noisy toys? Can actually be really helpful. I don’t mean the even-more-annoying battery-operated things. I mean things like maracas, egg shakers, xylophones, or even a metal bowl and spoon to use as a drum. Allowing kids to see cause and effect in noisemaking is a vital pre-music skill in preparing for violin for kids.\nDevelop Attention Span\nContrary to what some teachers say, I do NOT believe a child needs to be ready to sit still for 30 minutes before starting an instrument. Young kids shouldn’t really have a full 30-minute lesson that involves complete focus, anyway.\nThey should, however, be ready to listen and stay focused for at least 5-10 minutes.Longer attention spans will come with practice, but it’s useful to have a baseline when starting out. Think of it as whether your child can sit through a medium-length picture book or two without getting distracted.\nHere are some really fun fiction picture book titles!\nWork on Fine Motor Skills\nWhile kids don’t need to have perfect fine motor skills before starting string instruments for kids (that will develop with practice), again, it’s useful to have some control before starting.\nFor instance, while your child doesn’t need to know how to write every letter of the alphabet, consider practicing holding a pencil properly or cutting with scissors. Try to work on skills with both hands, as each will be involved when playing the violin for kids.\nHere are some great fine motor skills activities!\nLearn to Love Music\nMore important than anything else, help your child learn to love music. Have dance parties. Play a variety of music and help them discern what they like (and then have fun blasting it in the car). Watch Youtube videos of various performers. Keep it enjoyable, and they’ll feel enthusiastic about the process once you do start.\nDo you have questions? What tips do you have for helping prepare kids to play the violin?\nIF YOU LIKED THIS POST ABOUT THE VIOLIN FOR KIDS, YOU MIGHT LIKE THESE POSTS TOO:\n- 26 Books to Prepare for a Trip to San Francisco\n- 20 Best Educational Activity Books for Kids\n- 12 Amazing Fiction Travel Books for Kids\nDON’T NEED THESE TIPS FOR PREPARING KIDS TO PLAY AN INSTRUMENT QUITE YET? PIN THIS POST FOR LATER!", "domain": "music_and_dance"}
{"url": "http://torontopolice.on.ca/newsreleases/38240", "date": "2017-07-23T14:36:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-30/segments/1500549424564.72/warc/CC-MAIN-20170723142634-20170723162634-00235.warc.gz", "language_score": 0.9245360493659973, "token_count": 254, "dump": "CC-MAIN-2017-30", "global_id": "webtext-fineweb__CC-MAIN-2017-30__0__39052918", "lang": "en", "text": "Thursday, July 13, 2017, 11 a.m.,\nHeadquarters, 40 College Street,\nTPS hosts Bahamas National Children's Choir\nBroadcast time: 04:59\nThursday, July 13, 2017\nDivisional Policing Support Unit\nThe Toronto Police Service will be hosting the Bahamas National Children's Choir.\nThe choir, consisting of 33 children, ranging from seven to 16, will be performing throughout Canada.\nOn Thursday, July 13, 2017, at 11 a.m., in front of headquarters, 40 College Street, they will perform. It is a pleasure for the Toronto Police Service to host this event for the City of Toronto.\nThe purpose of the choir is to enable children to identify with their culture, cultivate their talents and provide opportunities for their individual development.\nThe Bahamas National Children's Choir has represented the Bahamas at numerous festivals and international choral competitions .\nThe Bahamas National Children's Choir continues to mould young lives by instilling positive values, excellence in choral artistry and the promotion of Bahamian culture.\nFor more news, visit TPSnews.ca.\nConstable Caroline de Kloet, Corporate Communications, for Constable Isabelle Cotton, Divisional Policing Support Unit", "domain": "music_and_dance"}
{"url": "https://storyarchaeology.com/a-conversation-with-professor-benjamin-dwyer/", "date": "2024-02-24T07:03:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474523.8/warc/CC-MAIN-20240224044749-20240224074749-00895.warc.gz", "language_score": 0.9215875267982483, "token_count": 173, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__104224956", "lang": "en", "text": "Join Chris as she shares a conversation with Professor Benjamin Dwyer. Ben is a prolific Irish performer and composer as well as an educator. He is currently Professor of Music at Middlesex University. SacrumProfanum is Ben’s thought provoking musical exploration of the enigmatic Sheela-na-gigs as watchers and witnesses of a thousand years of Irish history.\nOpening music for this episode: Lamentum from SacrumProfanum by kind permision of Benjamin Dwyer. Late medieval harp played by Siobhán Armstrong\nExternal Links for this episode\nListen to SacrumProfanum\nBen’s paper: Sheela-na-gigs and an ‘Aesthetics of Damage’\nLocal Links for this episode\nChris’ ramble 4: Walking with Sheela-na-gigs", "domain": "music_and_dance"}
{"url": "https://www.clinganguitars.com/en-us/products/clingan-moderne-dark-pelham-blue", "date": "2023-10-02T17:57:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511002.91/warc/CC-MAIN-20231002164819-20231002194819-00877.warc.gz", "language_score": 0.8642564415931702, "token_count": 558, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__143602643", "lang": "en", "text": "Elevate your musical journey with the hand-crafted Clingan Moderne, an exquisite blend of timeless design, unparalleled craftsmanship, and sonic brilliance.\nA re-imagining of the mythical creation from the late-50’s as if they continued into the 60’s. The combination of lightweight mahogany, a ’59 spec neck, open book headstock, and a Pelham Blue finish set this Moderne apart from any other Moderne created.\nCarved in our Collingwood workshop from a one-piece Honduran mahogany body, the guitar promises a warm, balanced tone with remarkable sustain. Paired with a Honduran mahogany neck, rosewood fretboard, and an ebony headstock plate, you're guaranteed a playing experience that feels as luxurious as it looks.\nThis Clingan Moderne guitar is a testament to the passion and dedication of its craftsmen. From the selection of premium woods to the winding of the pickups, no detail is overlooked.\nStep into a world of musical elegance, where every strum, every note, and every chord resonates with emotion and precision. The Clingan Moderne in Pelham Blue is more than just an instrument; it's a timeless piece of art.\nFinish: Nitrocellulose Dark Pelham Blue\nBody Material: One-piece Mahogany\nNeck Material: Mahogany\nNeck Profile: C shape\nNeck Thickness: 1st - .87”(22.2mm) & 12th - .97”(25.2mm)\nFingerboard Radius: 12.00\"\nNut Width: 1-11/16” (42.5mm)\nScale Length: 24 9/16”\nNeck Details: One-piece mahogany neck with a rosewood fingerboard and clay dot inlays. Dunlop 6105 Fretwire\nElectronics: Clingan PAF spec humbuckers, CTS pots and Switchcraft switch and jack, Vintage .022 capacitor, VOL/VOL/TONE configuration.\nPickup Measurements: Bridge: 8.79kΩ Neck: 8.41kΩ\nHardware: Gotoh tuners, bone nut, Gotoh bridge and tail-piece.\nWeight: 3.25kg (7 lbs 2 oz)\nCase Details: Rectangle Hard Case with custom foam insert\nAny questions, don't hesitate to ask\nLocated at Clingan Guitar Tone, 34 Sackville Street, Collingwood, Australia. Available for viewing and playing anytime. We ship all around the world, so feel free to ask for an accurate shipping quote.", "domain": "music_and_dance"}
{"url": "https://www.sewainternational.org.au/nepal-earthquake-page/", "date": "2022-12-02T04:13:21Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710890.97/warc/CC-MAIN-20221202014312-20221202044312-00487.warc.gz", "language_score": 0.9585637450218201, "token_count": 188, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__208250948", "lang": "en", "text": "Cultural Evening to fund Nepal Earthquake Relief Operations\nCultural Event to support donations for Nepal Earthquake\nRaised $40,000+ Funds for the relief of the victims of the devastation\nSewa International team members of Sydney and Brisbane organised a cultural evening event to collect funds for the Nepal Flood victims aid in Blacktown as well as in Indooroopilly.\nThe event was welcomed and supported by the local residents and was a grand success program. This demonstrated the concern for the wellbeing of people across borders, and the eagerness to support a noble cause.\nIn order to support this noble cause, many local artists performed various dance compositions as well as sing karaoke songs. Local artists came forward and created amazing artworks live on stage which was auctioned where the proceeds were donated for the cause.\nThank you all, for participating in this event and making it a grand success!", "domain": "music_and_dance"}
{"url": "https://maranathachristian.ca/mca-community/music/", "date": "2020-06-02T00:07:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-24/segments/1590347419639.53/warc/CC-MAIN-20200601211310-20200602001310-00391.warc.gz", "language_score": 0.9641580581665039, "token_count": 112, "dump": "CC-MAIN-2020-24", "global_id": "webtext-fineweb__CC-MAIN-2020-24__0__193938110", "lang": "en", "text": "Music At Maranatha\nYes, Maranatha has a fantastic Music program! Students begin their formal music education in Grade one. Every student in Grades one through eight takes Music as part of their curriculum. In high school, students have the option to take concert band from Grades nine through twelve. There is also an extracurricular high school choir. A new grade 11 Music course offered this year focuses on Performance and Production, using various instruments and voices. Students have regular opportunities to learn about leading worship in high school chapel and other venues.", "domain": "music_and_dance"}
{"url": "https://ctn.frompagalworlddnssec.pw/music-theory-exercises-pdf.html", "date": "2021-10-17T19:00:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-43/segments/1634323585181.6/warc/CC-MAIN-20211017175237-20211017205237-00635.warc.gz", "language_score": 0.8929221630096436, "token_count": 2871, "dump": "CC-MAIN-2021-43", "global_id": "webtext-fineweb__CC-MAIN-2021-43__0__290057144", "lang": "en", "text": "The definitive handbook for the effective use of theory worksheets—with engaging companion activities and over 50 free printables that make learning theory fun. Scroll down to read the Ultimate Guide. Apply the active learning ideas. Double the effectiveness of each printable by utilizing the fun companion activities described below. The ability to quickly identify notes is critical for playing music and is a foundational skill for all future music theory studies.\nBut learning the note names can take a long time—students are essentially learning a new language. In each lesson, dedicate time for learning note names and consider sending home assignments. This increases their satisfaction with your instruction and boosts their confidence.Miroir activation code hack\nRead on for fun free music theory printables and ideas for applied learning activities that teach note identification. Spot the Note is a favorite printable because there are a ton of activities you can do with just this one sheet. Here are three fun ideas to get the cogs turning in your creative teacher brain! The first activity is to simply print it out and have your students write the name of each note inside the colored circle. Use the printable to play a game. Call out a note name and ask your students to place a candy over the correct note.\nAt the end of the game, students get to eat all the candies. This game works well both as a group game or in a private lesson. You can also use this printout to give kids extra practice with the stem rules. Hand them the worksheet and ask them to add stems to all the notes.\nTurn it into a fun manipulative exercise by giving your students yarn or pretzel sticks that they can use to add the stems. Group classes optimize your studio and give your students a fun and motivating learning environment. Click here to sign up for my newsletter and get your 2 free group lesson games. I designed Bubble Notes with new beginners in mind. This worksheet only has treble notes middle C through G and the top notes of the bass staffwhich are typically the first notes a beginner pianist learns in her method books.\nRemember that it is important to give your music students many frequent opportunities to practice note names. Practice note identification at every lesson with new beginners. If you have any students who are far along, but seem to struggle with some notes, I encourage you to pause and make time for reviewing note names.Welcome to free printable music theory worksheets for music students.Philips piic ix issues\nMusic theory is the study of the language and notation of music. It is important for music students to study music theory because it identifies the composer's techniques in structure, rhythm, harmony, texture, and many other elements of music.\nIt allows one to become a more well-rounded and comprehensive musician. Over time, we hope to add worksheets that teach music concepts, music speed tests, and homework assignments for music students. These worksheets can be used in private music lessons, classrooms, group lessons, or for self-learners. The handouts can also be used to reiterate music theory concepts learned during lessons, assigned as homework, or serve as practice tests when preparing for state music exams.\nYou will need Adobe Reader to view these files. Download Adobe Reader. Worksheets Self-Study Worksheets Page 1. Self-Study Worksheets Page 2. Self-Study Worksheets Page 3. Worksheets for the Young Child.\nMusic Theory Worksheets PDF\nMusic Speed Tests. Business Forms. Music Books. Main Navigation Bar. Want Updates? Subscribe to our mailing list. Visit More. More Theory Worksheets. Interval Speed Test. Note Speed Test A - Note Speed Test B - Print them out and get studying instantly. Our music theory practice worksheets go in depth into every topic that you need to know about for the ABRSM music theory syllabus. Each graded pack takes you through hundreds of example test questions so that you, your child or students can practice all the ideas and techniques needed for that grade.\nWe currently have five general exercises packs covering the ABRSM syllabus for grades 1, 2, 3, 4 and 5 starting with the very basics of grade one with worksheets on note naming, key signatures and basic rhythms all the way to grade five with irregular time signatures, the tenor clef and transposing melodies.\nNo need to purchase the answers separately. Just print out or open up the answer sheets on a phone or tablet and see how we would have answered the questions. Our lower grade worksheets tend to be used in kindergarten and elementary schools and higher grades tend to be used in middle and high schools too. Our worksheets have been download by thousands of students, parents and teachers in over 60 countries all over the world. All of our theory practice worksheets are available instantly on purchase.LISZT EXERCISE (1/2): \"Scales in Chords\" Tutorial\nIf you have any further questions about any of resources feel free to get in touch. Perfect for beginners, kids and those just starting out with learning about theory.\nRead more about our grade 1 worksheets pack. You have over exercises to complete plus all the model answers are included.Vagaro integrations\nRead more about our grade 2 pdf worksheets. Read more about our grade 3 theory worksheets pack. Read more about our grade 4 pack of worksheets. Read more about our grade 5 music worksheets. Read more about our theory worksheets bundle. For more information head over to their website. Who Made These Exercise Packs? Ginger - Teacher, India. Dan has done a great job breaking the graded syllabi down into concepts and creating worksheets to help master those concepts.This site is written by.\nVictoria Williams. Learn more Join over 19, others and become a member of MyMusicTheory. See all Video Courses.\nGet some help! Name these chords using the Roman numeral plus a letter to show the inversion. The first one has been done as an example. Write one note between the given notes, to complete the following chords. Video Courses by MyMusicTheory. Grade 6 Course. Introduction to Harmony A2. Triads and Chords A2.Suriye arap porno\nTriads and Chords Exercises A3. Inversions A3. Inversions Exercises A4. Chord Progressions A4. Chord Progressions Exercises A5.\nMelodic Decoration A5. Melodic Decoration Exercises A6. Harmonizing a Melody I A7. Harmonising a Melody Exercises A8. Figured Bass an Introduction A8.Home Copyright Contact. Recorder Songs. A set of 12 worksheets. Students learn to trace, copy, colour and draw symbols, notes and rests commonly used in music.\nPractice in copying them onto their positions on the staff is provided in large, medium and smaller sizes. A set of 12 worksheets identical to those in the set above but using the words 'whole note' 'half note' 'quarter note' etc.\nTeaches students to identify and draw notes in their proper positions on the staff and to learn their names and values by means of crossword puzzle, maze, tracing and other varied and interesting activities. Contains wordsearches, crosswords, quizzes, tracing, copying and other activities to teach students to identify and draw clefs, notes, rests and other music symbols in common use.\nContains puzzles, matching games, crosswords, word transfers and hidden stories to help teach students to identify the notes on the treble and bass staves. Students can trace, copy, colour in and fill in missing notes and letter names to teach just five notes up and five notes down from middle C. Suitable for younger keyboard students. A set of 10 worksheets. Students can add bar lines, trace, copy, colour in and fill in missing notes and rests to learn the shapes and values of crotchets, minims and semibreves and their rests.\nFor young music students. A collection of activities including matching games, crosswords, word transfers and hidden stories to help teach all the notes on the treble stave. A collection of fun activities including matching games, crosswords, word transfers and hidden stories to help teach the names of notes using the alto or C clef.\nA collection of fun activities including matching games, crosswords, word transfers and hidden stories to help teach the names of notes using the bass clef. A set of 24 worksheets. Activities include quizzes, wordsearches, crossword puzzles, jumbled letters and more to help students learn about the instruments of the orchestra. A set of 8 worksheets.\nRecorder Fingering Worksheets A set of twelve worksheets of varying levels of difficulty to help students understand basic recorder fingering. A set of 5 worksheets, A4 size, containing basic information about the treble clef, bass clef, alto clef, tenor clef and neutral percussion clef. Click here for the same set on Letter Size. Stories, comprehension exercises, 'true or false' exercises, time-line and other activities to teach about the lives and works of JS Bach, George Handel and Henry Purcell.\nVarious activities to help reinforce the learning of basic time signatures.You'll see a staff with notes sliding from right to left. Wait until each note \"hops\" into place on the left, then identify that note by clicking the correct button at the bottom.\nIf you get it right, the note will disappear and you can get ready for the next note.O level islamiat notes life in makkah\nIf you were wrong the drill will \"shake\", and you can try again if you're quick. In this exercise, you will see a rhythm on the staff. Click the drum pad or press the spacebar on your keyboard to tap out the rhythm along with the metronome. Clef: Treble Key Signature Identification In this exercise, you'll see a staff with a key signature on it. Identify the name of the key signature.\nClef: Grand staff Guitar Frets Identify the notes on the staff by clicking the proper fret on the guitar fretboard pictured on the screen.\nNote: Music for the guitar is written one octave higher than pitch actually played because the guitar is a transposing instrument. These exercises will improve your musical ability by developing a more intuitive understanding of what you hear.\nThese exercises will improve your understanding of music concepts and your speed at interpreting from the staff. Toggle navigation. Home Practice Exercises. In this exercise, you'll see a staff with a note on it. Identify the note by clicking the correct button at the bottom. Grand staff Treble Bass Alto viola. Soprano Mezzo-Soprano Tenor. Interval Building. In this exercise, you'll see a staff with one note and the name of an interval. Add in the second note to make the interval by clicking on the note button, then clicking on the staff.\nTreble Bass Alto viola.Our exercises are provided online for free. If they help you, please purchase our apps to support the site. Tenuto for iOS Enhanced offline versions of our exercises and calculators.\nGrade 3 Music Theory Worksheets\nLearn more Buy. Note Identification Identify the displayed note.\nKey Signature Identification Identify the displayed key signature. Interval Identification Identify the displayed interval. Scale Identification Identify the displayed scale.\nChord Identification Identify the displayed chord. Note Construction Construct the requested note. Key Signature Construction Construct the requested key signature. Interval Construction Construct the requested interval.\nScale Construction Construct the requested scale. Chord Construction Construct the requested chord. Keyboard Note Identification Identify the highlighted piano key. Keyboard Reverse Identification Identify the note by pressing a piano key.\nKeyboard Interval Identification Identify the interval of the highlighted piano keys. Keyboard Scale Identification Identify the scale of the highlighted piano keys. Keyboard Chord Identification Identify the chord of the highlighted piano keys. Fretboard Note Identification Identify the note of the marked fretboard position. Fretboard Interval Identification Identify the interval of the marked fretboard positions. Fretboard Scale Identification Identify the scale of the marked fretboard positions.\nFretboard Chord Identification Identify the chord of the marked fretboard positions. Keyboard Ear Training Listen and press the piano key of the played note. Note Ear Training Listen and identify the played note. Interval Ear Training Listen and identify the played interval. Scale Ear Training Listen and identify the played scale. Chord Ear Training Listen and identify the played chord. Exercise Customizer Create a permanent link to a customized exercise. Code Checker Validate an exercise verification code.\n- A book weighing 20 newtons slides\n- Mitsubishi l200 cylinder head problems\n- Barcode scanner software for windows 10 free download\n- Fluentd docker\n- Gryta dejt\n- Kubota b3350 manual\n- Worship tracks without vocals\n- Home loans, securitization, subprime mortgage crisis. a critical\n- Wahl ss2l\n- Salah mohamed el sayed\n- Codice a1410a d.d. 15 dicembre 2017, n. 834 a.o.u. citta della\n- Kyocera taskalfa 3253ci kx\n- Rizzoli and isles fanfiction jane injured\n- Sky max quadcopter aircraft manual\n- Yamaha as 801 vs nad\n- X concorso nazionale artistico premio celommi\n- Mikrotik nat action same\n- 380 ammo 115 grain\n- How to root samsung a30\n- Physics ppt slideshare", "domain": "music_and_dance"}
{"url": "http://1674685.gzldl.com/666.html", "date": "2021-11-30T20:27:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964359073.63/warc/CC-MAIN-20211130201935-20211130231935-00044.warc.gz", "language_score": 0.9350910782814026, "token_count": 291, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__136565171", "lang": "en", "text": "Welcome to Ponce De Leon Music Center where we are \"Everything in Music.\" We carry a full line of musical instruments from guitars to drums to PA equipment to band instruments and have instruments suitable for beginners all the way up to professionals at the most affordable price. We also offer repairs on all instruments on-site, and offer in-house instruction from professional, local musicians. Check out our Event page for any upcoming performance opportunities and local happenings throughout our community.\nPonce De Leon Music Center is a family owned and operated business, serving the metro Atlanta area for over 50 years. For over four generations, Ponce De Leon Music Center has carried a unique history, first inside the perimeter, now in Cumming. Learn more about the Ponce De Leon history here. We take tremendous pride in our store and our reputation for customer service. Our employees are not only owners of our business, most are professional musicians as well and commited to music education in our community.\nCome by and ask us how we can help with Instrument Rentals, Repairs, Lessons, and so much more! We hope you experience the personalized attention and total dedication to customer service that you'll get at Ponce De Leon Music Center.\nStop by our store or call us at 770-889-7616 for more information.\nMon-Thurs: 10-8 | Fri: 10-6 | Sat: 10-5 | Closed Sunday", "domain": "music_and_dance"}
{"url": "https://www.matthewandersontenor.com/about", "date": "2024-04-24T05:38:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296819067.85/warc/CC-MAIN-20240424045636-20240424075636-00432.warc.gz", "language_score": 0.9065725803375244, "token_count": 608, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__80886448", "lang": "en", "text": "\"A voice of exceptional dramatic flair and\nThe Cleveland Plain Dealer\nAn accomplished interpreter of the music of Bach, Mr. Anderson sings regularly as a soloist in Boston’s renowned Emmanuel Music Bach Cantata Series. He has been a featured soloist at the Aldeburgh, Carmel Bach, and Baldwin Wallace Bach Festivals. He has received particular acclaim for his portrayals of the Evangelists in Bach’s Passions, which he has performed throughout North America. Mr. Anderson is a prizewinner in the American Bach Society and Oratorio Society of New York Solo Competitions.\nRecent performances from Mr. Anderson’s varied repertoire include the Boston premiere of Galina Grigorjeva’s On Leaving with the Boston Symphony, Handel’s Acis and Galatea (Damon) with the Mark Morris Dance Group; Scarlatti’s La Caduta de’ Decemviri with ACRONYM at the Isabella Stewart Gardner Museum; Bach’s Coffee Cantata with Boston Baroque; Mozart’s Requiem with the National Chorale at Avery Fisher Hall; Stravinsky’s Renard at Tanglewood and the Mostly Mozart Festival with the Mark Morris Dance Group; Handel’s Messiah with the Masterwork Chorus at Carnegie Hall; John Harbison’s Winter’s Tale with the Boston Modern Orchestra Project; and Britten’s Les Illuminations with The Orchestra of Indian Hill.\nHe has sung with conductors Masaaki Suzuki, Nicholas McGegan, Paul Goodwin, Harry Christophers, Martin Pearlman, John Harbison, Craig Smith, Julian Wachner, and Laurence Cummings and appeared as soloist with ensembles such as the Handel and Haydn Society, Boston Baroque, the Buffalo Philharmonic Orchestra, Cantata Singers, and the Handel Choir of Baltimore.\nAlso recognized as a gifted performer of the American songbook, Mr. Anderson recently joined Keith Lockhart and the Boston Pops for their Bernstein Centennial Tribute at Boston Symphony Hall. In previous seasons, he has appeared with the Pops in Carousel (as Mr. Snow) and in celebrations of the music of Richard Rodgers and Cole Porter.\nMr. Anderson studied Classics at Harvard and voice at the New England Conservatory. He spent two seasons as a vocal fellow at the Tanglewood Music Center and was a Lorraine Hunt Lieberson Fellow with Emmanuel Music. He also trained in the James Collier Apprentice Artist Program at Des Moines Metro Opera, the Britten-Pears Young Artist Programme, and the Cincinnati Opera Resident Ensemble. Mr. Anderson is a Kansas native and lives in Boston with his husband John and daughter Nora.\nTenor Matthew Anderson is a versatile and compelling performer of opera, oratorio, and musical theater.", "domain": "music_and_dance"}
{"url": "https://japannews.yomiuri.co.jp/culture/manga-anime/20221212-75859/", "date": "2023-12-09T15:51:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100912.91/warc/CC-MAIN-20231209134916-20231209164916-00061.warc.gz", "language_score": 0.9546259045600891, "token_count": 1347, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__217652572", "lang": "en", "text": "- MANGA & ANIME\nFellow singers support ‘Aniki’ Mizuki so show goes on\n18:22 JST, December 12, 2022\nSinger Ichiro Mizuki, known as the “king of anime songs,” said, “I will never retire in my lifetime,” at the concert he gave just 9 days before he died. Mishio Suzuki, the emcee of the concert, describes his passion in her latest column.\nA concert titled “Mizuki Ichiro and Horie Mitsuko Futari no Anison #19” was held at the Yomiuri Otemachi Hall on Nov. 27, and I had the pleasure of moderating.\nIt’s a popular show that the veteran anime song singers have been doing since 2003. In past shows, Mizuki and Horie chatted, requested the other sing their rare songs, and “swapped” singing each other’s songs. Mizuki and Horie are the show’s executive producers, too, and the appeal of the show is that they carefully discuss the songs they will perform.\nIt’s a show about the two of them, as the title suggests, but Mizuki was at that time undergoing treatment for lung cancer and was unable to perform as he would like. For this reason, this year’s show also included three fellow singers to support him.\nThe show started with wheelchair-bound Mizuki and Horie reminiscing about their debuts. Looking nervous, middle-career anison (anime song) singer Takayoshi Tanimoto stood next to Mizuki and sang Mizuki’s debut song “Kimi ni Sasageru Boku no Uta” (My song dedicated to you) and his anison debut, “Genshi Shonen Ryu ga Yuku,” (Cave boy Ryu goes). The latter is the theme song of TV anime “Genshi Shonen Ryu” (“Ryu, The Cave Boy”), which aired more than 50 years ago.\nMizuki hummed along with Tanimoto before giving him a thumbs-up. Tanimoto’s show of relief drew warm applause from the audience.\nMeanwhile, Horie sang “Juni-sai no Shinwa” (Mythology of a 12-year-old), which Mizuki had taught her how to sing. She also sang her own song “Ran no Uta” (The song of Ran), the closing theme of “Ryu, The Cave Boy.”\nMizuki and Horie were the singers for the opening and closing songs of the same anime. Reminiscing about working together for so long across their careers, Horie shared a story about Mizuki, who is affectionally called Aniki (Big bro) by fans and colleagues.\n“At the time of recording ‘The Cave Boy’ songs, my session went smoothly, but his took so long, and Aniki still holds a grudge about this,” Horie said, as Mizuki smiled wryly.\nNext, singer Hideaki Takatori came on stage to sing Mizuki’s signature song “Mazinger Z” among other tunes. Takatori, dressed in a suit, was also nervous, prompting Horie to ask, “Are you here for a wedding or something?”\nTakatori said that some of anison of the Showa era (1926-1989) are difficult to sing, even though they are shorter than modern ones and may appear easy. “Aniki is amazing,” he added.\nIn the second half, veteran Akira Kushida took the stage and sang two ballads: “Lupin Sansei Ai no Tema” (Love theme from Lupin the Third) and “Yusha no Ken o Teni” (Brave sword in hand). He sang at the request of Mizuki who said, “I’d love to ask Kushida to sing a ballad.” Mizuki looked very happy when Kushida sang them powerfully.\nHorie also sang her big hits such as the theme song from the anime “Hana no Ko Lunlun” (Lulu, the Flower Angel) and “Voltes V no Uta” (Voltes V song).\nShe said the show was “just like anison.” What she meant was the show exemplified the world of anison, which is about “bonding with friends,” “joining forces and moving forward” and “never giving up in hard times.”\nI agree. This anison-like concert was not pulled off by the performers onstage, but also by the audience who supported Mizuki and the other singers with big, warm applause. The performers and the audience were able to share a warm and relaxing time together, despite the unconventional show.\nThe entire cast sang the opening song of the anime “Babil II” together to close the concert.\nAfter the song, Mizuki said, “I will never retire in my lifetime,” and Mizuki and Horie sent the appreciative audience home by saying “I love you all!” with his signature pose depicting “Z” from Mazinger Z.\n\"CULTURE\" POPULAR ARTICLE\nColorful, Intricate Handmade Kaga Thimbles Make Comeback with Modern Motifs\nAI Helps Create New ‘Black Jack’ Manga Episode for Osamu Tezuka’s Iconic Maverick Doctor\nHatsune Miku Turns 16; Vocaloid Software Same Age as Fictional Background\n75th Annual Exhibition of Shoso-in Treasures Ends in Nara; Over 115,000 Visitors Flock to Nara National Museum\nMajor Fashion Brands Taking Notice of Opposition to Exotic Leathers\nJN ACCESS RANKING\n- Japan’s Economy Contracts as Demand Wanes\n- AI-generated Child Porn Floods Japan-based Website (Update 1)\n- Bears Sighted in Tokyo Suburbs, Including near Mt. Takao (Update 1)\n- Tokyo Dips below 10 C; Temperatures Fall in Japan\n- Tsunami observed in Japanese coast after the earthquake near Philippines (UPDATE2)", "domain": "music_and_dance"}
{"url": "http://jahc.org/music-fly", "date": "2014-09-23T02:16:15Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2014-41/segments/1410657137906.42/warc/CC-MAIN-20140914011217-00341-ip-10-234-18-248.ec2.internal.warc.gz", "language_score": 0.8599965572357178, "token_count": 458, "dump": "CC-MAIN-2014-41", "global_id": "webtext-fineweb__CC-MAIN-2014-41__0__10298824", "lang": "en", "text": "Music on the Fly\nLive Music Series at the Juneau International Airport\nSundays from 7 pm - 8 pm in the Baggage Claim area.\nMission and purpose for the project:\n• To uplift and soothe travelers as they begin or end their journeys through the Juneau Airport.\n• To encourage local residents to visit and enjoy the airport and its amenities as a destination in and of itself.\n• To give local entertainers performance opportunities.\n• To set the tone for Juneau as Alaska’s Creative Capital.\nMusicians and performers who are interested in performing can SIGN UP HERE.\nMay 25 Julianna Bibb - original guitar, vocal & harmonica\nJune 1 Five o'Clock Charly - original hippy folk\nJune 8 Kristin Garot - violin\nJune 15 Musical Moments - classical flute & guitar\nJune 22 PFLAG Juneau Pride Chorus - women's choral music\nJune 29 Daughters of the New Moon - Middle Eastern Dance\nJuly 6 Jason Caputo - folk/blues\nJuly 13 Travis Croteau - instrumental guitar\nJuly 20 Cindee Brown-Mills - piano\nJuly 27 Juneau Cello Choir - cellos!\nAugust 3 Flutatious Duet - classical flute duet\nAug 10 Juneau Jambusters - ukuleles\nAug 17 John Schumann - horn pop/classical\nAug 24 Juneau String Ensemble\nAug 31 Juneau Symphony's Capital City Quartet\nSep 7 Mark Heard\nSep 14 Juneau Wind Ensemble Players\nSep 21 Bryan Graceland\nSep 28 Jacque Farnsworth\nMusic on the Fly is going to happen month to month, first Sunday of the month\nOct 5 5 o'clock Charly\nNov 2 Taky Gaels\nDec 7 North Star Music Academy\nTip the performers with a donation!\nAnd here's how they do it at other airports -\nA program of the Juneau Arts & Humanities Council and the Juneau International Airport with support from:\n350 Whittier St. Suite 101\nJuneau, AK 99801\nPhone: 907 586-ARTS (2787)\nFax: 907 586-2148", "domain": "music_and_dance"}
{"url": "https://www.carenwestpr.com/red-bull-culture-clash-returns/", "date": "2024-02-24T12:50:01Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474533.12/warc/CC-MAIN-20240224112548-20240224142548-00312.warc.gz", "language_score": 0.9238086938858032, "token_count": 953, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__8895986", "lang": "en", "text": "Red Bull Culture Clash, the groundbreaking live music experience featuring four opposing crews across four stages, is thrilled to announce its return to Atlanta this November todeliver the nightlife event of the year. Set to unfold at the Gateway Center Arena on Saturday, November 4, tickets are now on sale for this spectacle that pays homage to the city’s unique tapestry of culture, color, and sound.\nFor one night only, four dynamic crews representing Atlanta’s hottest parties – Rum Punch Brunch, Perreo404, Bamba Tuesdays, and Mashup Sessions – will bring their fiercest competition and freshest sounds in Dancehall, Reggaeton, Amapiano, and Hip Hop to one stage. In a four-round battle, they’ll bring booming soundscapes, unreleased tracks, intense rivalry, and a thrilling lineup of special guests and surprises, all aimed at winning the crowd’s hearts and outshining their opponents. Only one winner can be crowned Red Bull Culture Clash champion and earn bragging rights as the best party crew in the A.\nAdditional details, including more lineup announcements, will be revealed in the coming weeks. Red Bull Culture Clash Atlanta | Crews\n● Rum Punch Brunch: Coined as Atlanta’s most celebrated brunch, RPB started it all back in 2016, and has become a must-attend event for those looking for exotic eats, big beats, the best rum punch, and the coolest vibe. The crew will be joined onstage by featured DJs Tony Matterhorn and Willy Chin.\n● Mashup Sessions: The open-format experience for Music Lovers, where music is remixed, flipped, and reconstructed. Delivering music that feeds the soul, Mashup Sessions is all about good drinks, good people, better vibes. The crew will be joined onstage by DJs Unruely and The Canterbury Tales.\n● Bamba Tuesdays: One of the nation’s premier Amapiano events, as well as an Atlanta cultural institution, Bamba Tuesdays seamlessly blends Amapiano, Afro House, Gqom, Afro Tech, and Afro Beat. The crew will be joined onstage by DJs Kash, DangerVybz, and Polish.\n● Perreo404: An all-inclusive community uplifting the Latin culture through nostalgia and sounds, featuring Reggaeton, Perreo, Latin House, and more. Que viva el perreo! The crew will be joined onstage by DJ EU and Nino Augustine.\nRed Bull Culture Clash previously came to Atlanta in 2017 and 2018 and, perhaps boding well for Rum Punch Brunch, Dancehall crews won both prior years. Crew Unruly with DJs ZJ Liquid, Chromatic, Jazzy T and Jabba won in 2017, while Jamaica reggae and dancehall artist Kranium and crew Frequent Fliers took the title in 2018.“Super excited to be a part of Red Bull Culture Clash this year because I’ve been a team member a few years back with Mike WiLL (Made-It) and the Eardrummers. Now it’s time to lead the charge for my own team,” said DJ Kash of Bamba Tuesdays. “Red Bull Culture Clash is like a legit gladiator battle for DJs, producers and whatever you do creatively in the music. For me, this is super important because this lets you know where you stand as far as how to rock a crowd.”\nThe two prior Red Bull Culture Clashes in Atlanta also saw guest appearances from Ludacris, Mavado, Rae Sremmurd, Rico Nasty and Waka Flocka Flame, among others.\n“Red Bull Culture Clash is an important event in Atlanta because it highlights all the people that are doing movements in the city of Atlanta – that are really putting on for the culture of the city and showcasing all the vibes and sounds of our cultures,” said DJ EU, who won Red Bull 3Style in Atlanta in 2013. “Red Bull Culture Clash takes me back to my Red Bull 3Style battling days, but this time it’s not one person – it’s the crew and I could not be happier to be repping the Latinos in Atlanta with my Perreo404 crew.”\nIn 2022, Red Bull Culture Clash made a triumphant return to the U.S., selling out venues in NYC and LA. For more information on Red Bull Culture Clash and to purchase tickets for Red Bull Culture Clash Atlanta, visit redbull.com/cultureclash.", "domain": "music_and_dance"}
{"url": "https://www.stoodiou.com/shani-talmor", "date": "2021-12-05T02:36:12Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964363134.25/warc/CC-MAIN-20211205005314-20211205035314-00544.warc.gz", "language_score": 0.9567521810531616, "token_count": 450, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__6643325", "lang": "en", "text": "Salsa / Pachanga\nShani started her way in the dance world in the age of 7 dancing jazz and ballet at \"Dance Alma & Arnon\" studios in Israel directed by Alma Frankfurt and Arnon Zucker. She later became a part of the Israeli Salsa Academy \"Latino Del Mundo\" Directed by Lior Petel and Ronen \"Paco\" Biran.\nIn 2004, Shani has been offered by the world-renowned salsa dance company\n\"Imperio Azteca\" directed by Johnny Vazquez and Ramon Morales to move to Spain and became Johnny's permanent dance partner and the group's principal female dancer.\nIn 2005, the group shifted its functions and activities to Italy.\nShe performed most successfully with Johnny in numerous International and national salsa congresses, festivals and Latin associations throughout Europe for 3 years.\nIn 2007, Shani moved to NYC and became Ismael Otero, the director of \"Caribbean Soul Dance Co.\" dance partner.\nIn addition, Shani has been requested by choreographer, Sekou McMiller, to join his Latin Jazz project “Proyecto Descarga” and became his principle dance partner.\nIn 2008, Shani founded and is the director of an All females ladies styling performance team “Shani’s Girls” which is performing most successfully in Latin events over the USA.\nShani later partnered with \"The mambo king\", Eddie Torres, successfully for 3.5 years to many salsa congresses and Latin events around the world.\nIn 2014, Shani moved to LA and singed with the talent agency \"MSA\" and in 2016 became a proud member of the Actor's Equity Association.\nIn addition, Shani performed with Pitbull, Marc Anthony, T-Pain and Ne-Yo, KatDeluna, Jennifer Lopez and Madonna!\nShani made her Broadway debut and became an ensemble dancer on the Broadway show \"ON YOUR FEET\" the life story of Gloria and Emilio Estefan.\nShani recently filmed the Warner brothers movie \"In The Heights\" - Lin Manuel Miranda.", "domain": "music_and_dance"}
{"url": "https://www.azluau.com/about-us.html", "date": "2023-06-10T17:51:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224657735.85/warc/CC-MAIN-20230610164417-20230610194417-00444.warc.gz", "language_score": 0.944267749786377, "token_count": 716, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__166202791", "lang": "en", "text": "Nā Leo Kūpono Productions humbly began with kanaka maoli, Rudy Dolfo. Rudy was born and raised on the island of O'ahu, Hawai'i. Rudy had been playing music in Waikiki professionally for over 30 years before he made the move to Arizona in 2007. Rudy now leads his very talented musicians in Arizona. He himself plays guitar, bass, ‘ukulele, percussion and keyboards.\nHis daughter, Nālani Kaho’onei, was also born and raised on O'ahu. She began her Hula training as a child in Kailua, HI with Kumu Hula Alice Puluelo Naipo Park. Nālani, too, performed at professional shows in Waikiki. She moved to Arizona in 2006 and soon began teaching. She has nearly 30 years of Polynesian dance experience. She is the Creative Director of Nā Leo Kūpono Productions and her student group, Hālau Ho'okahi I Ka Hula. Nālani choreographs the lively dances and designs exquisite coordinating costumes. She is an international-award-winning dancer and recently took first place in her division at the 2021 ‘Ori ‘Ori Tātou E Competition. Her full bio can be found here: https://www.hulainarizona.com/bio.html\nIn addition to Nālani’s award, the group has won many other awards, including:\n🥇1st Place 6-12 Tamaroa ‘Ōte’a Solo - Heiva I San Francisco 2021\n🥉 3rd Place 10-13 Tamaroa ‘Ōte’a Solo - Hura Tahiti 2021\n🥇 1st Place 13-18 Advanced Taure’a ‘Ōte’a Solo - Heiva I San Francisco 2022\n🥇1st Place 6-10 Tamaroa ‘Ōte’a Solo - ‘Ori ‘Ori Tātou E 2021\n🥇 1st Place 6-12 Advanced Tamaroa ‘Ōte’a Solo - Heiva I San Francisco 2022\n🥇 1st Place 19-24 General Tāne ‘Ōte’a Solo - Heiva I San Francisco 2022\n🥇 1st Place Group ‘Aparima\nHeiva I San Francisco 2022\n(Additional Award: 🏆 Editor’s Cinematic Choice)\nNā Leo Kūpono Productions performs at professional events all over the valley, from weddings and birthdays to corporate events and grand openings. Nā Leo Kūpono also performs at various Festivals, especially with Hālau Ho'okahi I Ka Hula. The most popular Festival in the valley is the Arizona Aloha Festival at Tempe Town Lake. The groups have performed at this Festival every year since 2009 and look forward to performing again in the future. Here is the Festival website if you would like more information: http://www.azalohafest.org\nOur goal, at Nā Leo Kūpono Productions, is to allow others the opportunity to further appreciate the traditions of our Polynesian ancestors. We aim to perpetuate the Polynesian cultures authentically and professionally. We strive to share our love and Aloha with all.", "domain": "music_and_dance"}
{"url": "https://www.expatinfodesk.com/moscow/communication/radio/", "date": "2023-06-04T01:43:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224649348.41/warc/CC-MAIN-20230603233121-20230604023121-00694.warc.gz", "language_score": 0.9071986675262451, "token_count": 569, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__230011651", "lang": "en", "text": "There are hundreds of radio stations in Moscow, including many music stations. Most of them play a heavy proportion of Russian hits, but you can find a good range of different music styles. There are no English-language radio stations broadcasting in Moscow, although you can find BBC Worldservice and other stations live on the Internet.\nThe following is a selection of popular Moscow radio stations to help you find your music for the road:\n- 70.19 RM – Ultra: Modern rock ranging from Linkin Park to Rammstein.\n- 88.3 FM – Retro Hits: A collection of golden oldies from the United States, Europe, and the Soviet Union.\n- 89.1 FM – Radio Jazz: Jazz hits all day long.\n- 90.8 FM – Relax: Easy listening from singers like Enya, Sting, and George Michael.\n- 91.2 FM – Echo of Moscow: A news station (in Russian) that was originally founded during the Soviet Union. Attempts to shut it down in the 90s failed, and it’s now a reliable source of news to many. For the non-Russian speaking expatriate, it’s a good way to expose yourself to a constant immersion environment and hopefully pick up a few words!\n- 95.2 FM – Rok na Radio: Classic rock hits from AC/DC to Iron Maiden and Metallica.\n- 96.8 FM – Detskoe radio: Songs and entertainment (in Russian) for children.\n- 100.9 FM – Radio Classic: Classic music by Andrea Bocelli, Yanni, Jens Gad, and more.\n- 103.1 FM – Chanson: Refuses to play silly pop songs and dance music, and focuses on ballads across the genres of rock, folk, and jazz to find songs with meaningful lyrics.\n- 103.4 FM – Radio Mayak: One of the oldest remaining stations, Mayak has roots in the Soviet Union and continues to be popular for its 5-minute news (in Russian) every half-hour, entertaining hosts (in Russian), and broad range of music selections.\n- 103.7 FM – Maximum: Moscow’s biggest Top 20 hits radio station.\n- 104.2 FM – NRJ (Energy): Top hits of energy-inspiring music from around the world.\n- 105.7 FM – Russkoe radio: One of the most popular stations among people over age 30, this station plays Russian music only – generally pop songs.\n- 106.2 FM – Europa Plus: A range of hit music including American, European, and Russian top hits. Everything from Beyonce to Lily Allen to Gorod 312.\n- 106.8 FM: The hottest Russian and Western dance hits.", "domain": "music_and_dance"}
{"url": "https://irepnaija234.com.ng/davido-breaks-several-african-records-on-apple-music/", "date": "2023-12-10T16:23:27Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679102612.80/warc/CC-MAIN-20231210155147-20231210185147-00270.warc.gz", "language_score": 0.9420303106307983, "token_count": 321, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__157214886", "lang": "en", "text": "The heavyweight Afrobeats is moving at a legendary pace with his new album ‘Timeless,’ shattering records upon records in the first week of Release.\nNigerian Afrobeats superstar, David Adeleke, popularly known as Davido, has broken multiple records on Apple Music.\nThe DMW frontline act released his highly anticipated studio album titled ‘Timeless’, on March 31st with guest appearances from the likes of Skepta, Angelique Kidjo, Asake, Musa Keys, Focalistic, FAVE, The Cavemen, Dexta Daps, & others, and he is already shattering records with the 17-track body of work.\nIn an update of event, Apple Music has revealed that Davido broke the first day streaming record for an African album as well as the simultaneous entry for NO. 1.\nSee more records that was broken by Davido below:\nDavido’s ‘Timeless’ has broken the record for the biggest African album in Apple Music history by first-day streams worldwide.\nHe also broke the record for the most simultaneous African songs on Apple Music’s Global Daily Top 100, with nine.\n‘Timeless’ reached Number Two on Apple Music’s US Albums chart, a new record for an African album\nThe album also broke the record for the African album with the most simultaneous Number One entries on Apple Music’s albums chart\nThe post Davido breaks Several African Records On Apple Music appeared first on NotjustOk.", "domain": "music_and_dance"}
{"url": "http://sikhsangat.com/index.php?/tags/bhai%20kultar%20singh/", "date": "2018-03-20T00:21:15Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-13/segments/1521257647244.44/warc/CC-MAIN-20180319234034-20180320014034-00521.warc.gz", "language_score": 0.9399869441986084, "token_count": 317, "dump": "CC-MAIN-2018-13", "global_id": "webtext-fineweb__CC-MAIN-2018-13__0__217822100", "lang": "en", "text": "Search the Community\nShowing results for tags 'bhai kultar singh'.\nFound 1 result\nsinghbj singh posted a topic in GURBANI | SCRIPTURES | REHAT | HISTORYThere is a big difference between a musical performance and kirtan. A performance is to display how good you are at something. In kirtan you don't have to prove anything, you have to get connected. That is the puropose of kirtan; to get connected yourself, and to help others get connected as well. In a musical performance the main focus is on the notes and rhythm. In kirtan the focus is on the Shabad. The Shabad is transmitted through the kirtan. Music is the presenting tool. It is the plate that you use to serve up the Shabad. The proper way to do kirtan is to please the Guru, don't please the audience. If you please the Guru and the audience is connected to the Guru then they will be pleased. If you are trying to please the audience, you might cross the line where your Guru will get unhappy with you. Kirtan is the original form of Bani. Bani was first sung and written later on. Source - http://www.sikhnet.com/videos/difference-between-music-and-kirtan?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+SikhnetNews+(SikhNet+News)", "domain": "music_and_dance"}
{"url": "http://www.lapsteelin.com/category/fresh-baked-thoughts/", "date": "2018-09-24T19:18:41Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-39/segments/1537267160641.81/warc/CC-MAIN-20180924185233-20180924205633-00194.warc.gz", "language_score": 0.9777675271034241, "token_count": 8818, "dump": "CC-MAIN-2018-39", "global_id": "webtext-fineweb__CC-MAIN-2018-39__0__129674189", "lang": "en", "text": "I just bought an EHX 95000 multitrack looper a few weeks ago, and while I don’t utilize a lot of its functions, I just love that it’s like a multitrack recorder that is always on if I come up with a good idea or want to practice over certain changes or grooves. I typically play bass lines with the side of my pinky, so that’s where this came from. It’s got a nice growl to it. Tone is in the pinky indeed!\nIf you play C6 tuning with an E first string, you know how difficult it can be to play harmony in 3rds on strings 1 and 2 (E and C). This is especially true if you play a longer scale neck, like I do.\nThe reverse slants required to achieve a minor third interval can be daunting, cumbersome, not easily pitched, and have a distinct whine or ‘meow’, which is in essence almost like a sitar effect where a longer than necessary part of the bar is making contact with a string.\nIn the short video, you can hear the effectiveness of subtle string pulling to make a more seamless transition than with reverse slants on the adjacent strings 1 and 2 (E and C). This is a trick I use to get a pedal steel-esque sound sometimes when I need to. A volume pedal comes in really handy, too.\nThis type of exercise needs to be learned in every key using every scale. That seems like a big demand, but it really isn’t if you dedicate a few minutes per day to doing it. It becomes second nature in time.\nI don’t want to get too deep into explaining the process, but do your best to make every pull sound in tune and learn to feel the difference in string tension as you move further up the neck.\nThis tab for the top 2 strings in C6 tuning for an F Major scale, which is what I used in the video. The ‘p’ next to a number indicates a 1/2 step pull.\nOriginally Posted on April 15, 2011 by Mike Neer\nC6 is the perfect tuning for breadboarding, no doubt about it. For those of you who don’t know the term “breadboarding,” it has to do with electronic circuits and how experimenters will use a breadboard as a construction base to create prototypes of circuits. Simply moving wires and jumpers around with solderless connections makes the experimentation much easier. In a past life I spent a lot of time with electronics….\nFor purposes of this discussion, I will be referring to this version of C6, from low to hi: G A C E G A C E. If you are looking to step outside of the box a bit and play some things that are a bit out of the ordinary for steel guitar, tweaking the C6 can play an important role in helping you achieve the chord qualities you are looking for. The most obvious tweak would be tuning the lowest C (in my tuning, string 6) to C#. This gives you the C6/A7 tuning which, in my opinion is necessary for playing Jazz and even any kind of chord solo work. The importance of the dominant chord in that tuning can’t be stressed enough. Also, contained within the span of strings 4, 5 and 6 is a diminished triad. Crucial.\nAnother common tweak is to tune string 7 (A) up to Bb for a C13. This eliminates the root for our minor chords, which I feel is pretty important note to have for playing Jazz standards and even some Rock tunes. There are some arrangements I play, though, that are based around this tuning, particularly Mercy, Mercy, Mercy and Yellow Roses.\nWhat if we tweak both the C string and the A string up a half step? I got this little tuning from Billy Hew Len (although he did it with the A6 tuning) and I quickly recognized it as a tuning used by the great Joaquin Murphey. Joaquin used a C6 tuning with a high G string later on, and he would also raise his C and A strings 1/2 step. A good example of this sound can be found on Spade Cooley‘s Dance-A-Rama record. You can hear an example of this tuning (my version with a high E) on this recording of Coconut Grove. It makes use of a lot of altered dominant chords.\nThere are other places we can tweak the tuning, too: my favorite is to re-tune string 8. I have several variations on it and all of them give me different results. The most common for me is to tune string 8 to F, especially for playing chord melodies. I approach it a little like John Scofield does when he is playing solo–he stabs at individual chord tones just to establish the harmony in the listener’s ears while he plays a melody or improvises on top of it. Sometimes that chord tone will only last for an eighth note. String 8 also serves me well for playing more modern Jazz, such as Herbie Hancock and Eddie Harris, by tuning it down to D. There I have what we call slash chords (a triad over a different bass note), particularly the 11th chord flavor, ie. C/D (C triad over D bass note). A great, nebulous sound.\nThere are other very useful ways of changing the value of a C6 tuning by changing 1 or 2 strings. For those of you familiar with Speedy West, he occasionally used a tuning (although on a pedal steel) which was called F#9. Essentially what it is is an E6 tuning (low to hi B C# E G# B C# E G#), with the B strings tuned down to A#. If you look at the C6 tuning that I use (with the E string on top), it is the same structure as the E6 tuning down a major third. So, in this case we simply lower our G to F# and voila!: we have D9 tuning.\nI am currently beginning another book–this time on creating block chord arrangements or chord melodies. I will be using my C6 tuning for the basis of the entire book, but I will also be sharing some of my secret tweaks. I am really looking forward to the challenge of teaching this!\nIn the meantime, I hope you continue to explore and have fun and always remember that lurking somewhere inside of you is you! Let’s give him every opportunity to find his voice on the steel guitar. Always play with the curiosity of a child.\nAll for now.\nIt has been quite some time since I’ve posted any new ideas or content on this blog. I have been meaning to do more, but music has been the sole outlet of my creativity and spare time in the last year or more, which is a good thing! But I’ve got so many things on my mind I want to write about. First of all, thank you for making Steelonious such a success! If you haven’t heard it yet, check it out. The CD has been so well received and there is a lot of steel guitar on it.\nWith this posting, I wanted to share a little something from Steelonious, which I released in 2016. In case you’re not familiar with it, it was a program of Thelonious Monk melodies arranged as Instrumental/Pop/Jazz tunes in varying contexts, all reflecting the steel guitar–its history and its possibilities. Basically, I connected the dots of things I love. In this particular arrangement, I used techniques I learned from studying the playing of Sol Hoopii and also a lot of 60s pedal steel guitar. The choice of groove reflects my passion for New Orleans music, and I borrowed some chord changes from a Bruce Hornsby/Christian McBride/Jack DeJohnette version of this tune that kills me. The original song form is a 12 Bar Blues, which on occasion is how we perform it. But what I really wanted was to get some of that funky country type picking in this tune, especially the solo. I’ve always been a fan of the music of Little Feat and maybe that is reflected here.\nOne of the things I discovered about Sol Hoopii’s playing years ago was his use of open strings as passing tones. Sometimes they are chromatic, sometimes just scale tones, but they lend a rhythmic articulation in times when the line really begs for it. Dobro players are no doubt aware of this technique. But I’ve found that one the most difficult aspects of playing steel guitar is to play chromatic lines that are more than just two or three notes–the articulation really tends to be a crap shoot and sometimes you need it to be clean and popping. So, I’ve adapted this technique into my playing and this arrangement of Straight, No Chaser is one of my most successful uses of it.\nI changed the key of the tune from Bb to A to accommodate the idea, then I just worked on it and worked on it until it developed into something cohesive and right. It is really not difficult to play, but takes a lot of practice to play it consistently. There is a lot of pick blocking going on, which I just tend to do unconsciously now. The tuning here is C6 and 6 string C6 will work just fine, as you really only use strings 2 through 5 (C-E).\nHere is a little video which demonstrates how I believe Sol Hoopii played this tune, specifically on his earlier acoustic recordings in the A Major tuning.\nOne of the devices that Sol used most frequently is open strings–in this case, in bars 3 and 4 of the head, Sol utilizes a slide to G# on string 4, followed by open string 3 (A), for a nice bluesy lick. Have a look for yourself.\nIt is often a topic of conversation among newer players of the difficulties in getting used to wearing fingerpicks. For some players, it is nearly impossible to get comfortable with these new appendages. For me, it was a little different.\nWhen I started becoming serious about playing, I was playing a National tricone. It was a matter of necessity for me to use picks, and because I was playing in an acoustic group with the instruments mic’d, I preferred a stiffer pick (.025 mm). When I switched over to playing electric steel, I no longer felt comfortable with that heavy gauge pick, and experimented with the lighter .013, .015 and .018 gauges. The .013 appealed to me, so I shaped the picks to follow the natural shape of my finger tips. This resulted in some very nice tone–very rich. The problem, I discovered much later, was that in order for me to pick the strings, I needed to get my fingers down deeper to the strings. This hindered my ability to play fast, clean lines, and my fingers would mistakenly hit the wrong strings often. I couldn’t live with this, because regardless of how hard I worked at it, I couldn’t overcome the sloppiness.\nRecently, in continuing my lifelong quest of improving my picking hand, I have discovered some things that have proven significant towards this end. I have begun using slightly heavier picks (.018) and I have shaped them so that they extend approximately 1/4″ from the tips of my fingers, and this extension is decidedly straighter than the previous “curled with the finger” shape.\nWhat this has allowed me to do is to execute rolls and other intricate picking patterns with greater ease, and to allow me to use a technique of locking my hands in a way that everything above the metacarpal bones is firmly locked in place, allowing greater control of the fingers. This is something that I have experimented with and concluded that it really does work.\nThere is no one way to wear picks, but it is advisable to always consider where you are in your playing path and how simple changes in things like picks can have a significant impact on your playing and sound. I will admit, I thought my tone suffered a bit when I made the change, but I have learned to compensate by using thicker gauge picks and by picking with a little more velocity.\nThere are some things about playing steel guitar that, unless you have the privilege of being near seasoned players and getting their insights, you are on your own to discover. For me, it always seemed as if achieving great right hand technique was an uphill battle. The inconsistency is frustrating and, while continual practice will yield positive results, I always seemed to hit a wall. In trying to create longer lines, I realized that I would need to refine my technique and, surprisingly, one of the greatest sources for inspiration appeared in a piano book. I will make no bones about saying that I think of my steel as a “lap piano” at times–this term is attributed to George Van Eps–and I want my passages to have the same clarity, lightness and dexterity as a pianist. George Kochevitsky’s book, The Art of Piano Playing, just really opened my mind to taking control of the situation. As he illustrates, for a century or more after the arrival of the piano forte, players still did not have the technique necessary to get the most from it–they were still relying on the finger technique from the days of harpsichord.\nI have to say, I do enjoy playing without picks, but I can’t execute much of what I play without them. I will also add that I have ordered a set of Alaska Piks and I’m looking forward to giving those a try. Will report back on that….\nWhile cleaning out my studio/library, I came across these cool chord charts that were published back in the 1940s. A friend of mine had given me these photocopies years ago, and I thought I would share them with the world before they are lost forever.\nThese charts can be very useful for each of these tunings, which are F#9, C# Minor, E7 and B11. The charts cover chords created with a straight bar, as well as with slants and in combination with open strings. Very good tools to get you inside the tunings. Once you are in, you will discover you own chords.\nThe first chord folio is for F#9 tuning (used by Dick McIntire and Bernie Kaai, who lent his name and image to this booklet). F#9 tuning is essentially C# Minor tuning, but with strings 5 and 6 tuned differently (E C# G# E A# F#, from treble to bass).\n(Click on each image to enlarge).\nThe next set of chord charts comes from an unknown source, but note that each page has the Fator’s name on it–Fator is a name affiliated with Dickerson steel guitars, as the owner of the company was Gaston Fator.\nNote that the C# Minor tuning actually resembles E13–essentially, the E7 tuning with the second string raised to C#. The C# Minor tuning (Sol Hoopii) is spelled: E C# G# E B E\nI hope you find these charts useful.\nSpending time lately investigating and memorizing the myriad slants available in C6-based tunings, especially C13, and I stumbled upon this beautiful piece of musical geometry.\nThere are many other hidden secrets in this tuning and I aim to find and use all of them!\nBack in the late 1980s, I was lucky enough to have a guitar lesson with Mike Stern. I would also see him play fairly regularly and have a talk over a cup of coffee (Sheridan Square Diner (r.i.p.) ). Mike recommended a book to me by a guitarist whose name I had only seen in Guitar Player magazine, but had never heard. The book was called the George Van Eps Method for Guitar and it was published way back in the 1930s. I bought the book and did the first few pages of exercises. In reading George’s words in the forward, I understood that the book was not only a way of learning triad shapes in all inversions on all string sets, but also as a way of developing an independence in the digits to enable single note playing over sustained chords. This was a hallmark of George’s style, which was developed as a young tenor banjo player (his father, Fred, was one of the instrument’s great virtuosos).\nI revisited the Van Eps method pretty heavily around 2000, as I was playing a lot of acoustic archtop guitar. Now I had heard George and was profoundly inspired by his playing. I can hear where Mike Stern utilizes some of the concepts he learned from the book, particularly when he is playing a pedal note and moving the chords around underneath. Anyway, years later it occurred to me that working through inversions of the triads in a Van Eps-ian manner might be a fruitful exercise. I continue to utilize it daily.\nIf you have a lap steel tuned to C6, you can find the triads within. This would also work for any other tuning, as well. You will have to make your own adjustments to the tab that I’ve laid out. I highly recommend mastering exercises #1 and 2 in every key before moving on to the triad inversions. There are other techniques involved in the inversions that will need to be addressed.\nThis page of exercises was written quickly by hand while the idea was fresh. Please pardon the sloppiness of it.\nHere is a quick video demonstration of the concept. Note that I do not lift the bar off the strings, but simply block, using either method (palm or pick). Pick blocking is particularly useful in arpeggiating the triads. Practice these slowly and cleanly.\nI’ve also created a little clip showing how to utilized the triads on strings 1-3 in A6 tuning. This works so well that I’m almost tempted to switch to A6!\nHenry Bogdan is one of the few players of the modern era who has embraced the National Tricone resonator as his main instrument. His playing with The Moonlighters was particularly influential (especially to myself) in the resurgence of traditional string bands featuring ukulele and steel guitar, and with the Moonlighters he recorded several CDs. He also performed and recorded with Hazmat Modine, a unique NYC band led by the eclectic and multi-talented Wade Schuman. However, Henry is best known for his career as bassist for the band Helmet, an influential alternative metal band, all through the 1990s. These days, Henry resides in the Portland area, where he has been involved with a band called The Midnight Serenaders, continuing the marriage of his Hawaiian stylings with their Jazz Age swing.\nHenry told me that after all these years of playing his Tricone, he was putting it away to pursue his latest passion, the Puerto Rican Tres, which is a stringed instrument with 9 strings in 3 courses. So, if you are in the Portland area, don’t miss the opportunity to see Henry perform with his Tricone while you can.\nMike: I’ve noticed the phenomenon of musicians who’d previously played Rock music and Punk gravitating toward Roots music.\nHenry: Yeah, it’s really true. I kind of saw it as somewhat of a synchronicity to the end of…for me it was the end of Punk. It was the end of the road. I didn’t see that there was any other direction to go.\nM: I figured that people who are playing “cutting edge” stuff already, they’re really at the precipice and you have to wonder “where do you go from there?” It must be exhausting to be at that point and constantly be trying to move forward all the time. At some point, it almost seems inevitable that people are going to begin to look backward….\nH: Yeah, to get more substance. It just gets sort of totally diluted and you’re not doing anything if you’re trying to be modern and unique and not sound or play like anyone else before you. I always felt the idea was to be unique and not do anything traditional. For Helmet, it just seemed like it was the end of the road and it was up to the next generation to combine their influences and do something new.\nMost of my friends continued on with Rock, but I did know a lot of people who were just putting down their instruments and not playing at all. That’s when I met Bliss (Blood) with the Moonlighters and I knew what I wanted to do was create kind of a traditional Hawaiian-sounding band. I didn’t see myself as a “jazzer” and she was coming from a Rock state of mind and not from going to Jazz school or that sort of thing.\nM: So, what was your introduction to Hawaiian music?\nH: I would say first off that I’ve always been interested in steel guitar, from my mid-teens hearing it in Rock bands like Neil Young, the Eagles—a lot of stuff like that was popular here in Portland and on the west coast. The first time I got to see one up close was actually when this Gospel/Southern-Rock band played at my high school. There was a guy playing a Sho-Bud and I just totally flipped and I went up and I talked to him for a while after the gig. It just seemed like such a cool instrument—very magical looking.\nM: Did he show you how it worked or explain it to you?\nH: I can’t remember, but he probably said that there’s pedals and knee levers and all these kinds of gadgets. It was pedal steel that I heard first. Then a few years later I got pretty devoted to Punk and Underground music and I thought steel would be a good instrument to mess around with in that format. So, first I bought a lap steel at a pawn shop—Dickerson, pearloid model that I wish I still had—but I couldn’t get anything out of it because I didn’t know any tunings. It just sounded like Blues guitar kind of stuff.\nM: I think we all kind of go through that same experience. You were a bass player at the time?\nH: No, I didn’t even touch the bass until a good 10 years later, but I’d always played guitar. From age 10 I took guitar lessons—I took 5 years of Classical guitar lessons all through high school. I pretty much knew I wanted to play music, ideally, in a professional setting.\nSo, I couldn’t get anything out of my lap steel, and then I bought a single neck pedal steel. Still I didn’t know the tunings—it was probably an E9 guitar. I borrowed a Sneaky Pete Kleinow book from the library here that had some tunings and basic technique, but it just wasn’t working. I couldn’t figure it out, but I played it in a band on a couple of songs, just getting sound effects, like picking behind the bar. I wasn’t really interested in any hardcore Country music until a few years later.\nAnyway, so I put the pedal steel in storage and moved to New York. Subsequently the steel was stolen. I ended up not doing anything in New York for about 5 years, just trying to break into the Underground scene until I answered an ad in the Village Voice for this band that needed a bass player (Helmet). I happened to have a bass, so I thought, “What the hell? Everyone played guitar—I might as well try to break in as a bassist.” I really enjoyed the bass, certainly in that context.\nIt was right around the middle of the Helmet career, probably early ‘90s, that I got more interested in traditional Country and Western Swing music. I’ve always had one foot in the Country door, in some sense, but I was getting into more traditional stuff like Buck Owens, George Jones, Ernest Tubb…basically as a diversion to what I was doing in Rock—you know, super-macho, tough guy, tattoos. It was kind of stupid at a certain point and what I liked about Country music was that it wasn’t so concerned with being modern or cutting edge. It just had a certain relaxed soul to it and it was good-natured.\nM: Yeah, and it’s also a humble—even if it’s not completely sincere in its humility it still has that humbleness to it.\nH: I agree and I certainly appreciated that coming from a super Agro world of Rock which I didn’t always identify with. It was fun playing the music, because it was very physical, kind of like sports.\nI saw Junior Brown’s first gig in New York at the Lone Star and he totally blew me away.\nM: I think I was at that show, too.\nH: It was just phenomenal. He was the first guy I’d ever seen play lap steel and he had “that sound” which turned out to be the 6th chord. So, I pulled the lap steel from under my bed and looked in the Village Voice the next day and found this guy David Hamburger. Have you had any contact with him?\nM: No, although I’d certainly heard his name and I had some friends who played in a band with him, but I heard he moved down to Austin.\nH: Yeah. I started taking some lessons with him and he set me up with G6 tuning and he was also the one—at the time I was mostly interested in Honky Tonk and Western Swing—but he said, “If you really want to devote yourself to lap steel, you should check out Hawaiian music.” Like most people, I never thought of Hawaiian music at all—I thought it was all just like Don Ho. So, I just bought some CDs and at the time I was buying everything that I could that had any kind of non-pedal steel on it. I called up Scotty’s Music and got Jerry Byrd’s “Steel Guitar Hawaiian Style” and the 2 Sol Hoopii CDs, but it was the Jerry Byrd that was the life-changer for me.\nM: I was kind of like you in that I probably bought 30-40 CDs and LPs a month from the age of 18 to 30—that’s all I did, was buy music. It was like I was always searching for something that I knew was out there, but I didn’t know exactly what it was. I could feel when I was getting closer and closer to it, though. I probably bought most of the same CDs as you—the Sol Hoopii, etc. I had that long before I really got interested in playing.\nWhen I finally got interested in playing, there were almost no resources, except for the occasional book, which didn’t tell the whole story. I can tell you one thing, though—I knew right away that it was some serious shit! It became apparent in the beginning that it was serious and I don’t think I had what it took at the time to devote myself to it.\nH: I would agree that it is some serious shit! For me, it was like when I first was discovering Punk and Underground: there was this whole world of great players and great tunes and great singers and it was deep. It had a lot of substance. I would also have to point out that it had a lot more steel guitar than the Country stuff. Even still to this day I want to hear Joaquin Murphey playing through the entire song—I don’t want to hear just one little break. You know, that’s what kind of the drag of that music and what’s so great about the Hawaiian music. It’s there behind the vocals, there during the solo, intros and outros.\nM: There is a real art to the backing in Hawaiian music and also they’re playing in a smaller group.\nH: Yeah, I would love to hear Joaquin in a smaller band. I would say that from the beginning it was the electric steel, Jerry Byrd in particular, and a year later I got more interested in the acoustic stuff. I listened to that Jerry Byrd CD over and over when I was still in Helmet, and I would take my lap steel on tour and just mess with it on the bus. I got Jerry’s book (Instruction Course For Steel Guitar) and was messing with tunings just trying to play something that sounded like music.\nM: Did you get through the whole book?\nH: Oh my God, no. I would say I didn’t even scratch the surface. I bought all the books that there were, but I’m not a book guy. I totally just play by ear. I don’t even know what chord I’m on or necessarily what key I’m in unless it’s written next to the song title on the set list. [laughs] I’ve always thought of it as, “Where’s my I? I is on the 3rd fret, there’s my IV and V” and I have my little boxes—my riff boxes—and I have my little gimmicks, my octaves and playing thirds and whatnot. I totally play by ear and at this point it’s a huge drawback. I wish I could go back and start over from scratch by learning scales and sharps and flats….\nM: Do you know any of this with regards to the guitar?\nH: No, I don’t at all. I mean I had theory back in high school when I was studying Classical guitar but Classical guitar is very impractical to playing Pop music. You don’t learn how to read chord charts—it was kind of a mistake. I wish I was more interested in Jazz at the time—it would have been much more practical, even in the Rock world.\nM: I have to say, I’ve enjoyed your playing on the Moonlighters recordings and I would say they inspired me. When I bought my Tricone, I said to my wife, “OK, honey, I promise I’m going to go out and find a gig” and it just so happens that I found the only gig in existence. So I want to thank you for that. [laughs]\nH: No problem and thanks for saying that. It was a lot of fun working on that stuff. Bliss turned me on to more of the Jazz side of things and I was probably the Hawaiian side of things.\nM: Let’s face it, how many other bands were out there playing that kind of music?\nH: Well, there a band called the Do Hos…they kind of disappeared. But, yeah, there really weren’t any people doing that and that was kind of fortunate for us–certainly fortunate for me. [laughs]\nM: A good thing about the band was that there was original music. I’ve always felt that Bliss is an excellent lyricist.\nH: Oh, yeah, she’s a great lyric writer.\nM: I always thought the band had a solid foundation in the traditional sounds and, yet, it was always reaching forward….\nH: Maybe some of our other influences sometimes can’t help but come out. Bliss really was the one into doing original music and it was a good thing for the band and probably opened some doors that we probably wouldn’t have had if we were just aping the old shit, which I probably would have been fine with also.\nM: You were involved with some other projects while you were in New York, too….\nH: Oh yeah, when the Moonlighters started I was also playing with Howard Fishman. We started playing in the subways in Brooklyn. And I was playing weekly with Greg Garing and his Alphabet City Opry. That was actually the first situation where I was playing steel guitar—slightly pre-Moonlighters. That was a weekly gig for about a year. I quit to rehearse and work on tunes, instead of just playing tunes that I’d never heard before. It was fun playing with Greg, but he would just say, “This is in C, follow me.”\nM: I have to admit, that’s what I live for. You did some stuff with Wade Schuman and Hazmat Modine, too….\nH: I did some gigs with them and recorded some songs on their first CD.\nAt this time I was planning on moving to Hawaii…I was hoping to get some lessons with Jerry Byrd. That was sort of my dream at the time but once I got to Portland I had read that Jerry was sick and had stopped playing and I ended up getting some gigs with The Yes Yes Boys in Seattle and I would take the train up to Seattle a few times a month for about 3 or 4 months. Del Rey is truly amazing–a great player. I think a few months later Jerry died. He was most of the reason I was headed to Hawaii—even though I probably wouldn’t have hooked with him, I could have taken some lessons with Alan Akaka or John Ely. I didn’t really have any work skills once I left New York and the thought of working at Hertz Rental Car for minimum wage, trying to afford a studio apartment in Honolulu….\nSomeone on the Steel Guitar Forum posted a link to this great solo by Buddy Emmons on John Hartford’s “Gentle On My Mind.” I’d never heard it before, but it knocked me out, so I sat down with it and transcribed it before bed. Took me an hour or so–it’s mostly just eighth notes, which makes it a little easier.\nAnyway, it is a C6 pedal steel performance, but I transcribed it for C6 with a re-entrant D 1st string, which is what I believe is Buddy’s tuning, so it is D E C A G E C A F C (high to low). There is nothing played below the 8th string and I couldn’t detect any pedals, although they may be there, I just don’t know what they do. The few notes on the 1st string could easily be moved to the E string, so if you are playing C6 (E high) you can pull it off (a little harder, though).\nHere is the solo:\nAnd here is the transcription:\nHere are a few tips for those who are learning to play the steel guitar. Some of them may seem obvious; some of them not so much.\n1. Don’t be discouraged by the difficulty of getting your chord grips together (meaning your picking hand).\nDo practice your grips, even in a non-musical fashion. For instance, practice grabbing a chord shape and then moving it from one string set to another, like this:\nThings like this take time to master, but the more you practice, the easier it will become. Spend 5 to 10 minutes/day just on grips, not worrying that it doesn’t sound musical.\n2. Don’t slide into everything (glissando).\nDo use glissando sparingly, selecting the right time for maximum effect. Do practice moving the bar vertically along the neck using a staccato approach in order to gain more control of your sound. To do this, you will need to incorporate pick blocking. Also, the bar doesn’t leave the strings with this approach–it is completely reliant on your right hand.\n3. Don’t get stuck in root, or straight bar positions (i.e., for playing in C major, sticking to the 12th fret).\nDo find other positions or zones or pockets to play in. For example, you can get a C major sound (minus the root) by playing in G position (7th fret, C6 tuning). This serves as CMaj9. For playing singles notes, we can easily find our way through the C major scale in 7th position:\nDo learn how to play a scale in every position, meaning beginning with any scale tone anywhere on the neck. Here’s another very useful example:\nDo practice this in every key (including natural, harmonic and melodic minor) beginning on any note of the scale. Yes, I know it is a lot of work, but in order to gain freedom on the instrument, particularly from clichés, this is the kind of work that needs to be done. Spend 1/2 hour/day on this for several months until you are confident you can break it out easily and without hesitation.\n4. Don’t forget that there are many ways to achieve something that doesn’t look feasible at first glance.\nDo remember to investigate all options by thinking about slants (no matter how extreme they may seem) and behind the string bar string pulls. Here is an example of a I – IV – V progression with voice leading (note the tuning is C6/A7):\nNotice how you can play 2 different inversions of the I-IV-V progression and keep the chords in a relatively small fretboard range.\n5. Don’t let vibrato be an afterthought.\nDo learn to be conscious of your use (or non-use) of vibrato, making conscious decisions on how you want it to enhance your phrase ahead of time. Don’t wait until the last moment to throw a quick shake on a note–it tends to sound feeble and nervous. Be confident and strong in your playing! Commit….\n6. Don’t underestimate the value of major and minor triads. They have many more uses than just the obvious.\nDo learn as many inversions of your major and minor triads as you can possibly find, everywhere on the neck. The major and minor triads can serve as altered dominant chords as well as extended harmonies of major and minor chords. Sometimes we overlook the simplicity of a simple triad while searching for something bigger, such as G13b9; if you are knowledgeable in harmony and music theory, it should be easy for you to spell this chord out:\nG B D F Ab E (we skip the 11th degree, C). Looking at these 6 notes, what triads do we find? Obviously G, but what else? There is a B diminished triad, as well as D diminished. But we also have an E major triad. The E maj triad provides the M3, b9 and 13 of our chord. Perfect choice for G13b9. Need something for an A7 chord functioning as a V7 or VI7 in a turnaround? Try a Bbmin triad (Bb Db F) instead. Those notes spell b9, M3 and #5, a nice altered dominant sound. See what I’m getting at?…which leads me to….\n7. Don’t shy away from learning basic music theory and harmony: they are your friends.\nDo get acquainted with them because they open up doors and make it much easier for you to make music that’s outside of the box. It is always good to have choices.\n8. Don’t use your wrist to make slants!\nDo try to get used to guiding the bar with your fingers. Do make sure you are using the right bar. There have been endless discussions about whether a Stevens bar or Bullet bar or any other number of bars is right–I won’t go there. I will say that whatever bar you choose, make sure it is the right length and make sure you learn to manipulate it with your fingers, not your wrist.\n9. Don’t let your playing sound monotone.\nDo open it up and use your picking hand and bar to convey expression. Sometimes a nice strum of a chord with your thumb, or a wide bar shiver (ala Curly Chalker) can keep your playing from sounding monotonous and lifeless. Jerry Byrd was called the Master of Touch and Tone for good reason: he was always conscious of his expression and you could really get a feeling from his playing the way that you could from a singer or violinist. Harmonics are another great way to make it work.\n10. Don’t get hung up by bad picking habits.\nDo focus on making your digits work as a unit. There is quite a bit of work involved in getting a strong right picking hand. There are definitely picking patterns which you can work with on a daily basis to get your right hand under control. Joe Wright has a video called “Secrets Of The Wright Hand” which may help you to improve your picking technique. The video has no musical content, but Joe works you through a number of picking moves.\n11. Don’t pick too hard. “What is too hard?”, you ask. Well, it’s when your strings are flapping out of control, sharp in pitch, and your fingerpicks are getting tangled up in the strings. Relax!\nDo play in a relaxed, controlled manner. There is a lot to be said for a picker who has great chops, whether or not he/she decides to put them on display. The one thing every great picker has is poise and control. Comes with practice, nothing more. For those of us coming from a resonator background, this can be quite a revelation. The picking styles are quite different for both instruments (and so is the bar technique for that matter). Many people believe that the players who can really play both resonator and electric steel extremely well are rare birds. They’re probably right!\nHope this gives you something to think about. Time to run!", "domain": "music_and_dance"}
{"url": "http://www.michaelnicholsmusic.com/", "date": "2015-07-01T19:10:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2015-27/segments/1435375095184.64/warc/CC-MAIN-20150627031815-00074-ip-10-179-60-89.ec2.internal.warc.gz", "language_score": 0.9519738554954529, "token_count": 112, "dump": "CC-MAIN-2015-27", "global_id": "webtext-fineweb__CC-MAIN-2015-27__0__13329209", "lang": "en", "text": "New video for \"Angels\", from the new CD, \"Tides\".\nNewly released CD, \"Tides\"!\nNow available for purchase from iTunes or at any of his shows.\nMore original music by Michael Nichols …\nDownload or order a CD from iTunes, Amazon or CDBaby. CD’s or download cards are also available for purchase at any one of Michael’s shows. Click on the Calendar link to see his full schedule. Quality Michael Nichols merchandise and ringtones are also available for purchase from his official store.", "domain": "music_and_dance"}
{"url": "https://www.dunstan.school.nz/news/big-sing-dunstanza", "date": "2023-06-01T05:31:51Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224647614.56/warc/CC-MAIN-20230601042457-20230601072457-00618.warc.gz", "language_score": 0.9883735179901123, "token_count": 291, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__134366031", "lang": "en", "text": "It has been a battle to establish a choir this year. Initially the students were not even allowed to sing or rehearse indoors. Eventually they were allowed to sing, but under the veranda outside the Performing Arts Block, at times singing in the cold weather. However, with the determination of the choir directors, Bronwyn Barnes, Nick Meissel and Liz Conway, they were able to push on with rehearsals and got the choir, consisting of 35 students (numbers are usually around 60-70), to a level where they could perform at the Big Sing. A huge thanks to the choir directors for giving up their time to get the students to the competition, and to the students who turned up every week for rehearsal during such difficult times.\nDunstanza opened the competition with the premiere performance of Whisper a composition written especially for the choir by one of the directors, Liz Conway. The choir competition was scaled back this year being held at Knox Church; it is normally held in the Dunedin Town Hall. There were 13 choirs from 12 schools, each singing two songs.\nAlthough the choir did not come away with any awards, the students did themselves proud, looked very sharp in their red vests and sang beautifully. The students were a credit to the school and an absolute pleasure to take away.\nWell done Dunstanza!", "domain": "music_and_dance"}
{"url": "https://lykenspa.com/events/2021-lykens-summer-concerts-in-the-park-june/", "date": "2022-01-27T22:35:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320305317.17/warc/CC-MAIN-20220127223432-20220128013432-00356.warc.gz", "language_score": 0.8018285632133484, "token_count": 126, "dump": "CC-MAIN-2022-05", "global_id": "webtext-fineweb__CC-MAIN-2022-05__0__41537000", "lang": "en", "text": "Pre-Season Series Event\nNew Orleans Style Brass Band component of the Air National Guard Band of the Northeast based at Fort Indiantown Gap. They perform Dixieland style music, popular music, and patriotic selections.\nFood Available 6:00 Pm Burgers, Hot Dogs, Drinks & Baked Goods\nEntertainment starts at 7:00 Pm\nRemember to bring your lawn chair\nIn the event of Rain, the concert will be moved inside to Wiconisco Fire Co., Arch Street\nFollow us on Facebook at Friends of Lykens Page for more information", "domain": "music_and_dance"}
{"url": "https://apksclub.com/spotify-downloader-apk/", "date": "2021-12-09T01:26:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964363641.20/warc/CC-MAIN-20211209000407-20211209030407-00377.warc.gz", "language_score": 0.9218517541885376, "token_count": 374, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__166431273", "lang": "en", "text": "Spotify Downloader APK Unlimited Songs\nDownload and install the latest version of Spotify Downloader APK and download unlimited free songs from Spotify App without any restrictions.\nOther recommended apps\nIntroduction to Spotify Downloader\nDo you want to get music to relieve your mental stress and get a fresh mind? So, if you like music, we are here with an amazing platform known as Spotify Downloader Apk. It is the latest developed application which allows downloading playlists from Spotify and listening to music offline. You can use this app on your Android smartphone or tablet.\nIf you are a music lover, you know the best music platforms and media out there. There are many amazing platforms and industries that provide the best entertainment for consumers. There are paid and free platforms to entertain users. You’ve probably heard about Spotify.\nIt is one of the best audio streaming platforms offering users the best collection of music and rhythms out there. This is a Swedish platform by a Swedish company for people. It has a large collection of audio recordings for users to enjoy.\nThere are online platforms and applications out there that allow users to easily stream music online. But the problem is for people who want to have fun with internet connection or just want to have an offline collection. So, we are here with this app for these fans.\nMain features of the app\n- Free to download and use\n- Find your favorite Spotify collection\n- Simple search system\n- Download playlists fast\n- Unlimited downloads\n- User ID Requires access\n- No ads available\n- No unnecessary options\n- Simple and user-friendly interface\nSpotify Downloader Apk is the best way to download and enjoy your favorite music collection offline. You can do the best exercises and enjoy them with this app. Keep visiting our website for more great apps.", "domain": "music_and_dance"}
{"url": "http://winterparade.nl/english-3/english/", "date": "2018-09-22T05:02:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-39/segments/1537267158045.57/warc/CC-MAIN-20180922044853-20180922065253-00546.warc.gz", "language_score": 0.9147661328315735, "token_count": 132, "dump": "CC-MAIN-2018-39", "global_id": "webtext-fineweb__CC-MAIN-2018-39__0__135494886", "lang": "en", "text": "Is it theatre? Is it delicious food? It’s both at the Winterparade\nThe Winterparade offers theatre, music, dance and delicious cuisine at a 120-metre-long table! The table is used as a stage for a diverse programme with actors, dancers, musicians and more, while guests are treated to a delicious meal.\nThe delicious multi-course dinner will be catered by De Nieuwe Garde. Chefs, waiters and waitresses will be climbing the tables and making unexpected appearances along with the hospitable Candy Girls.\nThe dinner will be interspersed with a program full of surprising performances.", "domain": "music_and_dance"}
{"url": "https://www.madisonavestudios.com/about", "date": "2024-04-19T01:43:18Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817253.5/warc/CC-MAIN-20240419013002-20240419043002-00488.warc.gz", "language_score": 0.9814263582229614, "token_count": 451, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__72165379", "lang": "en", "text": "Music is Our Life\nTo put it simply, we love music. Our life revolves around it. When we started the studio, we really just wanted to make high-quality recordings of our own music. It's more than our hobby, it's our passion. If you are passionate about your music and looking for a studio that’s comfortable, convenient, and has great equipment then look no further than Madison Ave Recording Studios. Whatever your musical style may be, our professional recording studio will help make your sound come to life.\nDedicated and Passionate\nOur professional team does everything to make sure that each project is an enjoyable experience for our clients. The team here at Madison Ave Recording Studios is keen on giving our guests the best, most exciting and efficient experience possible. Our staff is dedicated to providing the best quality services for every one of our clients’ projects.\nOwner, Recording Engineer\nSteve has had a love of music for most of his life starting formal music lessons at age 9. While primarily a guitar player, he also plays bass, keyboards and drums. Over the years, Steve has been involved in playing in several bands as well as playing on many church worship teams. He is currently a guitar player in the band Messy Truth (facebook.com/messytruth) and plays guitar and mixes sound at his church (encounterchurchpa.com). Steve is the main recording engineer for Madison Ave Studios and saying that he is a bit of a tech geek would be an understatement.\nMichele is known by all who know her as an extremely gifted vocalist, however, she is also accomplished on keyboard and guitar. She has been the lead vocalist in several bands and has sang on the worship teams at several churches. Michele is currently the lead singer for the band Messy Truth (facebook.com/messytruth) and is the worship leader at her church (encounterchurchpa.com). Michele can work as the recording engineer, however, her true talent in the studio is as a producer helping to shape the song into the best it can be.\nContact our staff with any questions.", "domain": "music_and_dance"}
{"url": "http://www.liqaardvarks.com/program/", "date": "2020-07-08T13:18:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-29/segments/1593655897027.14/warc/CC-MAIN-20200708124912-20200708154912-00590.warc.gz", "language_score": 0.9435908794403076, "token_count": 546, "dump": "CC-MAIN-2020-29", "global_id": "webtext-fineweb__CC-MAIN-2020-29__0__222585798", "lang": "en", "text": "What, exactly, do you ask is Music For Aardvarks?\nMusic for Aardvarks is not your run of the mill children’s music class, it’s a program for toddlers, kids and their grownups to come “rock out” and have some fun. It’s a foot stomping, jingle shaking, drum drumming hullabaloo both kids and parents will love!\nEach class combines song, dance and rhythm in an interactive musical experience for all ages. The songs of Brooklyn musician and founder David Weinstone (a featured performer on Nick Jr) are told from a point of view that children immediately understand and respond to. Where big can be small and small can be big, kids just see things a bit differently and Music for Aardvarks is tuned right in.\nCheck us out on Pix 11 News!:\nOur informal, spirited classes are geared toward toddlers and children 4 months to 4 years old and incorporate singing, dancing, musical storytelling, instrumental jam sessions and more. Song, dance and rhythm combine for a rockin’ good time.\nThe New York Times described David Weinstone’s songs as “The exception to the norm”. In a world where most children’s songs are about things like farm animals and locomotives that everyone has heard before Music for Aardvarks classes are more like parties.\n“It’s no exaggeration to say that Weinstone has changed the musical geography of kids music. As creator of the MFA classes that take place all over the country, his music has gotten thousands of tiny toes tapping.” – Time Out NY Kids\nThe Music for Aardvarks program was created in 1997 in Brooklyn, NY by rock musician, composer and father of three, David Weinstone. Music for Aardvarks is distinct from other children’s music programs in that all classes are based around Mr. Weinstone’s original songs, rhythms, and chants. With influences of rock, blues, ballads, folk, jazz and pop, Aardvark songs uniquely reflect and celebrate the lives of children growing up today. The music is innovative, intelligent, and irresistibly appealing to both kids and their parents.\nAt Long Island & Queens Music For Aardvarks we have been serving up our own unique version of this musical experience since 2009. During that time we have grown to numerous locations across western Long Island and are excited about continuing our journey into Queens. We also hold several special musical events throughout the year. Check out our classes page and you’re sure to find something fun going on in your neighborhood.", "domain": "music_and_dance"}
{"url": "https://www.newtownhighschool.org/apps/pages/index.jsp?uREC_ID=1135392&type=d&pREC_ID=2250989", "date": "2022-09-25T08:44:22Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030334515.14/warc/CC-MAIN-20220925070216-20220925100216-00437.warc.gz", "language_score": 0.8805530071258545, "token_count": 214, "dump": "CC-MAIN-2022-40", "global_id": "webtext-fineweb__CC-MAIN-2022-40__0__230539355", "lang": "en", "text": "Welcome to the Music Department page!\nWe teach 3 courses in our program which are:\n- Core Music\nBasic knowledge of the fundamentals of music and music notation. Students learn the basic elements of pitch, rhythm, notation, scale structure, tonality, intervals, chords, melody, harmony, musical terminology, and score reading. Students apply these concepts to writing and analyzing simple musical examples.\nLearn the fundamental skills of guitar playing, including simple cording, basic strumming beginning note reading and music theory.\nThe main objective of this course is to create an enhanced appreciation for music through playing the guitar. Students will learn how to read music notation, chord symbols, and tablature.\nLearn the fundamentals of singing techniques and musicianship, utilizing music theory and performance skills through a wide variety of traditional and contemporary music.\nEnjoy the opportunity to perform in public.\n👇 Learn more about our music program through the slides below 👇", "domain": "music_and_dance"}
{"url": "http://xrumxrum.com/activities/eminence-dance-studio/", "date": "2017-07-24T06:53:41Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-30/segments/1500549424756.92/warc/CC-MAIN-20170724062304-20170724082304-00053.warc.gz", "language_score": 0.8691580295562744, "token_count": 117, "dump": "CC-MAIN-2017-30", "global_id": "webtext-fineweb__CC-MAIN-2017-30__0__186836517", "lang": "en", "text": "Activities Category: Dance\n“Eminence Dance Studio” is offering dance classes for children in Reisterstown (Baltimore County, MD), Gaithersburg and Potomac (Montgomery County, MD) and Reston (Northern Virginia).\nWe teach many styles of dance in several programs.\nOur goals are threefold:\nTo give the community an opportunity to experience the incredible joy of dance\nTo provide a well-balanced curriculum which incorporates all dance forms\nTo emphasize the importance of a strong, healthy technique and to educate children in the art of dance", "domain": "music_and_dance"}
{"url": "https://elizabethannedesigns.com/2008/06/10/branding-your-wedding-hear/", "date": "2022-09-30T09:03:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030335448.34/warc/CC-MAIN-20220930082656-20220930112656-00747.warc.gz", "language_score": 0.9486764073371887, "token_count": 446, "dump": "CC-MAIN-2022-40", "global_id": "webtext-fineweb__CC-MAIN-2022-40__0__281072366", "lang": "en", "text": "Continuing with the branding series….\nThere are a few things I would change about our wedding, but the music is the one detail the husband and I planned out meticulously. While our guests were being seated, the sun streamed through the chapel windows. A close friend sang and plucked his guitar. After our grandmothers and mothers were seated, my brother sang Your Love is Extravagant while our friend sang harmony. My maids and I walked down the aisle to Divine Romance. The simple purity of the guitar with their voices was amazing, and exactly what we wanted. During the reception we had a bluegrass trio play. We love music, and we wanted our wedding to reflect our tastes. We definitely didn’t want a DJ playing anything remotely close to Flo Rida (no matter how addictive it is). Why? Because it didn’t fit with the overall brand of the wedding. We had a simple, sweet ceremony and a barn reception. A DJ didn’t seem to fit with the overall picture.\nBrides sometimes forget how important the music is. Too often they leave it up to the DJ to play the party music. So how do you help the music reinforce the brand?\nDo you want your wedding to be a celebration? Pick fun upbeat music, a la Love Actually. Do you want your ceremony to feel as dramatic as November Rain? Use piano with the strings! Do you want an old Hollywood feel? Go heavy on the strings and horns. Do you want sweet melancholy? Pick a pure clean voice with a string guitar.\nSo what music would I pick for our classic wedding? I think something similar to the Hope Floats soundtrack (a favorite of both E and I). Keep the Trisha Yearwood and Sheryl Crow for the ceremony. Play Lyle Lovett, Gillian Welch, Jonell Moser and Deana Carter during the cocktail and dinner hours. Pump up the Rolling Stones, Garth Brooks, The Mavericks, Whiskeytown and Bryan Adams for the dancing. All pure Americana.", "domain": "music_and_dance"}
{"url": "https://www.mircic91.com/marshall-kilburn-2-bluetooth-speaker-review/", "date": "2023-12-07T21:00:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100686.78/warc/CC-MAIN-20231207185656-20231207215656-00386.warc.gz", "language_score": 0.9207329750061035, "token_count": 578, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__270955205", "lang": "en", "text": "In this article, I give you my quick review of the Marshall Kilburn 2 portable Bluetooth speaker with included specs.\nMarshall amplifiers are for decades one of the most recognizable symbols of rock music and something that adorns the concert stages of the world’s most famous musicians.\nWell-known Marshall brand style\nCompany Marshall has decided to offer the distinctive sound and legendary design of its amplifiers in the form of a portable Bluetooth speaker – by the name of Kilburn II.\nThe multi-directional sound of this speaker will simply get you into the music, whether you listen to it indoors or out. In other words, Marshall Kilburn 2 directs sound in multiple directions, reproducing deep bass and crystal clear treble, which makes the overall sound image uncharacteristically wide and rich in the arrangement of these dimensions.\nBattery and charging\nAlthough Marshall Kilburn 2 weighs only 2.5 kg and falls into the category of compact speakers, it houses a very powerful battery that, when fully charged, provides more than 20 hours of music enjoyment.\nIn addition to high capacity, there is also fast battery charging technology, so just 20 minutes of charging will be enough for 3 hours of music listening.\nIn addition to impressing you with the quality and volume, Marshall Kilburn 2 Bluetooth speaker will give your living or workspace an added charm, thanks to its legendary and authentic look.\nDesign and features\nThe distinctive mesh and the Marshall logo on the front, the tolex skin, and unique potentiometers make the Kilburn speaker irresistibly reminiscent of a true Marshall guitar amplifier.\nThe high-quality workmanship and reinforcement on the corners will make this fantastic device long-lasting.\nAnd there’s the IPX2 certification that guarantees splash resistance with less water.\nThanks to its compact dimensions and the grip associated with the guitar strap, you can easily carry Marshall Kilburn II anywhere and enjoy the high-quality 36W sound provided by a fully digital amplifier.\nThe potentiometers on the upper side allow you to easily control the volume as well as adjust the treble and bass intensity to your taste.\nThe Kilburn 2 speaker uses Bluetooth 5.0 wireless connectivity, which, in combination with the aptX audio codec, delivers higher sound quality when playing music from your mobile devices, up to 10 meters away.\nUp to two audio sources can be connected to the speaker at the same time via Bluetooth, and there is a traditional 3.5mm audio jack to which you can connect an MP3 player, a CD player, an FM receiver, and the like.\nMarshall Kilburn 2 on the Market\nThe Marshall Kilburn 2 Bluetooth portable speaker is on the market in many retail places. The one that I refer to in this article I link to here:\nFeel free to share this post.", "domain": "music_and_dance"}
{"url": "https://dripivplus.com/the-top-5-recording-studio-equipment-pieces-that-every-artist-needs/", "date": "2023-12-03T23:56:45Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100518.73/warc/CC-MAIN-20231203225036-20231204015036-00682.warc.gz", "language_score": 0.9273324012756348, "token_count": 622, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__167865450", "lang": "en", "text": "Dreams of becoming a musical artist are beginning to look more practical than ever.\nWith the music industry thriving, and the ability to have live instruments at your fingertips, there are plenty of reasons to start building your own home recording studio.\nAlthough there are tons of great options for recording software and instruments, paying for these items and setting up your studio from home is not cheap! If you’re looking for music production tools, you can click here for more information.\nIf you are ready to start your home music recordings with the best bang for your buck, here are the five recording studio equipment pieces to focus on for a great studio sound!\n1. A Laptop With Software and Storage Space\nThe right computer will set you up for success. Within your budget, look for the best computer possible to conduct all your mixing.\nAlthough producer confidential services don’t offer computers, you can make up for what you spend on your laptop using these services to produce.\n2. Audio Plugin Software and Producer Confidential Sounds\nThe audio software you use, and the backup storage drive you purchase are critical to saving everything you create.\nYou will need enough room to make your music, which is why it’s best to buy an additional storage drive. You can find deals on these tools with producer confidential options to save money.\nIf you choose to go with producer confidential services, test how the drums sound using your audio software. You want everything to sound as smooth as possible.\nIf your digital instruments are sounding muddy, you might want to go with a different one. The quality of your sound will make or break your production.\n3. Digital Audio Workstation\nOnce you’ve established the software and storage situation that is best for you, grab a Digital Audio Workstation (DAW).\nWith this software, you can manage your audio recordings and edit all from your computer. It will be impossible to develop song creations without software or producer confidential services.\nYou can integrate producer confidential options to keep the costs down for your workstation.\n4. A DAW-Compatible Audio Interface\nThe next thing you want to think about is the audio interface you buy. This device allows all of your mics and instruments to connect to your computer.\nThis will enable you to bring audio from your instruments into the computer for editing. Whatever audio interface you choose to purchase, make sure that it is compatible with the DAW that you purchase.\n5 A Digital Mixer\nFor a more hands-on approach to music editing, you should also purchase a digital mixer. Digital mixers are editing devices that allow you to make changes to your audio without using your DAW directly.\nYou can work with many different recordings at once with a digital mixer. This makes music production more productive and easier to conduct.\nGet Your Gear Now And Make Your Music\nAbove are the five most essential music tools needed to create high-quality sounding music from home. Use cost-saving strategies, find compatible equipment, and get your music out there!", "domain": "music_and_dance"}
{"url": "https://news.nwcu.edu/dates-set-spring-desserts-moses-story/", "date": "2020-05-29T07:22:42Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-24/segments/1590347402457.55/warc/CC-MAIN-20200529054758-20200529084758-00020.warc.gz", "language_score": 0.9404572248458862, "token_count": 345, "dump": "CC-MAIN-2020-24", "global_id": "webtext-fineweb__CC-MAIN-2020-24__0__195665890", "lang": "en", "text": "Tickets go on sale Wed., March 1, 2017, for Spring Desserts: A Moses Story, produced by the Northwest Christian University Music Department. Performances are Sat., April 8, 2017, at 7 p.m. and Sun., April 9, 2017, at 3 p.m. in the Morse Event Center on campus.\n“Spring Desserts: A Moses Story” is based on the New York City Triangle Shirtwaist Factory fire in in the early 20th Century and features music from the film The Prince of Egypt. NCU students and faculty have developed an original script and music arrangement to tell this amazing story of deliverance, redemption and hope.\n“When so many are disheartened by unrest in our world, there is no better time for A Moses Story,” said Karen De Young, Program Director of NCU Music Department.\n“Our original script and music arrangement story has been a challenging and rewarding experience for our many talented students as they strive to deliver a polished performance with meaning deeper than the music and words.”\nTickets are $10 for adults, and $5 for students. Beginning March 1, 2017, tickets can be purchased at www.nwcu.edu/springdesserts.\nProceeds from the annual Spring Desserts performance weekend goes to support the NCU Music program, including funding for tours, recording equipment, and state of the art equipment.\nFor more information, contact the NCU Music Department at email@example.com or call 541-349-7400.\n*Note to parents: This performance contains some heavy themes and content that may not be suitable for younger children.", "domain": "music_and_dance"}
{"url": "https://www.thejenkinsbrothers.org/about", "date": "2021-07-31T08:25:44Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-31/segments/1627046154085.58/warc/CC-MAIN-20210731074335-20210731104335-00595.warc.gz", "language_score": 0.9764505624771118, "token_count": 198, "dump": "CC-MAIN-2021-31", "global_id": "webtext-fineweb__CC-MAIN-2021-31__0__107636716", "lang": "en", "text": "About The Jenkins Brothers\nEarl and Carl, endearingly known as The Jenkins Brothers have always been musically gifted. From a young age, they were singing and performing in front of large audiences. This dynamic duo are five time Gospel Academy Award winners, McDonald's Gospelfest first place winners and finalists on the hit TV show, “Big Break,” hosted by the legendary Natalie Cole. They have also co-produced and hosted the prestigious McDonald's Gospelfest for eight years since its inception. Additionally, they appeared on both the “Lou Rawls” and “Jerry Lewis” Telethon of Stars.\nThroughout the course of their musical career, The Jenkins Brothers have won over the hearts of music lovers from all walks of life; performing at a variety of venues, making different public appearances, all serving the community. Learn more by exploring the site, and feel free to get in touch with any of your comments and questions.", "domain": "music_and_dance"}
{"url": "https://malamamasquerade.bpt.me/", "date": "2019-11-19T15:25:53Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-47/segments/1573496670156.86/warc/CC-MAIN-20191119144618-20191119172618-00368.warc.gz", "language_score": 0.8296943306922913, "token_count": 256, "dump": "CC-MAIN-2019-47", "global_id": "webtext-fineweb__CC-MAIN-2019-47__0__71399941", "lang": "en", "text": "Krewphoria Events Proudly Presents:\n18+ to dance | 21+ to drink\nKrewphoria Events is about bringing people together and giving back to the community. Help kick off the first Krewphoria Event here in Hawaii by supporting one of Hawaii's non-profit organizations on Oahu! All proceeds made from this event will benefit the Hawaiian Humane Society.\nMalama means to take care of, protect, maintain, or preserve.\nArrive at this party with a mask and your most colorful wear to support several Hawaii local DJs and help save the environment too!\n**Festival wear is also encouraged!\nThe Malama Masquerade will be located at Boda Cafe\n1227 Hopaka St, Honolulu, HI 96814\nKandi, gloves, hoops, poi, orbitals, etc. are ENCOURAGED!\nAlcohol, Drugs, Outside Food/Drinks, Large Backpacks, Weapons, Violence, Bad Vibes\nBoda Cafe (View)\n1227 Hopaka St\nHONOLULU, HI 96816\n|Minimum Age: 18|\n|Kid Friendly: No|\n|Dog Friendly: No|\n|Wheelchair Accessible: Yes!|", "domain": "music_and_dance"}
{"url": "https://www.kingsway.eriding.net/Music/", "date": "2024-04-14T06:47:42Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816875.61/warc/CC-MAIN-20240414064633-20240414094633-00876.warc.gz", "language_score": 0.9472816586494446, "token_count": 596, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__10800981", "lang": "en", "text": "At Kingsway Primary school the intention is that children gain a firm understanding of what music is through listening, singing, playing, evaluating, analysing, and composing across a wide variety of styles, traditions, and musical genres. Our objective at Kingsway Primary is to develop a curiosity for the subject, as well as an understanding and acceptance of the validity and importance of all types of music, and an unbiased respect for the role that music may wish to be expressed in any person’s life. We are committed to ensuring children understand the value and importance of music in the wider community, and are able to use their musical skills, knowledge, and experiences to involve themselves in music, in a variety of different contexts.\nAt Kingsway Primary School the music curriculum aims to:\n- To provide all children with an education in music that is stimulating, enriching and inspiring through curricular and extra-curricular learning.\n- To encourage confidence in all the children through their involvement in music thus promoting individuals interest, self –reliance and motivation.\n- To develop an understanding and appreciation of different types of music and increase their ability to make judgments of musical quality.\nThe national curriculum for music aims to ensure that all pupils:\n- perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of the great composers and musicians\n- learn to sing and to use their voices, to create and compose music on their own and with others, have the opportunity to learn a musical instrument, use technology appropriately and have the opportunity to progress to the next level of musical excellence\n- understand and explore how music is created, produced and communicated, including through the interrelated dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and appropriate musical notations\nEvery Child, Every Chance, Every Day.\nAt Kingsway Primary school we use the Charanga schemes of work to teach discrete music lessons. The music curriculum ensures students sing, listen, play, perform and evaluate. This is embedded in the classroom activities as well as the weekly singing assemblies, various concerts and performances, and the learning of instruments. In the classroom students learn how to play an instrument, from a range of instrument groups. Specifically, Years 1 and 2 learn to play the ocarina, Years 3 and 4 learn to play the glockenspiels and Years 5 and 6 learn to play the ukulele. In doing so they understand the different principle of each method of creating notes, as well as how to read basic music notation. They also learn how to compose focussing on different dimensions of music, which in turn feeds their understanding when listening, playing, or analysing music. Composing or performing using body percussion and vocal sounds is also part of the curriculum, which develops the understanding of musical elements without the added complexity of an instrument.", "domain": "music_and_dance"}
{"url": "https://porchlightplus.com/the-band/", "date": "2024-03-02T02:48:06Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475727.3/warc/CC-MAIN-20240302020802-20240302050802-00706.warc.gz", "language_score": 0.9529412984848022, "token_count": 357, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__120671749", "lang": "en", "text": "Introducing The Band...\nGuitar & Vocals\nFrank loves 70's stars such as Paul Simon, Carole King and Elton John. He sings, writes songs and plays guitar, piano and drums.\nFrank started playing music at age four when he began banging on pots and pans in his mom's kitchen! Soon after that he learned the words to 'Twist and Shout', and a lifetime love affair with music was born.\nHe has been heard recently with the bands Flashback Four and Acoustic Audacity. Hear Frank's solo work at LifeStoriesCD.Com\nViolin & Vocals\nBetter late than never - the key phrase to describe the musician getting back in the fun of things after a time of being away. So much to catch up on! Dee has a variety of musical interests. In the album cabinet one might find Johnny Cash, Joan Baez, Kingston Trio, the eight track collection holds Beatles, and CD's range from bluegrass/country to Progressive Rock. Nothing is out of bounds! A collection of instruments also fits the bill for any mood. The music room currently displays a banjo, harmonica, keyboard, guitar, mandolin, and a works-in-progress broken cello. However, violin is what she started with and has decided to settle down with.\nHow does one go from King Crimson and Jimi Hendrix to Carole King and Bobby Gentry?\nCharley can be counted on to bring a variety of eclectic tastes and genres to the group. Either grounding the band with a simple bass line or creating a bass solo for improv, he always holds down the bottom.\nPorchlight Plus is available for your event, dinner, restaurant, bar or party.", "domain": "music_and_dance"}
{"url": "http://floscampi.org/", "date": "2017-04-30T08:48:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124478.77/warc/CC-MAIN-20170423031204-00298-ip-10-145-167-34.ec2.internal.warc.gz", "language_score": 0.8532413840293884, "token_count": 444, "dump": "CC-MAIN-2017-17", "global_id": "webtext-fineweb__CC-MAIN-2017-17__0__308195609", "lang": "en", "text": "Welcome to Flos Campi's official website! Stay tuned for updates, media, and more.\nOur 2015 season, The Deer, the Desire, the Springs:\nSicut cervus in the Renaissance,\nwill feature polyphony by Goudimel, Palestrina, Tallis, Vivanco, Layolle, and more, all touching in some way the beautiful \"As the deer longs\" text from the Song of Songs. Two performances, May 4 & 5, 2015. See below for details.\nOur 2014 season, Singet dem Herrn,\nwas an examination of the Thomaskantor\nbetween 1600-1750, featuring the music of J. S. Bach and his predecessors at St. Thomas Church in Leipzig. We combined with the newly-formed Baroque ensemble La Monarca in two of Bach's motets as well as music by Schein, Kuhnau, Schelle, and even François Couperin. Be sure to visit our Media\npage for videos from the performances. This season also featured a performance with the Choir of St. John's Episcopal Cathedral, Los Angeles, in a lecture-concert in conjunction with the Getty Museum's exhibit \"Canterbury and St Albans: Treasures from Church and Cloister\". In addition to our season performances, we combined with USC Early Music performers in an Early Music Showcase at St. John's Cathedral.\nTHE DEER, THE DESIRE, THE SPRINGS: SICUT CERVUS IN THE RENAISSANCE\nUPDATE: ONE PERFORMANCE ONLY!\nTuesday, May 5, 2015, 7:30pm\nSt. John's Episcopal Cathedral\n514 W Adams Blvd. (corner of Adams & Flower), Los Angeles\nAdmission to concerts is free; a free-will offering may be collected by the host church.\nFeel free to contact us at email@example.com for more information.\nFollow us on Facebook and find our event pages:\nWe're also on Instagram (@floscampi) and YouTube (www.youtube.com/user/FlosCampiEME", "domain": "music_and_dance"}
{"url": "https://lifeasangie.wordpress.com/2016/11/29/music-%F0%9F%8E%B6/", "date": "2018-03-22T21:40:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-13/segments/1521257648003.58/warc/CC-MAIN-20180322205902-20180322225902-00401.warc.gz", "language_score": 0.9699995517730713, "token_count": 401, "dump": "CC-MAIN-2018-13", "global_id": "webtext-fineweb__CC-MAIN-2018-13__0__158239063", "lang": "en", "text": "My music taste varies so much. I can go from loving really hip catchy pop songs to some really intense raps. And lately I’ve felt that my music taste as varied and changed into loving a more relaxed, soft, dark and eerie music genre. I feel I can contribute this alteration to the recent changes in my life.\nI’ve been so into Lana Del Rey, her songs just seem to click with me in such a way that I didn’t know it was possible. She sings about love and death, and surprisingly it resignates really well with me. It transports me to a place where I get to really think about myself and my life.\nI usually listen to music on Pandora, so my Lana Del Rey Music Station has also broaden my spectrum of similar music to hers. I find myself listening to The Neighborhood, The Artic Monkeys, Radiohead, The XX, The Killers, you name it. It’s not like I haven’t heard of these groups before, but back in high school I didn’t really care for songs unless they were chart toppers and got my body moving.\nMusic for me now is about reminiscing about life and the obstacles I’ve overcame and have yet to get over. Music is to make me feel my realest feelings and not be afraid of them. Many people say that Lana’s music is very sad, and that it brings their mood down, well I say that at least it makes you feel something instead of listening to pointless sound.\nDon’t get me wrong, I still enjoy good music chart toppers, but I don’t seem to gravitate to those as often as before. Though I’m only 21, I feel as if her lyrics speak directly to my soul, and I want to thank Lana Del Rey even thought this will never reach her.\nI love you Lana Del Rey❤️✨", "domain": "music_and_dance"}
{"url": "http://www.musicexpress.com.au/mexpress/shuresm58.html", "date": "2014-04-23T19:55:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2014-15/segments/1398223203422.8/warc/CC-MAIN-20140423032003-00594-ip-10-147-4-33.ec2.internal.warc.gz", "language_score": 0.8703305721282959, "token_count": 169, "dump": "CC-MAIN-2014-15", "global_id": "webtext-fineweb__CC-MAIN-2014-15__0__174795756", "lang": "en", "text": "Shure SM58 Microphone (Stage Mic)\nThe Shure SM58 unidirectional (cardioid) dynamic vocal microphone is designed for professional vocal use in live performance, sound reinforcement and studio recording. It has a tailored vocal response for a sound which is a world standard for singing or speech. A highly effective, built-in spherical filter minimizes wind and breath \"pop\" noise.\nFrequency Response 50 to 15,000 Hz\nPolar Pattern Unidirectional (cardioid), rotationally symmetrical about microphone axis, uniform with frequency\nSensitivity (at 1,000 Hz Open Circuit Voltage) -54.5 dBV/Pa (1.85 mV) 1 Pa = 94 dB SPL\nConnector Three-pin professional audio connector (male XLR type)\nNet Weight 298 grams", "domain": "music_and_dance"}
{"url": "http://benjaminsolomon.com/bio.html", "date": "2022-08-10T13:43:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882571190.0/warc/CC-MAIN-20220810131127-20220810161127-00321.warc.gz", "language_score": 0.9620600342750549, "token_count": 270, "dump": "CC-MAIN-2022-33", "global_id": "webtext-fineweb__CC-MAIN-2022-33__0__199123963", "lang": "en", "text": "My name is Benjamin Solomon. I am 35 years old and live in San Antonio, Texas. I am a musician/singer/sound engineer. For the last 8 years, I have played drums live for several groups and have two CDs with my name in the credits.\nI can do :\n- Drums (17 years) (trained in drum corps)\n- Keys/Piaino (25 years)\n- Some guitar (in my own tunings!)\n- Some bass guitar\n- Vocals (all my life)\n- Sound recording/engineering (8 years)\nMy favorite styles of music include:\n- Hard Rock\n- Eurodance (some)\n- 80's Pop\n- Early 90's Rock\n- Classic 70's Rock\n- Christian/Praise and Worship\n- Anything clever that has no real genre\nI also have several technical gifts I can offer to enhance the presentation of music. I can create data-driven web sites (I am a database programmer in real life), as well as graphics manipulation (Photoshop).\nI was in middle/high school band for 7 years, and then played independently for awhile, now I play as the drummer of several worship groups 4 times per week.", "domain": "music_and_dance"}
{"url": "https://www.nigelsphotoblog.co.uk/2019/12/encounter-with-scottish-pipe-band.html", "date": "2022-05-17T08:26:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517018.29/warc/CC-MAIN-20220517063528-20220517093528-00035.warc.gz", "language_score": 0.9219494462013245, "token_count": 161, "dump": "CC-MAIN-2022-21", "global_id": "webtext-fineweb__CC-MAIN-2022-21__0__230068380", "lang": "en", "text": "Encounter with Scottish Pipe Band during tour of Scotland\nThis evening, I am posting information on Strathendrick Pipe Band Association which I encountered by chance performing in the Square at Drymen on the eastern side of Loch Lomond in central Scotland. The band is based in Strathblane, about twelve miles north of Glasgow.\nIn the course of a Scotland tour it is not unusual to connect with a local pipe band performing in public.\nStrathendrick Pipe Band is primarily a teaching band for pipes and drums with intention of progressing through the Royal Scottish Pipe Band Association grades.\nTartan is the Ancient Maclean of Duart (Isle of Mull) and the band is under Pipemajorship of Colin Johnston.\nVideo clip of the band performing at Drymen.", "domain": "music_and_dance"}
{"url": "https://www.yannes-bellydance.com/biography", "date": "2020-11-27T07:47:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141191511.46/warc/CC-MAIN-20201127073750-20201127103750-00148.warc.gz", "language_score": 0.9507699608802795, "token_count": 305, "dump": "CC-MAIN-2020-50", "global_id": "webtext-fineweb__CC-MAIN-2020-50__0__193511680", "lang": "en", "text": "Professional Belly Dance Instructor, Choreographer and Dancer\nFrench AAA level Belly Dance Coach\nAsian Belly Dance Association Registered Member\nFounder and Chairman of Hong Kong International Yannes Belly Dance Arts\nYannes has many years of experience in belly dance teaching and performing in Hong Kong. She was mentored by the first male belly dancer in China, Guo Wei, who has been highly recognized among Belly Dance communities all over the world and is still very active in the market. She has also studied with many of the world class belly dance teachers such as Ansuya,Sabrina Fox, Sonia, Leyla, Subaha, Saida, Shahdana, Dariya Mitskevich , Gina Chen, Margarita Savchenko, Aida Bogomolova, Kathleen Derout, Kadia etc., representing a variety of styles including classical and modern Egyptian, Argentine, Turkish, Russian and Ukrainian styles.\nShe established her own dance troupe “Hong Kong International Yannes Belly Dance Arts” in the year of 2013 and has her own dance studio since 2014. Her interesting yet systematic coaching method not only focuses on basic belly dance techniques but also on body rhyming and sensation.\nYannes current offers regular small group classes, private group, individual training for both adults and kids of all ages. She occasionally organizes belly dance workshops with other organizations and performs with her dance troupe in charitable and commercial events as well as private parties.", "domain": "music_and_dance"}
{"url": "https://fm876.com.au/new-wave/", "date": "2024-04-20T07:50:11Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817491.77/warc/CC-MAIN-20240420060257-20240420090257-00609.warc.gz", "language_score": 0.9227275252342224, "token_count": 221, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__64335439", "lang": "en", "text": "70’s and 80’s\nSUNDAY AND MONDAY 7 PM to 10PM\nIn the late ‘70’s with the demise of ‘punk’ came the birth of New Wave and Post-Punk. Categorically there was no specific form of music, but rather made up of various styles born from the DYI attitude that punk embodied. The late 70’s through the late 80’s was strong visually through fashion, and here we embrace the best sounds of that period.\nThis program captures all of the varied musical sub-genres from the late 70’s to the late 80’s. From the Post-Punk of Joy Division to the New Romantic of Duran Duran & Spandau Ballet to the Gothic of The Cure & Siouxsie Sioux to the synthpop of Human League & Depeche Mode and the electronica of Kraftwerk & Cabaret Voltaire and so much more. Even though it is the past there’s always something new to hear here.", "domain": "music_and_dance"}
{"url": "https://lewis789.saphireprimarycare.com/archives/15", "date": "2021-06-21T06:47:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-25/segments/1623488268274.66/warc/CC-MAIN-20210621055537-20210621085537-00177.warc.gz", "language_score": 0.970486044883728, "token_count": 1036, "dump": "CC-MAIN-2021-25", "global_id": "webtext-fineweb__CC-MAIN-2021-25__0__117561444", "lang": "en", "text": "What are a Lectric Tobacconist and How Do I Know What Guitar or Singing Instrument I Need?\nUnfortunately, as I am sure you are already aware, the L lectric Tobacconist (also known as a librettist, whatever you prefer) is an exceptionally important aspect of many compositional techniques. In particular, I find that their use is so critical when working in chamber ensembles, and particularly when working with ensembles composed of different instruments, or choirs, which must coordinate properly. That is not to say that they are only used in chamber music; quite the contrary, in fact, I would say that in my professional experience, they are absolutely indispensable! They are, however, an incredibly time consuming and labor intensive career, which is something that I hope to shed some light on here through some of my anecdotes.\nLet me commence by suggesting what it is of which I mean by an ‘unprepared’ or ‘ill-equipped’ musician or ensemble when referring to a artist or ensemble that requires a little little of mentoring from the qualified Tobacconist. What I am talking regarding listed below are musicians or ensembles that carry out not yet fully understand what exactly their particular instrument consists of, or an awareness associated with the dynamics that make up that instrument. For instance , if you were asked to set up a piano for a cello player, you more than likely know the correct keys to play the piano – mainly because you don’t know what the cello actually will! Similarly, a desperado (band, not an orchestra), or any kind of other kind of outfit, are much more prone to have a slower or perhaps a meditative strategy to playing compared to they are the rock band – because their audio composition is reduced, also because their harmonic framework requires a new slower pace to resonate the various information in their music structure. This is usually why a tobacconist must be a vital part of any music group or ensemble, his or her contributions are absolutely essential in order in order to fully realize the particular overall song or instrumental’s concept. Right now, this doesn’t suggest that a strap should only make use of a Tobacconist as a guide for the arrangements of their own songs – significantly from it!\nFirst, when it comes to business days, it is important for a band to keep regular, business-like hours. It’s throughout these business days and nights that many groups and ensembles can take advantage associated with the many advantages that can come from getting a qualified plus experienced Tobacconist on hand to help using the mastering or even arrangement of music for that day’s performance. It is vital that a band/ensemble seeks out a great experienced, reliable, trustworthy, and well-trained Tobacconist for this cause… since they will become able to help their musicians attain the ideal timing in addition to the exact assemblage that are needed for their performance at the time in time. Most importantly, it is necessary with regard to these musicians to possess a steady hand. In the world of music, timing is everything… and the many skilled and knowledgeable Tobacconists know how to master the technique of placing notes plus chords on the appropriate note, within the appropriate octave, in the proper pitch, in the correct rhythm, plus in the precise time signature.\nWhen a musician or an outfit makes requests of any qualified Tobacconist, or maybe requests a sample of his or her work, it is usually wise to look at samples of the work in question. (The absolute most gifted musicians/ensembles often do not have to show their function until they usually are being asked to do so. ) It is extremely unfortunate each time a musician tries to location an order, just to later find away the piece regarding music is just not appropriate for them as a result of one of several factors. It can be a little bit complicated and difficult for a music Disposable Vape group to try and determine if typically the piece of music will work properly plus if they have the right musical notes/chords in the correct octave, etc., in addition to if there will be a new pronounced timing difference between the artists playing. Thus, it is always a good training to view samples associated with work offered by qualified professionals and/or request some time alone with the music performer in question to determine out the issue.\nAssociated with course, sometimes the situation arises once the Tobacconist simply misdiagnoses a patient. Or perhaps when he/she is usually just as being a small lazy. At the same time, sometimes a customer has a special request, which requires an performer to come in order to the customer’s location in order in order to make an example regarding the requested item. Regardless, most musicians/ensembles are more than willing to solve any potential problem that the customer may experience of a Tobacconist without needing to hold up the process for long periods of time. This specific is always the good idea!", "domain": "music_and_dance"}
{"url": "http://sowhatdikhrap.blogspot.com/2009/02/jaylib-live-henry-fonda-theater-040404.html", "date": "2018-06-21T04:14:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267864022.18/warc/CC-MAIN-20180621040124-20180621060124-00477.warc.gz", "language_score": 0.9794167280197144, "token_count": 138, "dump": "CC-MAIN-2018-26", "global_id": "webtext-fineweb__CC-MAIN-2018-26__0__63912976", "lang": "en", "text": "Dilla, Madlib, J.Rocc first show, joined by Common\nJaylib Live @ Henry Fonda Theater 04/04/04\nThis was recorded at the Henry Fonda Theater, April 4, 2004, on the first night of the Madvillain/Jaylib tour for Madvillainy. Madlib & J. Rocc had performed Jaylib songs live, but this was the first show with J. Dilla, who had just moved to Los Angeles and joined the tour without being announced on the flyers. Another unannounced guest late into the set was Common. The voices you hear are B+ & Melo-D, who recorded this set.", "domain": "music_and_dance"}
{"url": "https://loaded-spoon.com/news/the-loaded-spoon-may-nightlife-brunch-djs/", "date": "2023-11-29T12:22:21Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100081.47/warc/CC-MAIN-20231129105306-20231129135306-00245.warc.gz", "language_score": 0.8519753217697144, "token_count": 258, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__288569297", "lang": "en", "text": "Freehold, NJ >> May 8, 2023\nUpcoming Nightlife Entertainment Schedule\nJoin us every Friday and Saturday at 9 PM to experience the best DJ entertainment and upscale night out.\nOur menu has everything you need to keep the party going from the delicious, handcrafted cocktails to tasty snacks and sweets. Bottle service menu is also available upon request.\n- Friday, 5/12 – DJ James Strzz\n- Saturday, 5/13 – DJ Licious\n- Friday, 5/19 – DJ Frankie Sauce\n- Saturday, 5/20 – DJ Joe Ferdico\n- Friday, 5/26 – DJ Dan Emerson\n- Saturday, 5/27 – DJ Jaymie Perez\nBrunch Entertainment Schedule\nSundays at 12 PM\n- Sunday, 5/14 – DJ Sal Domingo\n- Sunday, 5/21 – DJ Licious\n- Sunday, 5/28 – DJ Cory Minto\nSee full entertainment schedule HERE.\nAbout The Loaded Spoon\nThe Loaded Spoon is a new dining experience located at 108 Schanck Rd in Freehold, NJ. Sign up for updates and offers here.\nFor more information now, including photos and interviews, contact Kim Simon at 732-577-8200, ext. 244.", "domain": "music_and_dance"}
{"url": "https://pinetoplakesideaz.gov/Calendar.aspx?EID=1127&month=5&year=2022&day=14&calType=0", "date": "2023-05-28T22:33:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224644571.22/warc/CC-MAIN-20230528214404-20230529004404-00675.warc.gz", "language_score": 0.8707506656646729, "token_count": 114, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__87394654", "lang": "en", "text": "June 24, 2022\nGates open at 5pm. Concert starts at 6pm. Balloon glow starts about 8pm.\nMountain Meadow Recreation Complex\n1101 S. Woodland Road\nPinetop, AZ 85929\nWhite Mountains Balloon Festival Kick-Off Concert\nFriday, June 24, 2022\nLet's get this festival started the right way... with awesome music! Join us on June 24, 2022 for our Kick-Off Concert with Duane Moore & Mogollon.", "domain": "music_and_dance"}
{"url": "https://www.powerliving.com.hk/product/107228", "date": "2024-03-04T08:18:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947476432.11/warc/CC-MAIN-20240304065639-20240304095639-00676.warc.gz", "language_score": 0.8955478072166443, "token_count": 391, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__72115748", "lang": "en", "text": "What is Chromecast Audio?\nChromecast Audio is a small media streaming device that plugs into the AUX input of your speaker, making your speaker Wi-Fi enabled.\nOnce set up, simply use your iPhone®, iPad®, Android phone or tablet, Mac or Windows laptop, or Chromebook to stream your favorite tunes to the best speakers in the house.\nEasily stream music to your speakers\nTap the Cast button from top mobile music apps to hear your music instantly on the speakers. Then control the speakers right from your phone-- search, play, pause, queue songs and turn up the volume-- anywhere in the house.\nListen to your favorites, anytimeFIND APPS\nEnjoy over 30 million songs from music services like Pandora, Google Play Music, Spotify, and iHeartRadio. We're constantly adding new apps, so there's no end to the music, radio stations and podcasts you can enjoy.\n- Enjoy higher quality sound\nListen to your favorite artists the way they were meant to be heard. Chromecast Audio supports lossless high resolution audio, which is even better than CD quality sound. And your music streams from the cloud so you get continuous high-quality sound—even when you leave the room.\n- Play music everywhere with Multi-room\nMulti-room lets you group Chromecast Audio devices together so you can listen to the same song on multiple speakers.\nJam out to your music without interruption\nStreaming won’t drain your battery or get in the way of other activities. Answer a call, surf the web, even leave the room—all without interrupting the tunes.\nPlus, mirror any audio from your Android phone or your laptop\nFor apps that are not yet Cast-enabled or music stored on your device, you can mirror audio from your Android phone or tablet to the speaker. Or, use your laptop to mirror music and audio streaming websites from the Chrome browser.", "domain": "music_and_dance"}
{"url": "http://www.jazzcarsoncity.com/", "date": "2014-04-19T22:11:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2014-15/segments/1397609537754.12/warc/CC-MAIN-20140416005217-00100-ip-10-147-4-33.ec2.internal.warc.gz", "language_score": 0.8741946816444397, "token_count": 300, "dump": "CC-MAIN-2014-15", "global_id": "webtext-fineweb__CC-MAIN-2014-15__0__78705596", "lang": "en", "text": "WHEN: Main Events - August 2-18, 2013\nSaturday, August 3, Roy Rogers & the Delta Rhythm Kings\nSpeak Easy Dance Party at the Brewery Arts Center Ballroom 8-10pm.\nWHAT: The summer sizzles! Mile High Jazz Band Assoc., Carson City, local businesses, and jazz lovers proudly\ncontinue the annual August jazz festival started in 2004.\nWHERE: Multiple Venues! Outstanding regional jazz artists will play for you at Third Street, the Farmers Market, Comma Courtyard, Comma Coffee, Plan: B, the Brewery Arts Center, the Legislative Plaza, and more.\nWHO: More than 100 musicians in over 35 bands! Performers may include Reno Jazz Orchestra, Mile High Jazz Band, New World Jazz Project, Colin Ross, Ken Davidson Trio, Jazz Guys, Two Plus Quintet, Rosebud's Dance Band, Blue Jasmine,and many more!\nCOST: Did we say FREE? MOST EVENTS ARE FREE!\nHOW: How can we present such an exciting festival with most events free?\nBy harnessing the energy and resources of our great community! Sponsors include Nevada Arts Council, Carson City, For the Love of Jazz, Lake Tahoe Media Group, and private donors. You can help, too! Contact Us if you want to see about being a sponsor.\nINFO: To learn more, volunteer, or be a sponsor, call 775-883-4154", "domain": "music_and_dance"}
{"url": "https://www.garzablancaresort.com/blog/news/live-music-experience-puerto-vallartas-garza-blanca-resort-spa/", "date": "2023-05-28T22:37:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224644571.22/warc/CC-MAIN-20230528214404-20230529004404-00601.warc.gz", "language_score": 0.9437242746353149, "token_count": 451, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__292277663", "lang": "en", "text": "Puerto Vallarta’s Garza Blanca Resort & Spa is pleased to announce that it has launched a regular Live Music Experience program for guests to enjoy each and every day. We are excited to welcome four expert musicians from Cuba to play a range of live music including compositions for saxophone, flute, trumpet and violin.\nLive Music to Inspire the Soul\nThe new program of live music hosted by Garza Blanca Resort & Spa is intended to entertain hotel guests at key locations throughout the resort. You can now enjoy the uplifting music of these solo artists by the pools, in the restaurants and on the beach at various times of the day according to a weekly schedule. Four talented musicians from Cuba will offer performances, playing a range of different musical compositions to enhance your experience of the areas.\nCuban born musicians, Kátherin González Álvarez, Kenia Marquez Landa, Claudia Madera Neyra and Jorge Luis Escalona Reyna have selected a program of inspiring music that complements the venues and adds a special touch to your experience. Just imagine being serenaded on the beach by the flute or violin; watching the sun set to a trumpet medley or a violin lullaby; dining to the sound of the saxophone or flute; or lounging by the pool as the sounds of live music wash over you. No two days will be the same and each of the chosen venues will surprise you with a different instrumental accompaniment depending on the mood of the day.\nThe Live Music Experience is set to awaken the senses with solo performances at key moments throughout your day; however, on occasion, the four musicians may come together to perform a rehearsed concert or jamming session, which will be advertised in the resort’s activities program. Likewise, the musicians will be available for special events such as weddings and other celebrations. You might decide to accompany a romantic dinner with a special request or host a small gathering in your suite, hiring one or all of the musicians to play for you. What is for sure is that live music is firmly on the menu at Garza Blanca Resort & Spa.", "domain": "music_and_dance"}
{"url": "https://www.novustory.co.uk/studio", "date": "2022-08-14T00:07:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882571989.67/warc/CC-MAIN-20220813232744-20220814022744-00493.warc.gz", "language_score": 0.9706695675849915, "token_count": 425, "dump": "CC-MAIN-2022-33", "global_id": "webtext-fineweb__CC-MAIN-2022-33__0__117795220", "lang": "en", "text": "Esche Haus Recording Studio Blackburn\nWhen the band aren't rocking out on stage or writing tunes, they can be found working at the recording studio they built in Blackburn - Esche Haus Audio.\nThe studio started with Imogen & James recording bands in a shed behind James' parents house in Tottington, before moving to Blackburn in 2018. During lockdown, years of hard work honing their crafts, collecting gear, scouring Facebook marketplace for free/cheap items, up-cycling unwanted furniture and hoarding studio equipment paid off, as they finally had the time to build their own purpose built space, right in the town centre.\nThe studio operates as a recording studio and creative hub. It is not a place where artists arrive, record, pay and leave. It is a facility by which artists can be mentored and have the opportunity to not only record and produce their music, but have their music videos shot and their photographs taken too.\nThe band use the studio as a way to provide artists with the space they wish they had when they were starting out. A hub where they can go, learn, write, record and get a taste of what it feels like to work full time in the music industry.\nWith Imogen managing the studio, James recording and producing artists and Ben & Blenk recording session bass/guitar for Esche Haus artists, the band are all able to use the studio to work together, collaborating on other musicians projects alongside being in a rock band - Novustory.\nThe studio and band working as a unit have enabled them to work with everyone from emerging artists to global brands. Over the past 4 years they have recorded audiobooks for the likes of comedian Tez Ilyas (Mock The Week/Man Like Mobeen - Netflix) and Davinia Taylor (Hollyoaks). They have also had the opportunity to record audio for GLAMOUR es, Jagermeister, Virgin Radio, ITV & United Utilities and their work has been featured on primetime BBC news, Kerrang! & BT TV.", "domain": "music_and_dance"}
{"url": "http://www.malmoopera.se/in-english", "date": "2015-10-10T14:22:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2015-40/segments/1443737956371.97/warc/CC-MAIN-20151001221916-00192-ip-10-137-6-227.ec2.internal.warc.gz", "language_score": 0.9533599615097046, "token_count": 672, "dump": "CC-MAIN-2015-40", "global_id": "webtext-fineweb__CC-MAIN-2015-40__0__112122553", "lang": "en", "text": "For our english-speaking friends\nMalmö Opera is the opera house of Southern Sweden. It is situated in the centre of the Oresund Region, geographical and economic region comprising Southern Sweden and Eastern Denmark. It is one of the most dynamic Regions in Europe where one can expect to find a solid, stimulating and high quality cultural life.\nThe summer of 2015 we arrange two guided tours in English, July 22:nd and 24:th. Book here!\nMalmö Opera presents the whole range of music theatre with main emphasis on opera and musical. Distinguishing for Malmö Opera is opera of the highest international standards. We perform the great opera classics and musicals and contemporary musical drama as well as we endeavour to pursue freshly written Swedish operas and musicals. Gala Nights and orchestra and chamber concerts are also arranged and guest performances of contemporay dance and classical ballet are invited.\nOperaverkstan – department for children and young adults - focus on producing high quality performances for children aged 3-19 with priority on contemporary compositions and subjects. Operaverkstan also introduces the classic opera work for its audience and sometimes the participation of children in the productions. Educational work along side with the productions, Operaverkstan also runs seminars, opera lessons, workshops and teacher training.\nMalmö Opera also tour the South of Sweden with productions, opera as well as musicals and concerts, suitable for the small and medium stages in the province.\nMalmö Opera is a municipal theatre subsidized by the County of Scania, the City of Malmoe and the Swedish State.\nMalmö Opera has one of the largest auditoriums found in the Nordic countries. The auditorium holds an audience of 1511. The stage itself is one of the largest in Europe. The stage-ramp can be heightened and lowered and may either be utilised as an orchestra pit, as part of the auditorium or as an integral part of the main stage.\nThe auditorium can be reduced in area by means of movable walls. The main stage is 25 metres in depth and 25 metres in height. The stage has an area of 600 square metres. The theatre has changed with the times through the years in step with the advancements made in modern technique. For example, new grid, sound and acoustic equipment as well as new lighting equipment has been installed.\nThe renowned architect, Sigurd Lewerentz, together with his colleagues Erik Lallerstedt and David Heldén created one of the masterpieces of functionalist architecture. The foyer is considered of particular beauty, with its open surfaces and beautiful marble staircases and it is adorned with a number of works of art by artists such as Carl Milles and Isaac Grünewald. The building is an example of functionalism in the finest sense of the word and was registered with the National Trust in connection with the theatre’s 50th jubilee in 1994.\nThe Opera house is serviced with a restaurant, Malmö Opera Grill in an annexe, and has bars in the foyer. You can choose from a range of casual and fine dining, a three-course dinner, a quick meal before or after the show or indulging at an interval.\nFor tickets please call +46 40 20 85 00", "domain": "music_and_dance"}
{"url": "http://lasvegascomedyshow.com/list/whitney-houston-hologram-will-headline-las-vegas-residency-show-1390", "date": "2022-01-19T02:27:17Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320301217.83/warc/CC-MAIN-20220119003144-20220119033144-00504.warc.gz", "language_score": 0.9358425140380859, "token_count": 332, "dump": "CC-MAIN-2022-05", "global_id": "webtext-fineweb__CC-MAIN-2022-05__0__206186067", "lang": "en", "text": "The future is here, and it looks like Whitey Houston.\nAccording to the late singer's estate, a Whitney Houston hologram will headline a Las Vegas Strip residency this fall. The singer passed away in 2012 at the age of 48. “While Whitney’s no longer with us, her voice and legacy will live on with us forever,\" said Pat Houston, the estate's executor.\n\"An Evening With Whitney: The Whitney Houston Hologram Concert\" is set to debut at Harrah's Las Vegas on Oct. 26. The groundbreaking show uses a live four-piece band and backup dancers to support Whitney's hologram image.\nNow, there are people who are skeeved out with the idea of using technology to represent the dead, but Whitney's estate managers insist that the world-famous icon would have LOVED the show.\n“In 2011, Whitney and I discussed her idea of an intimate, unplugged concert tour. It was a project we called ‘Whitney Unplugged’ or ‘An Evening with Whitney,'” executor Pat Houston said.\n“‘An Evening with Whitney’ is another chance for us to relive and celebrate the talent that we were so lucky to receive for more than three decades and we’re excited to bring this cutting-edge musical experience to the fans who supported the pop culture phenomenon that was Whitney Houston, because they deserve nothing less.”\nTickets for “An Evening With Whitney: The Whitney Houston Hologram Concert” go on sale on July 23 at 10 am. Buy them here", "domain": "music_and_dance"}
{"url": "http://lighttideproductions.com/", "date": "2023-06-02T14:49:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224648695.4/warc/CC-MAIN-20230602140602-20230602170602-00221.warc.gz", "language_score": 0.8851713538169861, "token_count": 237, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__76514751", "lang": "en", "text": "Light Tide Productions Oy Ltd is an indie label providing music expertise across a wide range of creative services to bands and solo artists in Finland.\nFrom music licensing to publishing, music placements in films, ads and video games, live shows and digital distribution, Light Tide is your “One-Stop” label.\nEstablished in 2015, the company is the product of founder and CEO, Henri and Johanna Aalto’s 30 years of experience in the music industry.\nHome to guitar virtuoso Henri Aalto and The Henri Aalto Band (H.A.B), Light Tide Productions Oy Ltd represents original music in a variety of genres such as\nRock, Blues, Jazz and World Music, while constantly seeking to broaden its roster. As a family oriented business, Light Tide Productions Oy Ltd works closely with\nartists and fulfills their needs in a timely and flexible manner, and has procured Henri Aalto’s endorsement with Taisto Guitars.\nWhen Music is a Passion, we represent.\nPhone: +358 400 909 333", "domain": "music_and_dance"}
{"url": "https://www.tribunnetwork.net/songen-launches-2-0-ai-powered-royalty-free-ios-music-generator-app/.html", "date": "2023-01-29T10:07:12Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764499710.49/warc/CC-MAIN-20230129080341-20230129110341-00377.warc.gz", "language_score": 0.8873776197433472, "token_count": 684, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__95341850", "lang": "en", "text": "HELSINKI, Feb. 24, 2022 /PRNewswire/ — Vibin Oy, a music app firm, broadcasts the launch of two.0 model of their cellular app Songen, accessible for iOS. Made for music producers, artists, content material creators and music lovers. The app presents a novel means of making music by producing distinctive royalty-free loops and songs.\nWith only a faucet of a button, Songen generates new tunes on the go. It is primarily based on AI-powered algorithms and does not use any pre-made content material. The app options an ever-increasing variety of curated music genres reflecting present Billboard music. The app exports audio and midi recordsdata in a number of codecs, protecting all wants of music producers, who can concentrate on sound design and re-voicing the midi notes to focus on their signature sound.\nTrusted by music producers worldwide, Songen has drawn an viewers of customers throughout 100 nations. The app is beneath steady growth, preserving it up-to-date with trending music genres and kinds with common updates. It is free to obtain, providing a premium subscription.\nThe brand new model of Songen brings collectively the important music generator options for skilled music producers. Introducing SharePlay help, the customers can create music collectively throughout a FaceTime name in a synced app session. Face-to-face interplay takes the music manufacturing to a complete new stage by bringing two human musicians along with an AI-musician. Immediately experiencing the feelings to get suggestions of track concepts really has the potential.\nThe app has been intensively developed along with the music producer group. “Just about each developed function has been requested by a beat maker or artist. We’re fortunate to have top-tier music influencers giving us confidence that we’re on the appropriate path. We wish to supply a device that’s related now and sooner or later, too”, says the workforce.\nSongen app options:\n- Generate distinctive and royalty-free music Combine genres\n- Customise tracks with numerous parameters\n- Change instrumentation\n- Save tracks to playlists\n- Track Mode generates full songs with preparations\n- Combine and grasp music\n- Export in audio and MIDI to complete the track in your DAW\n- Create music collectively in a synced session with Shareplay help\nFor extra info, go to www.songen.app.\nAbout Vibin Oy,\nVibin Oy is a cellular app firm primarily based in Helsinki, Finland and was based in 2019.\nEmblem – https://mma.prnewswire.com/media/1751721/Songen_Logo.jpg\nPhotograph – https://mma.prnewswire.com/media/1751722/Songen.jpg\nView unique content material to obtain multimedia:https://www.prnewswire.com/news-releases/songen-launches-2-0–ai-powered-royalty-free-ios-music-generator-app-301488613.html\nSOURCE Vibin Oy", "domain": "music_and_dance"}
{"url": "https://helicoptergoeskaboomandpersonmask.bandcamp.com/releases", "date": "2017-08-20T19:00:22Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-34/segments/1502886106984.52/warc/CC-MAIN-20170820185216-20170820205216-00350.warc.gz", "language_score": 0.8442184925079346, "token_count": 129, "dump": "CC-MAIN-2017-34", "global_id": "webtext-fineweb__CC-MAIN-2017-34__0__14223382", "lang": "en", "text": "released July 10, 2015\nRay Marte at Westfall Studios in Farmingdale, NY.\nAlbum Cover Model\nHorns on track 2 by Rick Katterman\nClarinet on track 2 by Jason Briggs\nDrums on tracks 1, 5, and 11 by Johnny Hoblin\nBass on tracks 5, 10, and 11 by Joel Pixley-Fink\nRecorded from November 2014 to April 2015 in Lindenhurst, East Meadow, North Amityville, West Islip, North Bellmore, and Massapequa, NY.\nThanks to everyone involved and everyone who listens.\nall rights reserved", "domain": "music_and_dance"}
{"url": "https://www.totpi.com/2015/06/18/ultra-orthodox-woman-performs-incognito-on-the-x-factor/", "date": "2024-04-13T00:05:41Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296816465.91/warc/CC-MAIN-20240412225756-20240413015756-00490.warc.gz", "language_score": 0.9919738173484802, "token_count": 277, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__43454932", "lang": "en", "text": "Contestants usually perform on singing contest shows like the “X Factor” seeking fame – in hopes that one day, the world will know their name. But a contestant featured on the premiere show of the new season of the show wanted precisely the opposite – total anonymity.\nThe singer did not give her name, and performed wearing a wig and dark glasses, for fear of negative repercussions from within her ultra-Orthodox community, where performing in front of audiences which include men – and on television – is frowned upon.\nThe anonymous singer said she had dreamed of performing since she was a young girl, but had never dared to do so, and that this time, she was so nervous that she almost didn’t come to the audition.\nAfterwards she said “I thought I was going to pass out on stage, I was crying” but that she was thrilled to have realized her dream. She also brought tears to the eyes of the celebrity host of the Israeli X Factor Bar Refaeli and the judges who praised her performance of the song “Read All About It” – and sent her through to the next round of competition on the show.\nShe said that planned to continue on and that she “hoped the audience would understand and accept” the fact that she was singing incognito – at least for now.", "domain": "music_and_dance"}
{"url": "https://thestandard.press/2022/02/15/kc-to-host-winter-concert-on-march-3/", "date": "2023-06-06T07:11:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224652235.2/warc/CC-MAIN-20230606045924-20230606075924-00058.warc.gz", "language_score": 0.8997355699539185, "token_count": 677, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__259720054", "lang": "en", "text": "The Kaskaskia College Choral Program is proud to announce its Winter Choir Concert in conjunction with the 2022 High School Honor Choir on Thursday, March 3, at 7:00 p.m. in the Kaskaskia College Jane Knight Auditorium.\nFeatured ensembles will be the Kaskaskia College Concert Choir, Community Chorale, and High School Honor Choir under the direction of Professor Lynda Marshall.\nThis is the Fifth Annual Kaskaskia College Honor Choir Festival, with eight participating high schools and 80 singers selected for the choir. The high school students will be rehearsing with Professor Marshall during the day and joining the college choirs to present the concert in the evening. Area participating high schools include Breese Central, Centralia, Christ Our Rock, Ramsey, Salem, Sandoval, South Central, and Vandalia.\nThe concert seeks to dispel the myths and stereotypes surrounding opera as so many people think of opera as being elitist or stuffy! This concert will feature a variety of music by opera composers and opera and operetta choruses. Community Chorale’s repertoire includes “Bell Chorus” from Leoncavallo’s Pagliacci, “Belle nuit, ô nuit d’mour” from Offenbach’s Les contes d’Hoffmann, and “Pilgrims’ Chorus” from Wagner’s Tannhäuser. The Concert Choir will be\nperforming “Neighbors’ Chorus” from Offenbach’s La jolie Parfumeuse, “Soldiers’ Chorus” from Verdi’s Il trovatore, and “Witches’ Chorus” from Verdi’s Macbeth.\nAdditionally, vocal performance majors Chloe Beal and Madelyn Owens will present “Sous le dome épais” from Delibes’ Lakme. Professor Lynda Marshall and Kaskaskia College alum, Morgan Isaiah, will present Rossini’s “Duetto buffo di due gatti.”\nThe concert will conclude with the High School Honor Choir presenting the famous “Anvil Chorus” from Verdi’s Il trovatore and joining forces with the college choirs to present “Va pensiero” from Verdi’s Nabucco, and “Finale” from Gilbert & Sullivan’s The Gondoliers.\nKC Professor Lynda Marshall says, “I am so excited to host our first high school music festival since the pandemic began! The KC District has so many talented singers, and I look forward to having memorable musical experiences with them. This is a wonderful opportunity for students from smaller music programs to come together and perform with a large choral ensemble.”\nThe concert is free and open to the public. All concertgoers must complete the college’s COVID-19 Screener found at www.kaskaskia.edu and wear a mask while on campus.\n— Submitted by Kaskaskia College", "domain": "music_and_dance"}
{"url": "https://terrabox.wordpress.com/2010/09/10/asian-beat-2010-contempo-teachers-concert/", "date": "2018-06-18T02:07:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267859923.59/warc/CC-MAIN-20180618012148-20180618032148-00425.warc.gz", "language_score": 0.9633433222770691, "token_count": 243, "dump": "CC-MAIN-2018-26", "global_id": "webtext-fineweb__CC-MAIN-2018-26__0__90676022", "lang": "en", "text": "The airs of Dhoby Ghaut were filled with lights and sounds from the nearby Plaza Singapura mall. And underneath a huge white tentage, several bands went up the stage to fight and prove they should be the deserving ones to win the Asian Beat 2010 competition, before moving on to the Grand Finals.\nRosli was there with other fellow Contempo Music School teachers and Yamaha endorsees to judge the competition on a humid Saturday night on 4 September 2010. But the weekend wasn’t just about the competition and the bands.\nContempo Music School (Plaza Singapura) teachers came together for a first ever Contempo Teachers’ Concert the following day, much to the delight of their students, family and friends who went down to support them. And Rosli was there to perform with his fellow teachers too.\nScroll down to view some of the pictures taken during the Asian Beat competition and the Teachers’ Concert.\nWith fellow judge Indra Ismail\nDeep in concentration for the judging\nThe panel of judges\nSome of the teachers from Contempo Music School (Plaza Singapura)\nPlaying with fellow teachers\nRosli with the Yamaha SG guitar", "domain": "music_and_dance"}
{"url": "https://www.ctchopinfoundation.com/", "date": "2023-03-26T22:19:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946535.82/warc/CC-MAIN-20230326204136-20230326234136-00006.warc.gz", "language_score": 0.947093665599823, "token_count": 129, "dump": "CC-MAIN-2023-14", "global_id": "webtext-fineweb__CC-MAIN-2023-14__0__217167443", "lang": "en", "text": "top of page\nConnecticut Chopin Foundation, Inc.\nThe Connecticut Chopin Foundation was founded to promote the music of Fryderyk Chopin and expand the opportunity for young world-wide talented musicians to compete and perform at an international level.\nThe Connecticut Chopin Foundation was founded in 2012 as a non-profit organization and presently owns the 501 c3 tax deductible status. Our primary mission is to promote the music of Frederick Chopin and attract worldwide young musicians to expand their careers by providing them with an opportunity to compete and perform at a higher standard of international competition. Providing them with engagement and performance opportunities.\nbottom of page", "domain": "music_and_dance"}
{"url": "https://www.iamchrisferrara.com/", "date": "2023-12-11T15:13:18Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679515260.97/warc/CC-MAIN-20231211143258-20231211173258-00516.warc.gz", "language_score": 0.9484236836433411, "token_count": 218, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__214581078", "lang": "en", "text": "Born and raised in the small town of Sharon, MA,CHRIS FERRARA is a combination of city boy swagger and country boy soul. He relocated to Music City in 2013 with just a suitcase and a guitar, and he has been making a name for himself ever since. His music draws from an eclectic mix of influences - from Muscle Shoals to Motown and every stop in between - to bring a style that is as familiar as it is new.\nA true entertainer known for his soulful voice and high energy performances, Ferrara and his band, THE COMMON GOOD, currently hold a weekly residency at THE TWELVE THIRTY CLUB in Nashville. Over the last four years, he has held multi-year residencies at other top venues on Nashville’s famed Broadway strip (The Stage & Dierks Bentley’s Whiskey Row). He has also been flown all over the world to perform for corporate clients and charity events (Capitol One, Miller Lite, Athlete’s First, Kids Cancer Alliance, & more).", "domain": "music_and_dance"}
{"url": "https://somethinjumpinrabbits.com/dj-snake-drops-explosive-new-house-track-nightbird-edm-com/", "date": "2022-12-06T21:13:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446711114.3/warc/CC-MAIN-20221206192947-20221206222947-00167.warc.gz", "language_score": 0.9274062514305115, "token_count": 355, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__181708037", "lang": "en", "text": "DJ Snake Drops Explosive New House Track, “Nightbird” – EDM.com\nDJ Snake continues down the rabbit hole of house music with his brand new track, “Nightbird.”\nAfter a summer of madness, including a career-defining performance at the famous Parc des Princes stadium, the French superstar is back with the new banger, an explosive record.\n“Nightbird” comes together with a deep bass line and dark, hypnotic vocals. Snake eventually leads the arrangement into a languorous build before it turns into a drop with frenetic synths and an electrifying house beat. He also released a trippy visualizer to go along with the new track full of pulsating green and black hues.\nScroll to continue\nWith the new single, Snake continues his exploration of house music. The electronic music superstar has regularly collaborated with fellow Frenchman Malaa, appearing on his gritty house track “Deep” from his scintillating debut album.\nSnake is currently on tour through the end of 2022. He will end the year with performances at MDLBEAST’s SOUNDSTORM in early December before a set at Insomniac’s alien-themed festival Countdown NYE, which also features Zedd, deadmau5 , Madeon, ZHU and more .\nFOLLOW DJ SNAKE:", "domain": "music_and_dance"}
{"url": "https://www.brez.co.uk/archived/fabriclive-97-old/", "date": "2023-11-29T02:57:18Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100047.66/warc/CC-MAIN-20231129010302-20231129040302-00699.warc.gz", "language_score": 0.9213794469833374, "token_count": 106, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__76638432", "lang": "en", "text": "FABRICLIVE was the iconic mix-tape series from fabric London that ran for 100 releases between 2001 – 2008.\nThe albums in this series generally feature music in the UK bass, drum & bass, grime, and hip hop genres and reflect the music typically showcased at the nightclub’s Friday night events.\nBrez created promo visuals for FABRICLIVE 97 (March 2018), headlined by Holy Goof.\nLabel – Fabric London\nArtist – Holy Goof\nMotion – Brez", "domain": "music_and_dance"}
{"url": "https://health-am.com/doc_WW1lblJaMFY3ZGU4UGh3a2lXOUpqZz09", "date": "2023-11-28T17:21:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679099892.46/warc/CC-MAIN-20231128151412-20231128181412-00183.warc.gz", "language_score": 0.9381731152534485, "token_count": 426, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__225761800", "lang": "en", "text": "The article discusses the song \"Everybody Wants To Get To Heaven\" by Ed Bruce. The song talks about how everyone desires to go to heaven and how people often search for ways to achieve salvation. It emphasizes that no matter who you are or what you do in life, everyone shares the same desire to reach heaven.\nThe lyrics of the song convey the universal longing for salvation. It portrays how people from all walks of life, whether they are rich or poor, good or bad, young or old, dream of going to heaven. The song acknowledges that everyone has their own flaws and imperfections, but deep down, everyone wants to be saved and find eternal peace.\nThe article explains that the song highlights the common belief that heaven is a perfect place where all worries and troubles cease to exist. It acknowledges that life on earth is filled with challenges and hardships, and people often find solace in the idea of a heavenly paradise where they can find eternal happiness. It reflects the human desire to escape the trials of life and find ultimate bliss in the afterlife.\nFurthermore, the article discusses the profound message behind the song. It suggests that the desire to reach heaven perhaps stems from the innate human need for redemption. People seek forgiveness for their mistakes and hope to find salvation from their transgressions. The song acknowledges that nobody is perfect, but it also emphasizes that everyone can strive for redemption and ultimately achieve heavenly salvation.\nThe article also delves into the musical aspect of the song. It mentions that Ed Bruce's heartfelt rendition effectively captures the emotions and sentiments expressed in the lyrics. The song is performed with a country music style, which adds a touch of simplicity and authenticity to the overall composition.\nIn conclusion, the article summarizes that the song \"Everybody Wants To Get To Heaven\" by Ed Bruce explores the universal longing for salvation. It acknowledges that no matter who we are or what we do, deep down, everyone desires to reach heaven and find eternal peace. The song carries a profound message about redemption and forgiveness, emphasizing that although we may have flaws, we can still strive for salvation and ultimately achieve heavenly bliss.", "domain": "music_and_dance"}
{"url": "http://www.modernjamming.com/note/darlene-zschech-revealing-jesus-album-review", "date": "2018-02-24T06:18:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891815435.68/warc/CC-MAIN-20180224053236-20180224073236-00339.warc.gz", "language_score": 0.9674181342124939, "token_count": 1432, "dump": "CC-MAIN-2018-09", "global_id": "webtext-fineweb__CC-MAIN-2018-09__0__9875293", "lang": "en", "text": "We both love Hillsong’s songwriting so much. And since one of their ex-front woman created her first live album, we think it’s obvious for us to review her latest album. Yes, it’s Darlene Zschech with her first and latest live album, Revealing Jesus. Even though she had released some solo projects previously such as “Kiss of Heaven”, “Extravagant Worship”, “Change Your World”, “Simply Darlene”, and “You Are Love”, Revealing Jesus is the first live performance that ever been recorded by Darlene.\nRevealing Jesus was released at March 19th, 2013 worldwide and recorded live at the Church of the Highlands in Birmingham, Alabama, on September 28 and 29 of last year. Produced by Grammy Award Winning producer Israel Houghton, Darlene was accompanied by New Breed and some famous song writers, Dove Award 2013 Winner Kari Jobe and Michael W. Smith.\nThis album contains 12 tracks, including 4 praise songs and 8 worship for the rest of the album. Here is the track list:\n- God Is Here (P)\n- Best For Me (P)\n- All That We Are (P)\n- In Jesus’ Name (P)\n- Your Presence Is Heaven (W) - Our Cover\n- Victor's Crown (W)\n- Yours Forever (W)\n- Magnificent (W)\n- My Jesus I Love Thee (I Love You Jesus) (W)\n- Your Name/Cry Of The Broken (W)\n- I Am Yours (W)\n- Jesus At The Center (W)\nIt is an Album with a Storyline\nOne of the reason why I like Hillsong's song in Darlene era is because the unity, when they play a song. It's like a unison of a team that worshiping God, in a way that even their music style is simple, I can still feel a complicated reason behind their style. In this Revealing Jesus album, I can feel the same unison and complicated style. The same reason why I like Hillsong, I find it here; especially all of the Worship songs.\nStarted with a praise song, this album pumps us a bit with an \"angelic\" style string opening that then used again later in their worship songs. Their four first praise songs, connect the album name as Jesus's revealer with a music that welcoming God to a place; you can imagine it like when somebody famous come to your town.\nTheir fifth song Your Presence is Heaven is a cover song from this album producer, Israel Houghton. When Israel open this song with his voice, I was hoping that I might be listening to Darlene's gospel style. Well, I was hoping too much, as it obviously turns out, Israel's voice doesn't match well with Darlene's music style; however I still love this song and you can listen to our cover here. Darlene also put a re-imagined hymn song called My Jesus I Love Thee. Although the arrangement itself is simple, but it's a declaration that we love our God, and still it's a great song.\nThe rest of this album is filled with worship songs. But I can assure you that with a great songwriter such as Michael W. Smith, Israel Houghton, and Kari Jobe involved, you won't be disappointed even a bit. If their praise songs is a welcome act, the worship song is truly a worship song. It is as if you meet Jesus in front of you, what will you say can be found in all their worship songs.\nAs I heard this album from the beginning to the end, this album has a storyline. Started with God is Here, Zchech gave the message of this whole album and led the audience to be prepared to worship God even more, open their heart to see Jesus is being revealed. Followed with another three praises songs that declares Jesus is the one to whom we give our life to. Besides storyline, this album has a clear similarity on every song, they are all addressing Jesus in all the songs lyrics. We can consider this as an important point about this album, because not all Christian songs put Jesus name on the lyrics, and replaced it with another designation like God, Lord, or Yahweh.\nThe rest of the album is filled with worship songs, which make this album very suitable for our devotional moment. Some of the songs are already familiar, such as Your Presence Is Heaven from Israel Houghton album Jesus at the Center , Magnificent from Hillsong album Blessed, and Jesus at the Center from Israel Houghton album Decade. Those songs are already my favorite worship songs, even I like the versions on this album better than the original. To hear my favorite Houghton songs are being sung by Zschech is almost a dream come true for me. I am so blessed with her voice singing those songs.\nA biggest surprise for me is when I heard Zschech was singing duet with Houghton. Their harmonizing voice in Magnificent is mind-blowing. Houghton was singing on the back with Zchech for the entire live recording, but his name wasn't mentioned on the front album cover. If we only listen to the CD without watching the live recording, we'll never know that Houghton was there until they sang the duet. I'm very appreciating the modesty of those great singer such as Israel Houghton, Michael W. Smith and Kari Jobe for not being displayed in the front cover.\nSongs we recommend for you\nAbraham’s Recommendation Song\nI love the praise songs. All of them, I highly recommend you to listen to all this songs. As for the ballad, I really like Victor’s Crown.\nNatasha’s Recommendation Song\nThere are some of my favorite original song of this album, such as All That We Are and In Jesus Name. Yes, those are praise songs. From the rest of worship songs, I thought I have to agree with Abraham that Victor's Crown is one of the best worship song in this album, besides the previous well-known songs.\nAnother great work by Darlene Zschech. Overall, this album has a deep meaning on both music and lyric; both of them is connected with each other really well, it really brings out the true meaning of this album, to reveal Jesus in front of all the world and give us chance to worship Him. A great album.\nThis album is a masterpiece. Although there is nothing spectacular about the music arrangement, the songs are the biggest blessing for all the listeners. Every song has been put in such a meaningful way and being addressed to the One and Only Savior Jesus Christ. Jesus be revealed!", "domain": "music_and_dance"}
{"url": "https://carolinabelles.net/tap-dance/", "date": "2024-04-18T17:21:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817222.1/warc/CC-MAIN-20240418160034-20240418190034-00694.warc.gz", "language_score": 0.9224859476089478, "token_count": 4105, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__15207759", "lang": "en", "text": "Tap Dance: The Rhythmic Artistry of Performing Arts\nTap dance, a rhythmic form of performing arts, has captivated audiences for decades with its unique blend of movement and music. It is an artistry that combines intricate footwork, syncopated rhythms, and expressive body movements to create a visually stunning experience. One can imagine being transported to the bustling streets of Harlem in the 1930s, where tap dancers like Bill “Bojangles” Robinson showcased their skill and creativity on stage. This article delves into the rich history and technical aspects of tap dance, exploring how it has evolved over time while maintaining its status as a timeless form of artistic expression.\nOriginating from African American percussive dances during the era of slavery, tap dance gained popularity in vaudeville shows and musical productions throughout the early 20th century. The artform reached new heights when legends such as Fred Astaire and Gene Kelly brought it to Hollywood films, mesmerizing audiences worldwide. Today, tap dance continues to evolve through various styles including classical Broadway style, rhythm tap, and hip-hop fusion. Its incorporation of elements from different cultures demonstrates its ability to adapt and remain relevant in contemporary society.\nThis article will delve into the technicalities behind this rhythmic artistry by examining fundamental steps such as shuffles and flaps, as well as more complex combinations like wings and time steps. Tap dance is characterized by the creation of percussive sounds through the striking of metal taps on the dancer’s shoes against the floor. These sounds are produced by using different parts of the foot, such as the toe, ball, or heel, to create distinct rhythms and tones.\nShuffles are a basic step in tap dance that involve alternating movements between the balls of both feet. By shifting weight from one foot to the other while brushing or scraping the floor with the ball of each foot, dancers can create a rhythmic pattern. Flaps, on the other hand, consist of a brush followed by a tap with the same foot. This combination produces a sharper sound compared to shuffles.\nWings are an intermediate-level step where dancers execute rapid movements involving alternating brushes and taps with both feet while keeping their heels together. This creates a fluttering effect similar to that of bird wings, hence its name. Wings require precise timing and coordination to achieve smooth and seamless execution.\nTime steps are more complex sequences that incorporate various fundamental steps into a cohesive routine. They often serve as transitional movements within tap dance choreography. Time steps can be performed at different speeds and include elements such as shuffles, flaps, digs (a sharp downward movement), and scuffs (a quick scrape against the floor).\nThroughout history, tap dance has been influenced by different cultures and styles. For example, rhythm tap focuses heavily on musicality and improvisation, allowing dancers to create intricate rhythms while interpreting music with their feet. In contrast, classical Broadway style emphasizes clear and precise movements executed in sync with traditional show tunes.\nIn recent years, tap dance has also merged with hip-hop culture, resulting in innovative fusions known as “hoofing” or “street tap.” These styles combine elements of both disciplines while incorporating freestyle movements and urban aesthetics.\nTap dance remains a powerful form of artistic expression, transcending time and cultural boundaries. Its evolution over the years showcases its adaptability and ability to incorporate diverse influences while maintaining its core essence. Whether it’s through the nostalgic charm of vintage tap routines or the vibrant energy of modern interpretations, this rhythmic art form continues to captivate audiences with its blend of athleticism, creativity, and sheer joy.\nHistory of Tap Dance\nTap dance is a rhythmic and energetic form of performing arts that has captivated audiences for generations. Originating in the United States during the mid-19th century, tap dance combines elements of African tribal dances, Irish step dancing, and English clog dancing to create a unique art form characterized by intricate footwork and syncopated rhythms.\nOne example of the rich history of tap dance can be seen in the iconic performer Bill “Bojangles” Robinson. Born into poverty in Richmond, Virginia in 1878, Robinson rose to fame as one of the most influential tap dancers of his time. His innovative style incorporated lightning-fast footwork with smooth upper body movements, creating a seamless blend of athleticism and grace. Through his performances on stage and screen, Robinson not only entertained audiences but also broke racial barriers in the entertainment industry.\nThe evolution of tap dance can be traced through several key developments over its history:\n- The merging of African and European dance traditions: Tap dance originated from a fusion of African tribal dances brought to America by enslaved Africans and various European folk dances such as Irish jigs and Scottish reels.\n- Vaudeville era: In the late 19th century, tap dance gained popularity as an integral part of vaudeville shows. Performers like Fred Astaire and Ginger Rogers showcased their exceptional skills on stages across America.\n- Golden age of Hollywood: During the early 20th century, tap dance reached new heights with films featuring legendary performers such as Gene Kelly, Shirley Temple, and Eleanor Powell. These movies introduced tap dance to a wider audience than ever before.\n- Contemporary influences: Today, tap continues to evolve with influences from other forms of dance such as hip-hop and jazz. Modern-day artists like Savion Glover have pushed boundaries by incorporating improvisation techniques into their routines.\nTo appreciate the impact and significance of tap dance throughout history is to witness its emotional power firsthand. Imagine being transported back in time to a vibrant vaudeville theater, where the stage is illuminated with dazzling footwork and infectious rhythms. The energy and passion exuded by tap dancers evoke feelings of joy, excitement, and awe.\n- Amazement at the virtuosity of tap dance performers.\n- Appreciation for the cultural fusion that led to the creation of this art form.\n- Nostalgia for the golden age of Hollywood and its iconic tap dancing stars.\n- Inspiration to explore and appreciate diverse forms of artistic expression.\n|Broke racial barriers in entertainment industry\n|Known as “The King of Tap”; influenced future artists\n|Popularized tap dance through film\n|Known for his elegant style and smooth movements\n|Innovated improvisation techniques\n|Won Tony Awards for his choreography\n|Showcased athleticism and precision\n|Regarded as one of the greatest female tap dancers\nTap dance’s rich history sets the stage for exploring various techniques and styles employed by its practitioners. From traditional Broadway-style routines to more contemporary interpretations, each approach contributes to the ever-evolving tapestry of this rhythmic artistry.\nTechniques and Styles of Tap Dance\nTap dance is a captivating art form that combines rhythm, movement, and expression. In the previous section, we explored the rich history of tap dance, tracing its origins back to African tribal dances and European clog dancing. Now, let us delve into the techniques and styles that make up this rhythmic artistry.\nOne example of a technique used in tap dance is called “shuffles.” Shuffles involve creating rapid sounds by striking the ball or heel of the foot against the floor. By varying the speed and intensity of these shuffles, dancers can effectively communicate different rhythms and emotions. For instance, imagine a dancer performing an intricate series of shuffles with lightning-fast precision during a high-energy routine – it would undoubtedly captivate and exhilarate the audience.\nTo fully appreciate tap dance as an art form, one must understand some key elements that contribute to its emotional impact on both performers and spectators:\n- Rhythm: Tap dance relies heavily on maintaining a precise sense of rhythm throughout each performance. The syncopated beats created by tapping shoes against the floor create an infectious energy that resonates with audiences.\n- Musicality: Tap dancers are often referred to as musicians using their feet. They interpret music through their movements, transforming melodies and rhythms into visual expressions.\n- Improvisation: A hallmark of tap dance is improvisation – spontaneous creation within set structures. Dancers listen attentively to live music or recorded tracks and respond intuitively with improvised steps and rhythms.\n- Artistic Expression: Through precise footwork combined with fluid upper body movements, tap dancers convey various emotions ranging from joyous exuberance to poignant reflection.\nLet’s now take a closer look at how these elements come together by examining the following table showcasing different techniques commonly found in tap dance routines:\n|Rapidly alternating leg flaps while in mid-air\n|Elicits a sense of lightness and freedom\n|Complex sequences of steps performed in syncopated time\n|Evokes a feeling of energy and precision\n|Emphasizes smooth, soft movements with minimal sound\n|Conveys elegance and grace\n|Rapid turns executed while maintaining rhythmic beats\n|Creates an exhilarating sensation of momentum\nBy exploring these techniques and their emotional impact, we gain a deeper appreciation for the artistry behind tap dance. The combination of rhythm, musicality, improvisation, and artistic expression allows dancers to communicate with audiences on both a physical and emotional level.\nAs we transition into the next section about famous tap dancers, let us continue our journey through the world of tap dance by delving into the lives and legacies of these remarkable performers. Through their contributions, they have elevated tap dance to new heights and left an indelible mark on this captivating art form.\nFamous Tap Dancers\nTransitioning seamlessly from the previous section on “Techniques and Styles of Tap Dance,” we now delve into the realm of famous tap dancers. One such notable figure is Gene Kelly, whose impeccable technique and charismatic performances captivated audiences during the Golden Age of Hollywood. His iconic role in the 1952 film “Singin’ in the Rain” showcased his mastery of both acting and tap dancing, leaving an indelible mark on popular culture.\nTap dance has given rise to numerous talented individuals who have left their unique imprint on this rhythmic art form. From Fred Astaire’s elegance and grace to Savion Glover’s innovative style, each dancer brings a distinct personality to their performances. Aspiring artists can draw inspiration from these legends as they embark on their own journey within the world of tap dance.\nTo better understand the impact of famous tap dancers, let us explore four key aspects that contribute to their success:\n- Mastery of technique: These renowned performers exhibit exceptional control over their movements, executing intricate footwork with precision.\n- Musicality: A deep understanding and appreciation for music allow them to synchronize their steps flawlessly with rhythm and melody.\n- Creativity: Famous tap dancers possess a remarkable ability to invent new steps and combinations, pushing boundaries while staying true to the essence of traditional tap dance.\n- Stage presence: Charismatic personalities shine through onstage as these artists engage audiences with their infectious energy and undeniable talent.\nIn addition to these qualities, it is essential to recognize how influential tap dancers have contributed not only to performing arts but also impacted society at large. Their dedication serves as an inspiration for aspiring dancers worldwide, fostering a community built upon mutual admiration and respect.\nAs we transition smoothly into our next section exploring “Tap Dance Costumes and Attire,” we will uncover how dressing plays a crucial role in enhancing the visual appeal and storytelling aspect of this captivating art form.\nTap Dance Costumes and Attire\nTransitioning from the previous section on famous tap dancers, we now delve into the world of tap dance costumes and attire. Just as each dancer brings their unique style to the art form, the costumes they wear enhance their performances, adding visual appeal and complementing their rhythmic movements.\nImagine a scenario where a tap dancer takes center stage wearing a vibrant costume adorned with sequins and feathers. As soon as the music starts, their tapping feet create an electrifying rhythm that resonates with the audience. The combination of skillful footwork and eye-catching attire captivates viewers, immersing them in an experience filled with energy and excitement.\nTap dance costumes are designed to showcase both individuality and tradition. They often feature elements such as fitted bodices, flared skirts, or pants that allow for freedom of movement while emphasizing intricate footwork. To further understand the significance of these costumes, let’s explore some key aspects:\n- Color: Vibrant colors like reds, blues, or golds can evoke feelings of passion, joy, or grandeur.\n- Fabric: Shimmering materials like satin or sequined fabrics catch the light and add sparkle to every step.\n- Accessories: Feathers, gloves, hats, or bow ties can elevate the overall look by adding flair and elegance.\n- Shoes: Tap shoes play a crucial role not only in producing sounds but also in completing the overall aesthetic appeal.\nTo illustrate this further:\n|Patent leather tap shoes\nThe careful selection of these costume elements helps convey emotions and enhances storytelling through movement during a tap dance performance. It allows dancers to fully express themselves artistically while engaging the audience on a visual level.\nTap dance costumes and attire play an integral role in showcasing the artistry of tap dancers. The combination of colors, fabrics, accessories, and shoes creates a visually captivating experience for both performers and viewers alike. As we continue our exploration of tap dance’s influence in popular culture, we delve deeper into its significance beyond the stage.\nTap Dance in Popular Culture\nTap dance has made a significant impact on popular culture, influencing various forms of entertainment and leaving an indelible mark on the performing arts scene. One notable example that exemplifies tap dance’s influence is the iconic 1989 film “Tap,” starring Gregory Hines and Sammy Davis Jr. This captivating movie showcases the artistry and intricacy of tap dancing, highlighting its ability to captivate audiences with its rhythmic movements and powerful performances.\nTap dance’s widespread popularity can be attributed to several factors. First and foremost, its infectious energy and syncopated beats have made it a staple in musical theater productions worldwide. Whether it is a lively Broadway show or a local community production, incorporating tap dance routines adds an element of excitement and dynamism to the performance, engaging the audience both visually and audibly.\nFurthermore, tap dance has found its place in music videos as well. Renowned performers like Fred Astaire, Ginger Rogers, Savion Glover, and Beyoncé have all incorporated tap dance into their music videos, showcasing the versatility of this art form across different genres. By seamlessly blending tap dance with contemporary music styles such as pop, hip-hop, or even rock, these artists introduce tap dancing to new generations who might not have been exposed to it otherwise.\n- Tap dancers often serve as cultural ambassadors for their respective countries.\n- The distinct sound produced by tapping shoes creates an auditory experience unlike any other.\n- Tap dance competitions attract participants from around the world who showcase their skills and push boundaries.\n- Tap dancing continues to inspire budding choreographers to experiment with innovative moves and fusion styles.\nAdditionally, let us explore how tap dance influences popular culture through this table:\n|Impact of Tap Dance on Popular Culture\n|Incorporation of tap dance in music videos\n|Iconic movies showcasing tap dancing as an art form\n|Inspiring new choreographic creations\n|Influence on attire and accessories, such as tapping shoes\nAs we delve into the influence of tap dance on popular culture, it becomes evident that this rhythmic art form has transcended its traditional boundaries. From captivating audiences with live performances to leaving a lasting imprint in films, music videos, and even fashion trends, tap dance continues to be celebrated for its artistic expression and ability to enthrall people from all walks of life.\nTransitioning seamlessly into the subsequent section about the benefits of learning tap dance, individuals can discover how embracing this art form can enhance their lives both physically and creatively.\nBenefits of Learning Tap Dance\nTap Dance: The Rhythmic Artistry of Performing Arts\nHaving explored the influence of tap dance in popular culture, we now turn our attention to the numerous benefits that learning this rhythmic art form can offer. From physical fitness and coordination to artistic expression and cultural appreciation, tap dance provides a rich experience for both performers and enthusiasts alike.\nEngaging in tap dance offers individuals a wide range of advantages that extend beyond simply mastering choreography. Let us consider one hypothetical example: Sarah, a 30-year-old professional working long hours at an office job. Seeking an outlet for her creativity and stress relief, she decides to take up tap dance classes as a hobby.\nFirstly, tap dance promotes physical well-being through its vigorous nature. As Sarah immerses herself in routines involving intricate footwork and swift movements, she experiences improved cardiovascular endurance, muscle strength, and flexibility. Additionally, the repetitive tapping motions increase bone density, reducing the risk of osteoporosis later in life.\nSecondly, learning tap dance fosters enhanced coordination and mental agility. Through practice sessions focused on precise timing and syncopation with music beats, Sarah’s brain develops increased neural connections between auditory processing centers and motor regions. This heightened cognitive function not only improves her ability to follow complex rhythms but also transfers into other areas of her life such as problem-solving skills or multitasking abilities at work.\nThirdly, tap dance serves as a creative outlet where performers can express themselves artistically. Utilizing their bodies as instruments to create percussive sounds allows dancers like Sarah to explore individuality within set choreographies. This freedom encourages self-expression while simultaneously honing their musicality by interpreting various genres of music through taps.\nLastly, engaging with tap dance exposes individuals to diverse cultural influences embedded within this art form’s history. By delving into the roots of tap dance, practitioners gain a deeper appreciation for the African and Irish traditions that contributed to its development. This cultural awareness fosters empathy and understanding, promoting inclusivity both within the tap dance community and beyond.\nTo summarize, tap dance offers numerous benefits to those who embrace it as an art form. Through physical fitness improvements, enhanced coordination and mental agility, creative expression, and cultural appreciation, individuals like Sarah can find fulfillment in their journey of learning and practicing this rhythmic artistry.\n- Increased confidence through mastering complex routines\n- Sense of belonging within the tap dance community\n- Indulgence in creativity and artistic exploration\n- Joy derived from connecting rhythmically with music\nTap dance not only provides physical fitness benefits but also improves cognitive abilities while fostering self-expression and cultural appreciation. By embracing this rhythmic art form, individuals like Sarah can experience personal growth, emotional satisfaction, and a sense of connection within themselves and their communities. So why wait? Lace up your taps now and embark on an extraordinary journey into the world of tap dance!", "domain": "music_and_dance"}
{"url": "https://troyreviews.neocities.org/donda.html", "date": "2022-06-30T21:39:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103915196.47/warc/CC-MAIN-20220630213820-20220701003820-00188.warc.gz", "language_score": 0.9851638078689575, "token_count": 376, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__132842612", "lang": "en", "text": "After a year of anticipation and build-up, Kanye West's album \"DONDA\" is finally out! This is one of the most hyped albums of all time, which set an expectation that was impossible to meet, and while this album wasn't without flaws, it is really a great project. Songs like 'Come to Life' and 'Believe What I Say' are some of Kanye's best, showing that there's still gas in Kanye's tank after decades of creating music. This album explores Kanye's spirituality and christianity, kinda like his last album Jesus is King. However, DONDA feels much more personal and real. Jesus is King felt almost performative, like Kanye's spiritual transition was an act, and it just didn't sound like a Kanye project. DONDA also talks about Kanye's relationship with his mother on songs like 'Donda' and 'Jesus Lord'. I expected more about Kanye's mother considering the name of the album, but I guess Kanye's spirituality is connected to his relationship with his mother. The song 'Lord I Need You' talks about Kanye's now ex-wife Kim Kardashian and it's a great track. DONDA is a great album from Kanye, but it's not flawless. Songs like 'Remote Control', 'Ok Ok', and especially 'Tell The Vision' are straight up skips in my opinion. I also feel like the Drake beef may have made this album slightly worse, because Kanyemay have felt rushed to release before Drake. Not to mention 'Life of the Party' with Andre 3000 which was kept from being on DONDA because of Kanye's Drake diss on the song. It would've been one of Kanye's best if it had actually released. Overall, DONDA is a great album from Kanye and if for some reason you haven't checked it out, it's worth it.", "domain": "music_and_dance"}
{"url": "https://www.madelynbrene.com/trapopera", "date": "2024-03-02T13:28:01Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475825.14/warc/CC-MAIN-20240302120344-20240302150344-00409.warc.gz", "language_score": 0.9457986354827881, "token_count": 176, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__83080029", "lang": "en", "text": "Introducing \"The Reimagined Artistic Progressive Opera\" also known as \"T.R.A.P. OPERA\", an innovative new wave of music that is taking the world by storm. Our music is elegant yet edgy, which we consider to be perfect for the modern ear. \"T.R.A.P. OPERA\" has been described as a rare blend of classical opera infused with elements of R&B, Jazz, Hip-Hop and World Music, making it a unique genre and movement that is sure to captivate you. Created by Madelyn Brené, the \"T.R.A.P. OPERA\" movement has spearheaded a new standard for music with contemporary storytelling and groundbreaking ideals that break down barriers and challenges expectations. Listen to the compositions below and experience the bold, edgy and intriguing new sound for yourself!", "domain": "music_and_dance"}
{"url": "http://downbeatdojo.com/who-we-are/", "date": "2019-02-20T06:26:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247494449.56/warc/CC-MAIN-20190220044622-20190220070622-00200.warc.gz", "language_score": 0.949009120464325, "token_count": 471, "dump": "CC-MAIN-2019-09", "global_id": "webtext-fineweb__CC-MAIN-2019-09__0__176109567", "lang": "en", "text": "Adam Houghton //\nAdam brings 15 years of electronic music production experience and an immensely positive attitude to his teaching. His discography stretches back to 1999 encompassing full length albums, vinyl singles, remixes, and digital releases. Adam will get you writing, finishing, and releasing tracks faster than you ever thought possible. His teaching philosophy revolves around highly efficient concrete tools and techniques honed by writing hundreds of songs across diverse genres.\nAndrew Luck //\nAndrew’s unique outlook is informed by 15 years experience on stage as a performer and behind the scenes as a Label Owner, Event Promoter, and DJ Product Specialist for a major music technology brand. He has traveled the country playing shows and teaching music technology skills, all while creating an ever-expanding catalog of original music releases and remixes. Andrew’s excitement for music is infectious. He has an amazing ability to encourage, inspire and discover.\nNoah Chartier //\nNoah Chartier aka Knowa Lusion is a Bay Area turntablist/producer and co-owner of the record label Street Ritual. He is considered one of the founders of Glitch Hop and an influential innovator in American bass music culture. Knowa began his professional career over a decade ago, producing and recording for Hip Hop artists, original music and DJing at events from New York to Miami. Noah leads workshops on DJing and teaches private classes.\nBen Obee //\nBen is a multi-instrumentalist composer and performer who has been involved with music for over 20 years. Studying formally at the Berklee College of Music in Boston he honed his chops on jazz and classical theory, composition, and orchestration. His biggest takeaway from formal education was ear training.\nBen has toured the the UK and US and performed at numerous festivals (SXSW, Sasquatch, Bumbershoot, Folklife, Makemusic Pasadena & more) radio performances and TV spots.\nJack Birnie //\nJack Birnie is an enthusiastic producer and controllerist based out of Seattle, Washington. His musical background includes 7 years of classical and jazz composition before making his way into the realm of electronic music. Jack is interested in pushing the boundaries of what is possible with music and technology. He emphasizes understanding the fundamentals of music, electronic and otherwise.", "domain": "music_and_dance"}
{"url": "https://yuliadancemasters.co.za/competitive-dancing/ballroom-dances/", "date": "2024-02-26T07:37:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474653.81/warc/CC-MAIN-20240226062606-20240226092606-00215.warc.gz", "language_score": 0.9151325225830078, "token_count": 149, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__127335107", "lang": "en", "text": "Ballroom dancing includes 5 dances:\n- Slow Waltz\n- Viennese Waltz\n- Slow Foxtrot\nTo start your dream of competitive dancing from beginner to a highly advanced level, we offer you private lessons, where you get the opportunity to learn with / without a partner, enjoying individual attention and improving at your own pace.\nIf you are already an advanced Ballroom dancer and wishing to improve your level from the local up to the International, we strongly recommend you to try private lessons with our principal coach Yulia Kharlova (see About Us). She will definitely help you to bridge the gaps at your technique, mechanics, timing and understanding of musicality in your Ballroom.\nSee you at the Studio!", "domain": "music_and_dance"}
{"url": "http://dance4health.org/about-us-2/our-mission/", "date": "2021-05-14T07:29:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-21/segments/1620243991648.40/warc/CC-MAIN-20210514060536-20210514090536-00357.warc.gz", "language_score": 0.9110147953033447, "token_count": 99, "dump": "CC-MAIN-2021-21", "global_id": "webtext-fineweb__CC-MAIN-2021-21__0__117800507", "lang": "en", "text": "Dance 4 Health, a 501(C)(3) non-profit organization, is the collaborative work of health, fitness and dance professionals whose mission is to provide an opportunity for improved health through dance. By aligning with community resources, Dance 4 Health is targeting the escalating rate of obesity and diabetes. Dance 4 Health relies on donations, grants and community support to operate our program.\nThanks for taking the time to visit our website.\nElaine & Alex Dziekanowski, Founders", "domain": "music_and_dance"}
{"url": "https://www.lowelego.com/10004/banda-liceo-guatemala/", "date": "2022-11-28T15:01:15Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710533.96/warc/CC-MAIN-20221128135348-20221128165348-00845.warc.gz", "language_score": 0.9724594950675964, "token_count": 695, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__99867669", "lang": "en", "text": "Description of Banda Liceo Guatemala Application made to support the Banda del Liceo Guatemala. In 1956 the Colegio Liceo Guatemala was founded, led by a parade preceded by the Band of the College founded in the old school for infants, that is why it is older than the Liceo Guatemala itself. Being the second band formed within an educational establishment. Over time the Liceo Guatemala and its band have undergone modifications, both musical and physical, the then gala costume was transformed into the current costume, being worn by many generations of students. The band formed as a War Band has participated throughout its history in the most important events both internal and external to the institution and has been since its inception a formator of important values within the youth such as responsibility, values civic, commitment, teamwork, discipline among many more; and at the same time it has formed within its members the character of taking charge of the rest of their colleagues. The band has had many moments of glory and has been an example for the rest of the bands that with the passing of time have emerged in other educational centers. It has been awarded with innumerable awards and decorations, some unique in its kind to date, such as: – Most showy and elegant Gala dress at the National level. – Prize for the most original march whose name is Respice Stellam Voca María (Morning Star, alluding to the Virgin Mary). The Liceo Guatemala was the first school to organize Band Festivals (1991), which led to many educational institutions taking up the idea and currently being held everywhere, but it remains the only school that carries out the activity in its own facilities, thus being the most anticipated Bands Festival by the general public. The band consists of various musical instruments – Trumpets – Fife – Xylophones – Triplets – Drummers – Boxes – Drums Likewise, it maintains its style of the traditional squads, made up of: – Spenders – Flags – Pennants – Escorts La Banda del Liceo Guatemala, has been characterized over time as an innovative band that through time is attached to the moment in which it is maintaining its style and tradition, so it contains a wide repertoire in terms of marches, some made by the students themselves, and some by instructors who have been in charge of it. He has participated in different competitions in which he has taken the first places over time, such as those organized by: – Contest of September 14 of the Ministry of National Defense. (decade of the 90’s and 80’s) – Magno Contest. – National Contest of the Society of Marching Bands (National Champions 2005 and Central American 2004, best commander, best variation, wind soloist 1st. Place, lyre soloist 1st. Place, lyre soloist 2008) The band has an anthem and shield own, the latter designed by their own students at the end of the 90s. In 2008 the Marist Flag was instituted for the flag-bearer squad, thus giving a touch that gives greater enhancement to the national activities. In 2014, the Marching Bands Society awarded the award for “Best Bands Festival” In 2017, the Community of Bands of Guatemala awarded the award for the “Best Festival of Bands of the Republic of Guatemala” With you the Glorious Band of the Liceo Guatemala.", "domain": "music_and_dance"}
{"url": "https://www.mickeyhart.net/music/music-for-the-gods-the-fahnestock-south-sea-expedition-indonesia", "date": "2022-07-07T11:22:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656104690785.95/warc/CC-MAIN-20220707093848-20220707123848-00663.warc.gz", "language_score": 0.8628702759742737, "token_count": 399, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__206774932", "lang": "en", "text": "Music For The Gods is the second release in the Endangered Music Project, a series curated by Grateful Dead drummer Mickey Hart featuring material from the Library of Congress' American Folklife Center. This album captures the musical traditions of the Indonesian archipelago as it existed in 1941, when brothers Bruce and Sheridan Fahnestock recorded the indigenous musics of Bali, Java, Madura and Arjasa with (then) state-of-the-art Presto disc-cutters. The album preserves cultural traditions as they were prior to the westernization brought by WWII and presents a marked achievement in the restoration of deteriorating cellulose-acetate discs. Tracks feature the sweet and delicate sounds of the gambuh orchestra with its four bamboo flutes, the interlocking rhythms of the gamelan gong, the distinctive humming of the krejing harp, and vocal choruses performing ritual ceremonies with song and dance. Music For The Gods: The Fahnestock South Sea Expedition: Indonesia was issued in 1994 as part of “THE WORLD” series (now part of the Mickey Hart Collection made available by Smithsonian Folkways).", "domain": "music_and_dance"}
{"url": "https://thedon.je/whats-on/summersolsticeparty", "date": "2019-08-24T04:19:40Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-35/segments/1566027319724.97/warc/CC-MAIN-20190824041053-20190824063053-00371.warc.gz", "language_score": 0.9276880025863647, "token_count": 175, "dump": "CC-MAIN-2019-35", "global_id": "webtext-fineweb__CC-MAIN-2019-35__0__137831927", "lang": "en", "text": "Saturday June 22 | 3pm - late\nCelebrate summer on our rooftop terrace with summer cocktails in the sun.\nFeaturing guest DJ Gus F - Dig Deep.\nGus F (Dig Deep) is a DJ and producer with a broad range of musical tastes reflected in the wide variety of events he plays at, from his residency at club night Dig Deep to extended sets at beach bars and outdoor parties. This will be Gus's first time as a guest DJ at The Don, bringing a selection of up-beat summer vibes for dancing and welcoming in summer on the terrace.\nListen to Gus's Summer Solstice mix at https://soundcloud.com/gus-fra...\nTuck into some Street food and drink your way through our festive drinks menu.\nBookings not required. Free entry from 3pm - 1am.", "domain": "music_and_dance"}
{"url": "http://dlydath.xooit.fr/t211-Toni-Braxton-Album-Free-142.htm", "date": "2018-11-16T09:57:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-47/segments/1542039743007.0/warc/CC-MAIN-20181116091028-20181116113028-00371.warc.gz", "language_score": 0.8044077754020691, "token_count": 415, "dump": "CC-MAIN-2018-47", "global_id": "webtext-fineweb__CC-MAIN-2018-47__0__9749428", "lang": "en", "text": "toni braxton new cd Toni Braxton is the debut studio album by American singer Toni Braxton, released on July 13, 1993 by LaFace Records and Arista Records Overview.. Toni .\nToni Braxton Download Albums - Zortam Music Toni Braxton - Download Albums from Zortam Music.. .. Download \"Toni Braxton\" for FREE!!! Toni Braxton Albums Songs .\nSecrets by Toni Braxton - Free Mp3 Album Downloads ZIP Secrets by Toni Braxton songs free download.. .. 1 Toni Braxton Secrets album zip .. (142.74 MB) 2 Secrets Toni Braxton full album rar Duration: .\nAlbum Braxton Toni - Search Here & Browse Results netfind.com Search for Album Braxton Toni .\nToni Braxton - Wikipedia On July 13, 1993, LaFace Records released Braxton's self-titled debut album, Toni Braxton.. The album, which was primarily produced by Reid, Babyface, .\nToni Braxton: Pulse (Deluxe) - Music on Google Play Pulse is the seventh studio album by American singer and songwriter Toni Braxton.. It was released on May 4, 2010, by Atlantic Records.. This is her first album in five .\nToni Braxton on Amazon Music Check out Toni Braxton on Amazon Music.. Stream ad-free or purchase CD's and MP3s now on Amazon.\nToni Braxton Free listening, videos, concerts, stats and . Watch videos & listen free to Toni Braxton: Un-Break My Heart, He Wasn't Man Enough & more .. In 1993 Toni released her debut album simply titled, Toni Braxton.\nToni, Toni Braxton - Libra - Amazon.com Music Toni, Toni Braxton - Libra - Amazon.com Music Interesting .. Libra has to be the worst album Toni Braxton has released to .. Book Depository Books With Free .", "domain": "music_and_dance"}
{"url": "https://gvsunme.bandcamp.com/album/return?from=footer-nn-a4222545760", "date": "2023-09-23T23:56:16Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506539.13/warc/CC-MAIN-20230923231031-20230924021031-00066.warc.gz", "language_score": 0.9060852527618408, "token_count": 655, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__254536387", "lang": "en", "text": "The New Music Ensemble at Grand Valley State University (Allendale, MI) has established itself as an innovator and incubator within the new music community. Founded in 2006 by Director Bill Ryan, the ensemble has commissioned over 60 new works, toured extensively, and received wide recognition for its recordings of both Steve Reich’s Music For 18 Musicians, and Terry Riley’s In C. These albums have been on year-end best-of lists at WNYC, Time Out Chicago, the Washington Post, the New York Times, LA Weekly, and many others.\nIn its 11 years, the program at GVSU has developed a proud and supportive culture. Realizing a longtime goal of an “100% homegrown project,” Ryan, who also teaches composition at GVSU, turned to program graduates: Adam Cuthbert, Matt Finch, and Daniel Rhode after continuing to follow the work of the three composers on their recently formed experimental collective, slashsound.\nReturn is a forward-looking electro-acoustic vision. The 15 tracks are a lush and explorative marriage of electronic and acoustic sounds and gestures, in what Cuthbert describes as “electronic chamber music.” While rooted in the initial notation provided by the composers to the ensemble, recordings of this material were then used by the composers as the raw material (or “samples”) for the album. Despite creating something completely new out of the source material, the traditional composer/performer foundation provides an undeniable intimacy and warmth.\nreleased October 27, 2017\nGrand Valley State University New Music Ensemble\nBill Ryan: Director\nHannah Donnelly: flute, alto flute, bass flute, piccolo\nRyan Schmidt: clarinet, bass clarinet, contrabass clarinet\nDarwin McMurray: soprano, alto, tenor, baritone saxophones\nMakenzie Mattis: percussion\nReese Rehkopf: piano\nJenna Michael: violin\nKirk McBrayer: cello\nNiko Schroeder: sound engineer\nProducer: Bill Ryan\nRecording Engineer: Niko Schroeder\nAssistant Recording Engineer: Nate Bliton\nMixing Engineer: Adam Cuthbert\nMastered: Randy Merrill at Sterling Sound\nArt and Design: Michael Cina\nfilm by Four/Ten Media\nThanks to the Board of Trustees, administration, faculty, staff and students at Grand Valley State University. Thanks to violinist Todd Reynolds for his guest performance on glass surface.\ninnova is supported by an endowment from the McKnight Foundation\nPhilip Blackburn, director\nChris Campbell, operations director\nTim Igel, publicist\nFor more information on this and other projects visit www.newmusicensemble.com\n© Bill Ryan, 2017. All Rights Reserved.\ninnova is the label of the American Composers Forum.", "domain": "music_and_dance"}
{"url": "https://kristinhanggi.com/projects/rock-of-ages/", "date": "2019-08-25T05:40:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-35/segments/1566027323067.50/warc/CC-MAIN-20190825042326-20190825064326-00248.warc.gz", "language_score": 0.8659054636955261, "token_count": 209, "dump": "CC-MAIN-2019-35", "global_id": "webtext-fineweb__CC-MAIN-2019-35__0__105769039", "lang": "en", "text": "“Rock of Ages” is the 5-time Tony nominated rock musical with book by Chris D’Arienzo, built around classic rock hits from the 1980’s. The musical features songs from Styx, Journey, Bon Jovi, Pat Benatar, Twister Sister, Poison, and Europe. Since making its Broadway debut in 2009, Rock of Ages has been produced in London, Australia, Toronto, Las Vegas, among others, and had two National tours.\nIt is the 27th longest-running show on Broadway.\n“Is there a Tony Award for BADASSERY?!” – The New Yorker\n“The most remarkable Broadway experience I’ve ever had!” -The Village Voice\n“Pure Broadway gold!” -Spin Magazine\n“Absurdly enjoyable! About as guilty as pleasures get!” -The New York Times\n“Insanely fun! Rock and comedy in perfect proportion!” – Time Out New York", "domain": "music_and_dance"}
{"url": "https://cocoabar21clinton.com/mick-fleetwood-gets-to-be-most-current-new-music-star-to-market-legal-rights-to-most-significant-hits-ents-arts-information.html", "date": "2024-03-02T17:34:20Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947475833.51/warc/CC-MAIN-20240302152131-20240302182131-00726.warc.gz", "language_score": 0.9567264318466187, "token_count": 639, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__15014944", "lang": "en", "text": "Fleetwood Mac co-founder Mick Fleetwood has develop into the most current musician to market the legal rights to their greatest hits.\nHe follows a series of higher-profile stars like Bob Dylan, Neil Youthful and Debbie Harry who have offered the rights to their again catalogues in beneficial bargains in the latest months.\nFleetwood’s interests in his band’s recordings have been obtained by BMG, 1 of the world’s most important music publishers, in a offer that addresses a lot more than 300 tunes – like Fleetwood Mac hits these as Desires, The Chain and Go Your Personal Way, from their largest-providing album, Rumours.\nSpecifics of how considerably the offer is worth have not been discovered. Nonetheless, it addresses drummer Fleetwood’s pursuits in all of the band’s recorded operate, apart from for their initially two albums.\nBMG will now acquire a charge each and every time a single of the music is streamed, performed on the radio, or made use of in a film or video clip recreation.\nFleetwood, 73, explained: “This is a incredibly inspiring relationship amongst two innovative partners that have an understanding of all elements of the organization. Foremost, BMG understands the artistry and places the artist initial.\n“If this partnership is any indicator of my past, and now potential, performing romance with BMG, it’s that they genuinely ‘get it’.”\nBMG main government Hartwig Masuch mentioned: “Mick Fleetwood is the bedrock of one particular of the greatest bands in rock, he has a unique talent to convey jointly musicians of all genres and of program he is one of rock’s best drummers.”\nOther artists who have sold the rights to their hits in modern months include things like Shakira and Mark Ronson, as perfectly as Dylan, whose deal with Common Music Group was approximated to be worthy of additional than $300 million (£226m).\nFleetwood fashioned Fleetwood Mac along with John McVie in 1967, with guitarists Jeremy Spencer and the late Peter Inexperienced, who died in 2020.\nThey discovered success with the blues-rock 3rd album Then Enjoy On, with hit singles Albatross and Gentleman Of The Earth, but amid infighting and substance abuse, they finished up disbanding.\nFleetwood and McVie resurrected the band in the mid-1970s with a new line-up together with Buckingham, Stevie Nicks and Christine McVie, and they went on to discover global success.\nRumours, their 11th album, released in 1977, is a single of the finest-promoting albums of all time. They have marketed additional than 100 million documents in total globally, building them 1 of the most prosperous groups at any time, and were inducted into the Rock ‘n’ Roll Corridor Of Fame in 1998.\nBuckingham was fired from the band in 2018 and replaced by Heartbreakers guitarist Mike Campbell and Neil Finn of Crowded Home.", "domain": "music_and_dance"}
{"url": "https://www.namasa.net/post/love-and-elegance-in-paradise-bing-and-steffi-s-bali-wedding", "date": "2023-11-29T21:25:06Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100146.5/warc/CC-MAIN-20231129204528-20231129234528-00815.warc.gz", "language_score": 0.9837649464607239, "token_count": 231, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__187781124", "lang": "en", "text": "Bing and Steffi, who come from New Zealand, chose to have their wedding in Bali, where they exchanged their vows in a beautiful beachside ceremony surrounded by their loved ones.\nThe reception was held at a luxurious resort with stunning views of the ocean and lush greenery. The decor was a perfect blend of Balinese charm and modern elegance, with delicate floral arrangements and intricate details.\nThe celebration continued well into the night, with guests enjoying delicious food, drinks, and music. It was a night of pure joy and happiness, as everyone came together to celebrate the love between Bing and Steffi. The newlyweds took to the dance floor for their first dance, which left their guests in awe. Surrounded by sparklers and cheers from their loved ones, they danced to a beautiful love song, creating a romantic moment that will stay with them forever.\nBali provided the perfect backdrop for their dreamy wedding, with its stunning landscapes and perfect weather. It was a day that they will cherish for the rest of their lives, and one that their guests will never forget.\nPhotography by Chesoen Tan", "domain": "music_and_dance"}
{"url": "https://portal.marriott.com/hanjw-dining/cool-cast-jazz-club", "date": "2020-10-25T10:55:18Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107888931.67/warc/CC-MAIN-20201025100059-20201025130059-00263.warc.gz", "language_score": 0.8939529061317444, "token_count": 179, "dump": "CC-MAIN-2020-45", "global_id": "webtext-fineweb__CC-MAIN-2020-45__0__28430817", "lang": "en", "text": "Cool Cats Jazz Club\n* Learn about our commitment to clean\nPlease come and visit our sophisticated and cool entertainment venue at Cool Cats Jazz Club. Let us take you back to the 1920's and enjoy listening to exclusive performances from local and international musicians while sampling signature cocktails and a selection of light bites to complement your drinks.\nCome join us for a pre-dinner aperitif, a nightcap or indeed stay all night, you are more than welcome to join the ‘Cats!'.\nGrab your dancing shoes now 'cause the Roaring Twenties is coming here to stay! On the 24th of October, Cool Cats would like to take you back to the golden age of jazz with the energetic, lively Swing Jazz event. We hope you are ready to hit the dance floor!\nTime: 7.00 PM - 10.00 PM, 24 October 2020", "domain": "music_and_dance"}
{"url": "https://www.kappaalphaorder.org/2016/11/country-music-concert-raises-thousands/", "date": "2022-12-07T17:53:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446711200.6/warc/CC-MAIN-20221207153419-20221207183419-00274.warc.gz", "language_score": 0.9359050989151001, "token_count": 154, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__6110771", "lang": "en", "text": "Country Music Concert Raises Thousands\nThe Gamma Chi Chapter at Texas Tech University joined forces with Phi Delta Theta to put on the 36th annual Kalf Fry: a philanthropic country music concert.\nThe October concert at the Lonestar Amphitheater in Lubbock featured Randy Rogers Band, with special guests William Clark Green and Red Shahan.\nKalf Fry has a history of philanthropic success, raising over $30,000 last year to benefit Amyotrophic Lateral Sclerosis (ALS) and Muscular Dystrophy Association research.\nBoth KA and Phi Delta members volunteer with the event to serve refreshments and advertise on campus. Tickets were sold through Roadhouse Tickets, Inc.\nThe annual concert was open to all ages.", "domain": "music_and_dance"}
{"url": "https://nncpr.com/al-majaz-amphitheatre-host-kuwaiti-singer-abdallah-al-rowaished-emirati-star-balqees/", "date": "2020-08-15T12:55:00Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-34/segments/1596439740848.39/warc/CC-MAIN-20200815124541-20200815154541-00095.warc.gz", "language_score": 0.9297624826431274, "token_count": 940, "dump": "CC-MAIN-2020-34", "global_id": "webtext-fineweb__CC-MAIN-2020-34__0__139442196", "lang": "en", "text": "As part of Sharjah World Music Festival\nSingers take to stage on January 12, 2018\nSharjah, December 25, 2017,\nThe iconic Al Majaz Amphitheatre, a subsidiary of the Sharjah Government Media Bureau (SGMB), will host renowned Kuwait singer Abdallah Al Rowaished and Emirati star Balqees as the opening night headliners of the fifth Sharjah World Music Festival (SWMF 2018), on January 12.\nThe open-air semi-circular Al Majaz Amphitheatre is the first of its kind in the Middle East, which has emerged as a leading destination for cultural and artistic performances in the UAE and beyond. Boasting world-class infrastructure and sound technology, the venue has drawn keen attention from cultural figures and international artists, due to its role in communicating Sharjah’s cultural message.\nBest known as the ‘Ambassador of Gulf Song’, Abdallah Al Rowaished is a popular singer in the Arab world. He won the ‘Best Arab Singer’ award in 1999 for his song ‘The Last Beloved’, and the ‘Outstanding Artistic Creativity’ award in 2010 at the ART Festival.\nThe Emirati award-winning singer and soprano, Balqees, made a debut in the music industry in 2013 with the record-breaking album Majnoun Balqees, and has since earned herself millions of fans and many prestigious awards including iTunes’ ‘Best Singer in the Middle East’ in 2015, and the Murex d’Or’s ‘Best Arab Khaliji Singer’ in 2017.\nHE Tariq Saeed Allay, Director of SGMB, said: “Organising this concert is part of Al Majaz Amphitheatre’s cultural initiatives, which aim to enrich the cultural landscape of the Gulf, and add to its role in furthering the global artistic movement by bringing spectacular performances to audiences from different nationalities and backgrounds.\n“We are pleased to host the accomplished Kuwaiti artist Abdallah Al Rowaished this year, who is one of the greatest Arab music contemporaries. We are also delighted to have Balqees, a superstar in the Khaliji music arena, whose immense popularity comes from her formidable talent and grand presence on stage.”\nAbdallah Al Rowaished said: “Sharjah is revered worldwide as a region hub for cultural and artistic enterprises. The concept of bringing the best international musicians and local audiences together in one venue broadens people’s horizons and enables intercultural understanding and appreciation. For me, my presence at Sharjah World Music Festival is a great opportunity to experience the emirate’s wonderful diversity and connect with enthusiasts of authentic Gulf songs.”\nFor her part, accomplished soprano Balqees expressed excitement about meeting her fans at SWMF 2018. “The festival’s growing popularity and reputation was one of the major motivations for my appearance at Al Majaz Amphitheatre. I look forward to bringing something completely new and exciting to the SWMF audiences – something none of my past concerts have seen.”\nTickets for Sharjah World Music Festival’s concerts are available online at www.ticketmaster.ae, and can be purchased at customer service counters of Al Qasba Theatre, The Flag Island Theatre, Al Majaz Amphitheatre and Al Majaz Waterfront.\nThe fifth edition of SWMF, presented by Sharjah Investment and Development Authority (Shurooq) in a strategic partnership with Sharjah Commerce and Tourism Development Authority (SCTDA) and Al Majaz Amphitheatre, will feature 14 concerts spanning Arabic and Andalusian music, Jazz, and more will have something in the offering for music lovers of different tastes and preferences. Five concerts are ticketed are distributed between two stunning venues, Al Majaz Amphitheatre and Flag Island Theatre. The remaining nine performances will be free for public viewing and will be held outdoors at Al Qasba and Al Majaz Waterfront.\nSince it was inaugurated in 2014, Al Majaz Amphitheatre hosted spectacular eastern and western shows and musicals featuring internationally recognised artists. Some of the top Arabic names who have performed at the iconic outdoor venue include Saudi legend Mohammed Abdu, Majida El Roumi, Kazem Al Saher, Marcel Khalife and Hussein Al Jassmi. Greek musical legend Yanni, and Latin music maestro Jolio Iglesias, are among other renowned western musicians who have performed at the theatre.", "domain": "music_and_dance"}
{"url": "http://czechmetalstudies.com/2019/05/28/medievalism-and-metal-music-studies-throwing-down-the-gauntlet/", "date": "2023-02-03T22:58:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500076.87/warc/CC-MAIN-20230203221113-20230204011113-00260.warc.gz", "language_score": 0.9005037546157837, "token_count": 318, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__95365305", "lang": "en", "text": "Ruth Barratt-Peacock & Ross Hagen (eds.)\nEmerald Publishing Limited\nMetal music has long nurtured an obsession with visions of the Middle Ages, with countless album covers and lyric sheets populated by Vikings, knights, wizards, and castles. Medievalism and Metal Music Studies: Throwing down the Gauntlet addresses this fascination with all things medieval, exploring how metal musicians and fans find inspiration both in authentically medieval materials and neomedievalist depictions of the period in literature, cinema, and other media. Within metal music, the medieval takes on multiple, and even contradictory meanings, becoming at once a cipher of difference and grotesque alterity while simultaneously being imagined as a simpler, more authentic time, as opposed to the complexities and stresses of modernity. In this fashion, the medieval period becomes both a source for artistic creativity and a vector for countercultural social and political critique.\nThe contributors in this book hail from a wide range of fields including medieval history, music performance, musicology, media studies, and literature, and computer linguistics, bringing a variety of critical perspectives to bear on the topic. Engaging in analyses of cover art, liner notes, lyrics, and musical style, the contributors investigate issues of research methodologies, crucial concerns over identity and nationalism, and the recontextualisation of historical materials, all aimed at critically examining how and why medievalism has permeated heavy metal music and culture. Hearken to our tales!", "domain": "music_and_dance"}
{"url": "http://cinemadaddy.com/shruthi-hassan-lend-voice-tammannaah/", "date": "2017-12-17T00:26:21Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-51/segments/1512948592202.83/warc/CC-MAIN-20171217000422-20171217022422-00599.warc.gz", "language_score": 0.9548600912094116, "token_count": 250, "dump": "CC-MAIN-2017-51", "global_id": "webtext-fineweb__CC-MAIN-2017-51__0__4656234", "lang": "en", "text": "One actress sings for another! Shruti Haasan is getting herself to croon for Tamannaah Bhatia. Apart from her acting skills, Shruti Haasan is also known for her singing and soon she will be lending her voice to another actress. Shruti has been reportedly roped in to sing a special song for Tamannaah Bhatia in the upcoming Tamil comedy “Kathi Sandai”, which stars Vishal. Shruti has been approached and she has given her nod to sing. The recording will happen soon. It’ll be a special song on Tamannaah, and will be lavishly shot. Featuring music by Hip Hop Tamizha, it’s the film’s director Suraj, who felt Shruti’s voice will be apt for the song. The film, which is gearing up for Diwali release, also features Vadivelu and Soori.\nI’m a premiere online destination for movie enthusiasts, providing the latest news and information on casting and development, release dates, trailers, interviews and clips, full movies and more. I will keeps users connected to all their favorites, past, present and future.", "domain": "music_and_dance"}
{"url": "https://ancientwaters.net/about", "date": "2024-02-24T13:36:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474533.12/warc/CC-MAIN-20240224112548-20240224142548-00677.warc.gz", "language_score": 0.9526664018630981, "token_count": 120, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__16134798", "lang": "en", "text": "Ancient Waters is a European one woman band which was formed by Jehanna in 2015.\nShe is a classically trained singer who also composes all of Ancient Waters’ songs, writes the lyrics, plays the piano, keys, guitar and bass.\nBesides, she is a Master of Arts in Art History and a graduated graphic designer.\n2004-2009 Trained in classical singing\n2006-2009 Lessons in playing the piano, music theory and ear training\n2007-2014 Singer in several bands\n2013-2019 Studies in art history and musicology\n2015 Forming of Ancient Waters", "domain": "music_and_dance"}
{"url": "https://nourishing.wordpress.com/category/art/", "date": "2018-12-15T05:03:46Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376826715.45/warc/CC-MAIN-20181215035757-20181215061757-00638.warc.gz", "language_score": 0.9706252217292786, "token_count": 480, "dump": "CC-MAIN-2018-51", "global_id": "webtext-fineweb__CC-MAIN-2018-51__0__29818992", "lang": "en", "text": "My dear sister Anna has been on a music tour around the US with a wonderful group, Music Camp International. This ministry is dedicated to the work of bringing music to children here in the US and in Romania and the Ukraine. Many of the children who participate in this program overseas have their first taste of personally participating in music during their week of camp. The director of Music Camp, Int. often speaks of the music that she believes that is in every child, the music that she wants to help them discover and appreciate.\nI must admit, the first time I heard this I thought it was just a little hokey (I have a, umm, cynical side…just so you know.) But I am beginning to appreciate this idea more and more. I absolutely love beautiful music-it makes me cry every single time. I cry at every Schola Cantorum concert, I cry EVERY time I hear the Messiah live and sometimes when I hear it on CD, I cry at a particularly well done symphonic concert. And I don’t actually consider myself to be a “crier.”\nWhat would it be like if I never experienced the beauty of music? Would I be less human, or less of who I was created to be? Is music needed to really pursue the idea of knowing and enjoying God forever?\nI am thinking that without music, I would be less of a person. I can’t imagine a life without music. And I have been thinking that there is a really good reason that the Church has for so long preserved and used beautiful music-it is indeed part of knowing and enjoying God. If all of this is the case, I am delighted that there are Christians committed to excellent, beautiful, meaningful music. I am delighted that there are Christians committed to giving music to people who might not have much of it. I am delighted that there are Christians committed to teaching children to love and enjoy this amazing gift of God.\nRejoice in the LORD, O ye righteous: for praise is comely for the upright.\nPraise the LORD with harp: sing unto him with the psaltery and an instrument of ten strings.\nSing unto him a new song; play skilfully with a loud noise.\nFor the word of the LORD is right; and all his works are done in truth.", "domain": "music_and_dance"}
{"url": "https://www.lauratlewis.com/epk", "date": "2023-12-09T11:24:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100909.82/warc/CC-MAIN-20231209103523-20231209133523-00888.warc.gz", "language_score": 0.8615689873695374, "token_count": 261, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__289572671", "lang": "en", "text": "Laura T Lewis\nRaised under the northern fog banks of the San Francisco Bay on a heavy dose of country, folk, and blues from old Clement Street, Laura stitches these influences together for a sound of her own.\nWith lyrically driven melodies fueled by heartbreak, loss, love, and a sense of humor, her songs have the soul of a time long-passed and the spirit to withstand the passage of time.\nIndependent, performing artist available solo or with accompaniment upon request\nHometown: San Francisco/Bay Area, CA\nBegan Performing: San Luis Obispo, CA (2016)\nCurrently Based: Felton, CA (willing to travel)\nGenre: #folk, #country, #singersongwriter #Americana\nDebut Album: \"High Above the Brushfire\"\nReleased June 14, 2019\nAll songs written by Laura Lewis\nProduced by Luke Strand and Denys Kozakis\nRecorded at The Map Room in Portland, OR\nMixed and Mastered by Marc Daniel Nelson\nCover art by Taryn Dudley and OMFGCO\nAvailable on vinyl, CD, digital download and all streaming services.\nContact & social\ninfo and booking:\nPhotos for download by\nTaryn Dudley Photography", "domain": "music_and_dance"}
{"url": "https://apemachine.com/ape-machine-debut-album/", "date": "2023-09-25T00:43:57Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506669.96/warc/CC-MAIN-20230924223409-20230925013409-00249.warc.gz", "language_score": 0.977109432220459, "token_count": 116, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__153499082", "lang": "en", "text": "Ape Machine Debut Album\nApe Machine has recorded an 8 song LP entitled “This House Has Been Condemned”. The album was recorded at the Magic Closet in Portland, OR and was engineered by Jeff Stuart Saltzman, Ian Watts and Josh Heinze, and includes tracks produced by Sebastian Rogers. The album is scheduled to drop in May so all of those who have been waiting can look forward to picking up a copy this spring! The record will be released on vinyl, digitally and on a CD that will be included in the vinyl purchase.", "domain": "music_and_dance"}
{"url": "http://laposada.com/jamboozie/", "date": "2013-05-25T19:21:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368706121989/warc/CC-MAIN-20130516120841-00021-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.8650389313697815, "token_count": 533, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__117043862", "lang": "en", "text": "La Posada Hotel is the Official Hotel of Jamboozie 2013\nSaturday, January 26, 2013\n$189.00 – Club Level King with Single or Double\nLa Posada Hotel’s Package includes a Club Level Room with extra perks that you can only get from the Official Hotel of the Jamboozie Street Festival!\n- Breakfast (6:30am – 10:00am)\n- Drinks and Hors D’oeuvres (5:30pm – 8:00pm)\n- 2 tickets to the Jamboozie Street Festival\n- Free Parking in La Posada’s private and secure parking garage\n- Exclusive access to our hotel balconies for the Jamboozie Parade\nFor One Night Only, La Posada Hotel’s very own Zaragoza Grill will offer the best New Orleans Style Cuisine in Jamboozie 2013!\nJamboozie is a yearly “Mardi Gras Style” Street Party, which includes live music, food and drinks that takes place right outside of our hotel doors. Over 35,000 partygoers attended the 2010 Festivities and 2011 promises to be even better!\nUETA Jamboozie mixes the best of the Big Easy’s Mardi Gras, Rio de Janeiro’s Carnival and the live music atmosphere of Austin’s famous Sixth Street, with a huge splash of Laredo’s spicy culture thrown in for good measure. With 7 stages sprinkled throughout a wide swath of historic downtown Laredo, there is something for everyone, from Classic Rock to Tejano, to smooth Jazz, to country to salsa.\nSTREET PERFORMERS! There’s a surprise around every corner. You can find jugglers, Mariachi Bands, dancers, and even artist performing for your delight.\nSMELL THE SIZZLE! Confused? You won’t be. Once you come down and smell the wonderful variety of food cooking. Bring an empty stomach to try it all.\nMUSIC GALORE! If you can dance to it we’ve got it, so dance to the sounds of home-grown musicians and visiting groups performing Zydaco, Salsa, Cumbia, Tejano, hip hop, rock and everything in between\nDRESS IT UP! Who says you can only dress up and act silly on Halloween. Come play the Jamboozie way! Bring your craziest Jamboozie attire. If you can’t find one buy it here with us!", "domain": "music_and_dance"}
{"url": "http://westkc.org/?view=details&id=115%3Anellie%E2%80%93mckay&option=com_eventlist&Itemid=27", "date": "2016-10-26T13:09:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2016-44/segments/1476988720945.67/warc/CC-MAIN-20161020183840-00276-ip-10-171-6-4.ec2.internal.warc.gz", "language_score": 0.9000216126441956, "token_count": 303, "dump": "CC-MAIN-2016-44", "global_id": "webtext-fineweb__CC-MAIN-2016-44__0__226536727", "lang": "en", "text": "Jess Eliot Myhre and Chris Ousley, founding members of the Bumper Jacksons, will conduct an afternoon harmony-singing workshop for all ages.\nThey will introduce the basics of harmony singing and teach participants how to hear a chord, find a harmony line, and sing in the phrasing of the lead. The group will learn songs from the old-time canon and be singing in three-part harmony by the end.\nFREE with your purchase of a Bumper Jacksons concert ticket; $5/person otherwise.\nTake the workshop, grab a bite to eat, then return in time for the 7PM concert!\nThe West Kortright Centre is a thriving arts & community center in a bucolic farm valley that has been celebrating the arts and life in the northern Catskills since 1975.\nThe Centre, known for presenting fine programming in an acoustically warm and intimate auditorium, has enticed hundreds of musicians, actors, writers and other performers from as far away as Ireland, Italy, Zaire, Ukraine, Jamaica, Angola, Palestine, Uganda, Cuba, Haiti, Peru, Zimbabwe, Mali, Sweden, Morocco, Israel, Sierra Leone, South Africa, Argentina, and Brazil.\nArtists presented at The West Kortright Centre include composers John Cage, Meredith Monk, Peter Schickele, and Virgil Thomson; poets Allen Ginsberg, Sekou Sundiata, and Hayden Carruth; [Read More…]", "domain": "music_and_dance"}
{"url": "https://www.dragondynamics.fit/group/express-workouts/discussion/37112aea-2a81-4b06-a908-d4fe1d3bf1c7", "date": "2023-10-04T13:30:19Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511369.62/warc/CC-MAIN-20231004120203-20231004150203-00188.warc.gz", "language_score": 0.9173007011413574, "token_count": 1113, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__322975210", "lang": "en", "text": "Gunday Movie Video Song Mp4 Free Download\nGunday Movie Video Song Mp4 Free Download: A Guide to Enjoy the Bollywood Hit\nIf you are a fan of Bollywood movies, you might have heard of Gunday, a 2014 action thriller film starring Ranveer Singh, Arjun Kapoor, Priyanka Chopra and Irrfan Khan. The film is set in the 1970s and 1980s and tells the story of two childhood friends who become coal bandits and later mafia dons. The film was a box office success and received positive reviews from critics and audiences.\nGunday Movie Video Song Mp4 Free Download\nWhat are the songs in Gunday Movie?\nGunday Movie has a total of nine songs composed by Sohail Sen and Julius Packiam. The songs are sung by various artists such as Bappi Lahiri, KK, Neeti Mohan, Javed Ali, Shadab Faridi and others. The songs are a mix of genres such as rock, disco, qawwali and folk. The songs are:\n- Jashn-e-Ishqa: A rock song that celebrates the friendship and brotherhood of the two protagonists.\n- Tune Maari Entriyaan: A catchy song that introduces the characters and their love interest.\n- Jiya: A romantic song that expresses the feelings of the lovers.\n- Asalaam-e-Ishqum: A disco song that features a cabaret performance by Priyanka Chopra.\n- Saaiyaan: A soulful song that depicts the separation and pain of the lovers.\n- Mann Kunto Maula: A qawwali song that praises the divine and invokes the blessings of Allah.\n- Gunday: A title song that showcases the attitude and style of the gunday (outlaws).\n- Rhythm of Jashn-e-Ishqa: An instrumental version of Jashn-e-Ishqa with a rock twist.\n- Tune Maari Entriyaan - Bangla Version: A Bengali version of Tune Maari Entriyaan with different lyrics.\nHow to download Gunday Movie Video Song Mp4 for free?\nIf you want to enjoy the songs of Gunday Movie in high quality mp4 format, you can download them for free from some websites that offer free movie video songs. One of them is Archive.org, where you can find all the songs of Gunday Movie in 3gp, mp4 and hd formats. You can also stream them online or download them to your device. Another website where you can download Gunday Movie Video Song Mp4 for free is Hd9video.com, where you can find all the songs of Gunday Movie in hd 1080p and hd 720p formats. You can also watch them online or download them to your device.\nWhat are the benefits of downloading Gunday Movie Video Song Mp4 for free?\nDownloading Gunday Movie Video Song Mp4 for free has many benefits. Some of them are:\n- You can enjoy the songs of Gunday Movie anytime and anywhere without any internet connection.\n- You can save your data and bandwidth by downloading the songs once and playing them offline.\n- You can share the songs with your friends and family via Bluetooth, WhatsApp, or other apps.\n- You can use the songs as ringtones, alarm tones, or notification tones for your phone.\n- You can edit the songs and make your own mashups or remixes.\nWhat are the risks of downloading Gunday Movie Video Song Mp4 for free?\nDownloading Gunday Movie Video Song Mp4 for free also has some risks. Some of them are:\n- You may download the songs from untrusted or illegal sources that may contain viruses, malware, or spyware that can harm your device or steal your personal information.\n- You may violate the copyright laws and face legal consequences if you download the songs without the permission of the owners or creators.\n- You may compromise the quality and authenticity of the songs by downloading them from low-quality or fake sources that may have poor audio or video quality or altered lyrics or music.\n- You may miss out on the original experience and enjoyment of watching the songs on the big screen or listening to them on official platforms.\nGunday Movie Video Song Mp4 Free Download is a way to enjoy the songs of Gunday Movie, a 2014 Bollywood action thriller film. The songs are composed by Sohail Sen and Julius Packiam and sung by various artists. The songs are a mix of rock, disco, qawwali and folk genres. You can download the songs for free from websites like Archive.org or Hd9video.com in different formats and quality. However, you should also be aware of the risks of downloading the songs from untrusted or illegal sources that may harm your device or violate the law. You should also respect the rights and efforts of the owners and creators of the songs and support them by watching the film on official platforms. Gunday Movie Video Song Mp4 Free Download is a good option for Bollywood fans who want to listen to the songs offline, but it is not a substitute for the original experience and enjoyment of watching the film. d282676c82", "domain": "music_and_dance"}
{"url": "https://simonspiesstrio.com/NEWS", "date": "2018-05-23T14:45:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-22/segments/1526794865679.51/warc/CC-MAIN-20180523141759-20180523161759-00268.warc.gz", "language_score": 0.8389759063720703, "token_count": 157, "dump": "CC-MAIN-2018-22", "global_id": "webtext-fineweb__CC-MAIN-2018-22__0__200711260", "lang": "en", "text": "// 14.04.17 - It was a great pleausure to play at Jazz Tales Festival in Alexandria and Cairo! Thanks for this kind invitation!\n// 29.03.17 - It was super great to record our new album at Powerplay Studio with Martin Pearson! Thanks so much Peter Bürli and Radio Srf 2 for making this session possible. Our new album will be released in September! Yeah!!\n// 17.05.17 - Beautiful poster of master Niklaus Troxler for our upcomming gig at Bau 4 on 11th of June! Thanks a lot!\n// 14.05.17 - Our gig at Schaffhauser Jazzfestival was a blast! Check out the pictures of our performance at Kammgarn.", "domain": "music_and_dance"}
{"url": "http://dancex2.com/pilates-sante", "date": "2013-06-20T00:58:36Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368709947846/warc/CC-MAIN-20130516131227-00028-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9347472786903381, "token_count": 392, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__96565507", "lang": "en", "text": "Pilates Sante’s Dance Conditioning program\nPilates for Dancers\nPilates conditioning protects dancers from injury, improves stamina, and enhances dance performance. Pilates Santé offers a program specifically for dancers to improve their strength, flexibility, and technique.\nAriel has over 20 years of professional dance training and experience in multiple dance forms. She studied in New York at the School of American Ballet on a full-tuition scholarship as well as at San Francisco Ballet and Pacific Northwest Ballet, including ballet, modern and jazz, and has been working with pilates as a dancer for 25 years.\nNow Ariel is a professional salsa dancer and performs and competes internationally, first with the World Champion team Pretty Boys and Girls and currently with her partner Isidro Corona of Montuno Dance. Ariel is passionate about helping dancers stay healthy and injury-free, and achieve their highest dancing potential.\nDancers’ Pilates Training Program\nThe first step is a thorough evaluation to assess flexibility, strength, neuromuscular control, and technique. The dancer is then be given an individual program of conditioning exercises plus a supportive home exercise program.\nLack of core strength greatly increases stress on the spine and extremities, increasing the risk for injury. Dancers are educated and trained in all core muscles, as well as hip and ankle strength to decrease stress on the lower extremities and allow the leg and foot to absorb shock.\nDynamic balance and postural alignment is crucial in dance technique. The dancer will be trained by performing dance-specific movements on pilates equipment and unstable surfaces.\nDancers are instructed in the safest and most effective stretching and warm up methods, and instructed on active rest, and gradual return from injury or periods of inactivity.\nContact Ariel Lehaitre M.S., P.T. for more information regarding the dancers program or to schedule an initial evaluation.", "domain": "music_and_dance"}
{"url": "http://ellapopochrock.blogspot.com/2011/09/", "date": "2020-08-06T15:41:59Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-34/segments/1596439736972.79/warc/CC-MAIN-20200806151047-20200806181047-00028.warc.gz", "language_score": 0.9861032366752625, "token_count": 105, "dump": "CC-MAIN-2020-34", "global_id": "webtext-fineweb__CC-MAIN-2020-34__0__98603703", "lang": "en", "text": "The weeks are going by so fast, we had a good week this week. We celebrated two birthdays, mine & Sophia's. We all baked cake together & ate it of course. Our ensemble groups are going really well. We have started working on \"Johnny B. Goode\" by Chuck Berry, which will be the closing song with all 12 girls playing together. We are all excited about the 50's theme & have started on the poster for the show, which we will share with you when it's complete.", "domain": "music_and_dance"}
{"url": "https://www.celebrity-imposters.com/country_queens_show.php", "date": "2024-04-23T17:37:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296818732.46/warc/CC-MAIN-20240423162023-20240423192023-00737.warc.gz", "language_score": 0.9103938341140747, "token_count": 307, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__77849585", "lang": "en", "text": "COUNTRY QUEENS is a musical tribute to the leading ladies of country music featuring up to a dozen female\ncountry music icons. With fabulous vocals and amazing costume transformations, Bonnie is a musical, comedy\ngenius who takes her audience on a thrilling and entertaining ride, showcasing celebrities from past to present, bringing us classic country artists like Loretta Lynn and Patsy Cline to the country icons of today like Dolly Parton and Shania Twain.\nBonnie genuinely portrays these queens of country and always adds a healthy dose of comedy to each\nperformance. She engages her audiences with a unique style, authentic look and excellent vocals. Audience\nparticipation provides an extra element of fun and surprise which culminates in a fantastic evening of\nIt's a visually-exciting show with full costume/wig changes and is multi-media in nature using video clips\nprojected on-screen during 1-minute (at most) costume changes.\nCOUNTRY QUEENS can be performed to tracks or performed with the accompaniment of a seasoned four-piece band,\nthe members of which also provide back-up vocals.\nBonnie recently won the COUNTRY'S HOTTEST HITTER award for her Patsy Cline tribute show at the Las Vegas\nReel Awards 2020.\nIf you love country music and you love your country music sung by the female stars of country, this is\ndefinitely the show for you!", "domain": "music_and_dance"}
{"url": "http://riverphlo.com/special-offer/", "date": "2016-02-10T12:44:44Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2016-07/segments/1454701159376.39/warc/CC-MAIN-20160205193919-00113-ip-10-236-182-209.ec2.internal.warc.gz", "language_score": 0.8362276554107666, "token_count": 151, "dump": "CC-MAIN-2016-07", "global_id": "webtext-fineweb__CC-MAIN-2016-07__0__176762534", "lang": "en", "text": "Andraé Crouch Ultimate Collection\nAvailable this holiday season, My Life, My Music My Journey Collection will be offered exclusively at GetAndraeCrouch.com. This special bundle is a must-have for music and gospel lovers. A comprehensive package that includes, The Journey CD & bonus DVD (includes interview and performance footage from the exceptional recording process of the album); “Live In Los Angeles” concert DVD (recorded last Summer with 14 live tracks of classic Crouch hits); an enhanced single of “The Promise” (includes instrumental track, music video and sheet music); an autographed picture of Andraé Crouch and The Journey songbook.\nVisit GetAndraeCrouch.com to learn more.", "domain": "music_and_dance"}
{"url": "https://bweducation.businessworld.in/article/Learning-Music-Can-Help-Retaining-Memory/07-08-2020-306115/", "date": "2023-09-26T01:46:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510130.53/warc/CC-MAIN-20230926011608-20230926041608-00483.warc.gz", "language_score": 0.960175633430481, "token_count": 733, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__47118543", "lang": "en", "text": "Learning Music Can Help Retaining Memory\nFor all of those who master the art of playing an instrument, one of the most important organs of the human body (brain) is developed and memory is improved.\nMusic has long been known to have profound effects on the brain. Listening to the right tunes can provide mood-altering effects and can even create a better quality of life for those who use music to distress. Supporting a lot of these benefits a blooming pool of fact-finding and examination also proves that along with just being able to uplift an individual’s mood, the effects of music goes deeper to also expand cognitive abilities. For all of those who master the art of playing an instrument, one of the most important organs of the human body (brain) is developed and memory is improved.\nThere are many theories that speak about the various brain mechanisms that are related to memory, learning and retention but one thing that is most agreed upon is that information set to a music/tune is amongst the first to be registered in the brain and amongst the easiest to remember. Music helps retain learned information and as per numerous experiments incorporating music into a classroom environment to create a positive learning experience and improve memory while increasing attention.\nWhether it is a young kid working on completing their homework, a teenager who is preparing for an examination or even an adult during a usual work day trying to focus on work, they will find that listening to music is stimulating the brain while making the process more enjoyable as well as making recall easy.\nLet’s understand more about how and why this happens. When an individual is playing an instrument, he/she is learning to read and count notes (left brain activity) while at the same time playing them and forming a tune and enhancing how it sounds by improvising (right brain activity) Similarly, listening to music needs the person to hear the words and process it (left brain) and then hear the tune (right brain). Thus, music gives the brain an all-round boost allowing the individual to use it at its best capabilities. And as the brain is being used to the best of it’s potential it’s grasping power and memorizing ability is at its peak.\nTo support this theory more there are some confirmed and stated facts on what music supports retention of memory the best. The speed and type of the soundtrack increase interest and activates the information mentally, physically or emotionally. It also creates a highly focused learning state in which vocabulary and reading material is absorbed at a great rate. The Tempo of the music plays an important role in retaining power. It is suggested that music with a tempo around 70 beats per minute (bpm) appears to study faster and retain more information. Classical music, Nature sounds, ambient electronic music are known to keep the mind most relaxed and active while processing information. Lastly, the audio volume control plays a key role in concentration levels. We don't want it to take over while it is supposed to be in the background.\nIt is also proved that when information is put to rhythm and rhyme, the musical elements provide a hook for recall and the context of the song is more easily grasped. Being one of India’s leading music educators, Furtados School of Music also tries to introduce academics through music education so as to teach children the syllabus in a more creative way. After all, a child is learning the best while he is having fun!\nDisclaimer: The views expressed in the article above are those of the authors' and do not necessarily represent or reflect the views of this publishing house\nAround The World", "domain": "music_and_dance"}
{"url": "https://www.benbrodymusic.com/home", "date": "2021-11-27T07:41:14Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358153.33/warc/CC-MAIN-20211127073536-20211127103536-00614.warc.gz", "language_score": 0.8724067807197571, "token_count": 105, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__56722531", "lang": "en", "text": "I had the pleasure of orchestrating composer Anthony Barfield's Concerto for Euphonium, Heritage. Performances with the Bozeman Symphony on November 20th and 21st.\nClick image for more details.\nMy collaborative album with Ian Chang, Floating Into Infinity, is up for consideration\nin the following categories for this years GRAMMY Awards®.\n• Best New Age Album\n• Best Classical Composition\n• Best Instrumental Composition\nReleased on New Amsterdam Records February 12th, 2021.", "domain": "music_and_dance"}
{"url": "https://poland.tw/web/taiwan/first-chopin-outdoor-piano-recital-in-taiwan", "date": "2024-02-29T15:21:58Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474843.87/warc/CC-MAIN-20240229134901-20240229164901-00535.warc.gz", "language_score": 0.9512873888015747, "token_count": 153, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__198756938", "lang": "en", "text": "First Chopin outdoor piano recital in Taiwan\nFirst ever Chopin outdoor piano recital took place in Taiwan.\nPolish Office in Taipei organized the first Frederic Chopin outdoor piano recital in Taiwan. We invited the panist Dr. Kamil Tokarski, who has been living in Taiwan for two years, and the well-known broadcaster Zoe Hwang, who spoke in an entertaining manner about the early years of F. Chopin's life and the influence of historical events on his works, emphasizing his ties with Poland. The event began with a speech from Acting Head of the Polish Office in Taipei, Mr. Bartosz Ryś and the Commissioner for International Affairs of the Taipei City Office, Ambassador Tom Tai Chou.", "domain": "music_and_dance"}
{"url": "https://www.umbrellabranding.gr/en/strauss-vienna-orchestra/", "date": "2023-12-04T20:39:38Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100534.18/warc/CC-MAIN-20231204182901-20231204212901-00434.warc.gz", "language_score": 0.9264971613883972, "token_count": 159, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__49283618", "lang": "en", "text": "STRAUSS ORCHESTRA VIENNA\nThessaloniki – 7.12.2013, 21H, Megaro Mousikis //\nKomotini – 9.12.2013, 21H, Megaro Mousikis //\nHeraklion – 10.06.2014, 21H, Technopolis Park //\nThe Strauss Vienna Orchestra concerts of December 7th 2013, December 9th 2013 and June 10th 2014 in Thessaloniki, Komotini and Heraklion were meant to be the first concerts to be held in Greece by ART BG-Greece production company.\nUmbrella Branding were asked by ART BG representatives to participate in the project through event planning processes, advertising strategies, promotional activities and creative direction.", "domain": "music_and_dance"}
{"url": "https://club-spotlight.ca/hip-hop-western/", "date": "2023-06-05T17:55:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224652149.61/warc/CC-MAIN-20230605153700-20230605183700-00335.warc.gz", "language_score": 0.9355936646461487, "token_count": 178, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__151526928", "lang": "en", "text": "Hip Hop Western is Western University’s primary dance club for Hip Hop and Competitive choreography. HHW offers weekly classes for beginners and experienced dancers to build their foundations and learn from a variety of teachers. Additionally, HHW contains two recreational teams – Beginner and Advanced – for dancers who would like to be a part of a community while they learn performance-based choreography, which is performed at our semesterly showcases. Dancers looking for a greater challenge may be interested in our competitive team, the IX, that performs at regional competitions. Regardless of experience, HHW hopes to build a safe and inclusive community where dancers can come together to grow and learn from each other.", "domain": "music_and_dance"}
{"url": "https://www.fashioncentral.pk/blog/2013/08/14/overloads-10th-anniversary-song-jeets-video-releasing-on-14th-august/", "date": "2024-04-16T07:50:08Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817073.16/warc/CC-MAIN-20240416062523-20240416092523-00555.warc.gz", "language_score": 0.9571710228919983, "token_count": 175, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__81407751", "lang": "en", "text": "Overload’s song Jeet has been released on Overload’s official Facebook page and the video is set to be released on 14th August’2013.\nYou can hear the song at the below link:\nYou can view a snippet of Jeet’s video on the below link:\nJeet is a celebration of the journey of Overload. It is a fun and festive song that will make listeners revisit the roots of their language. There are a number of musicians featured in this song with Sheraz Siddiq, Nasir Sain and Farhad Humayun at the forefront.\nJeet has been composed by Farhad Humayun and Sheraz Siddiq while the lyrics have been written by Tahir Shaheer. The audio and video for Jeetwas produced by Farhad Humayun at Riot Studios.", "domain": "music_and_dance"}
{"url": "http://marcrobillard.com/marc-robillard-at-harvelles-83-10pm/", "date": "2013-12-13T22:22:23Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386165000886/warc/CC-MAIN-20131204135000-00035-ip-10-33-133-15.ec2.internal.warc.gz", "language_score": 0.9475287795066833, "token_count": 101, "dump": "CC-MAIN-2013-48", "global_id": "webtext-fineweb__CC-MAIN-2013-48__0__216018534", "lang": "en", "text": "Marc Robillard at Harvelles 8/3 @ 10PM\nCome out to Harvelles in Santa Monica on Friday, August 3rd at 10PM to see Marc Robillard and his band perform hits from Left London! Other artists include Fleeting Heart and The Stevie G Band.\nAdvanced tickets can be purchased here for $8 (they will be $10 at the door)\nHarvelles is located at:\n1432 4th St\nSanta Monica, CA 90401", "domain": "music_and_dance"}
{"url": "https://readingswingjam.wordpress.com/classes/lindy-hop/", "date": "2019-02-18T20:16:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247488374.18/warc/CC-MAIN-20190218200135-20190218222135-00403.warc.gz", "language_score": 0.904499351978302, "token_count": 546, "dump": "CC-MAIN-2019-09", "global_id": "webtext-fineweb__CC-MAIN-2019-09__0__126375753", "lang": "en", "text": "Lindy Hop Classes with Reading University Swing Dance Society (RUSDS)\nWednesday Evenings at Wessex Hall, on Whiteknights Campus (class schedule below)\n* Note: Classes restart on Wednesday 16th January 2019. *\nRUSDS hosts fun and informal swing dance classes taught by Reading Swing Jam at the Whiteknights Campus of the University of Reading. Join us to learn partner dances from the 1920’s-50’s: RUSDS classes are open to both students and non-students alike! Read on below for our class schedule and class descriptions.\n7.00pm – LEVEL 2 Follower Focus\nThis mini-class is for any Level 2 dancer who wants to work on their following skills. It’ll include a mixture of rhythm and footwork drills and variations as well as styling options and personal expression. Over the course of the year the class may also look at improving movement quality and turning skills, creativity exercises and self-practice development.\n7.45pm – LEVEL 2\nLevel 2 students should be comfortable dancing both 8-count and 6-count and Lindy Charleston footwork patterns. Join our Level 2 Class if you’ve attended our Level 1 Class regularly for at least a year already. If you’re joining us for the first time with some knowledge of Lindy Hop please chat to the teachers before class.\n8.45pm – LEVEL 1\nNo dance experience of any kind necessary. Join us to gain a solid introduction to partnered Swing dancing. No prior knowledge will be assumed at the start of term when steps will be taught from scratch.\n9.40pm – Social/Practice\nAfter announcements from the Reading University Swing Dance Society committee, we social dance! The perfect opportunity to practice what you’ve learn in class, ask your teachers any questions and get to know each other. We *highly recommend* staying for this portion of the evening because it’s on the dance floor where most of your learning will happen and practice is the only way to improve!\nWhat to bring?\nComfortable shoes and clothes suitable for dancing and active movement (please avoid wearing high heels or shoes that slip off easily, laces and ankle straps encouraged)\nBottle of water\nFan, handkerchief or towel\nChange of shirt/top\nDeodorant and breath mints\nNotebook and pen\nPLEASE NOTE: No partner necessary! Partners are rotated regularly throughout the class. These classes run weekly on Wednesday evenings during term-time only. Please visit the RUSDS webpage or Facebook Group for full details about classes, prices, venues and how to contact the group.", "domain": "music_and_dance"}
{"url": "https://www.eifrigpublishing.com/products/abbys-adventures-dance-recital", "date": "2024-02-26T18:53:21Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474661.10/warc/CC-MAIN-20240226162136-20240226192136-00667.warc.gz", "language_score": 0.9444678425788879, "token_count": 434, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__115931299", "lang": "en", "text": "Abby's Adventures - Dance Recital ...and the Case of Ballerina-itis\nby Suzanne Ridolfi, illustrated by Dawn Griffin\nJoin Abby as she stumbles through childhood's most difficult situations. Laugh along with this delightful 6-year-old as she uses a bit of spunk and a lot of creativity to handle the exciting adventures of being a kid.\nDance along with Abby in this adventure as she decides to become a ballerina. After a few mishaps, Abby realizes being a dancer is harder than it looks and wants to quit. Will a mysterious case of ballerina-itis stop her or will she dance all the way to the recital?\n\"Abby's Adventures: Dance Recital... and the Case of Ballerina-Itis\" is a whimsical, humorous illustrated story about a spunky girl who likes to explore exciting new experiences, like learning to be a ballerina. Although Abby is excited to start learning to dance, she soon discovers that it is a challenging experience. Frustrated by the complicated instructions, the new positions, and the physical demands of learning beginning ballet, Abby decides she has \"ballerina-itis.\" Fortunately her mother and Miss Nadia, her teacher, know how to help her recover her enthusiasm for ballet. They encourage her to practice, practice, practice. More important, they tell her that she doesn't have to be the best, she just needs to practice and do her very best. Abby survives the dance recital and learns a valuable lesson about sticking to a project and seeing it through. Comical illustrations help young readers identify with Abby and learn new things without feeling threatened or scared. \"Abby's Adventures: Dance Recital and the Case of Ballerina-Itis\" is part of a popular series for girls ages 3-10 which also includes the following titles, also highly recommended: \"Abby's Adventures: Picture Day... and the Missing Tooth (9781936172085)\" and \"Abby's Adventures: Christmas Carol... and Little Miss Scrooge (9781936172429).\" Midwest Book Review", "domain": "music_and_dance"}
{"url": "https://frazierverna13.wordpress.com/philips-dcm10937-cube-micro-music-system-dock-for-ipodiphone/", "date": "2018-07-18T18:19:12Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676590314.29/warc/CC-MAIN-20180718174111-20180718194111-00492.warc.gz", "language_score": 0.7239163517951965, "token_count": 279, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__237817802", "lang": "en", "text": "How do I get Philips DCM109/37 Cube Micro Music System Dock for iPod/iPhone\n- Enjoy your favorite music; iPhone or iPod music playback and recharge; Play MP3 or WMA-CD, CD and CD-RW; USB Direct for easy MP3 music playback; FM digital tuning with presets.\n- Superb sound quality, Dynamic Bass Boost for deep and dramatic sound, 2x5W RMS total output power\n- iPhone compatibility Compatible with: iPhone, iPhone 3G, iPhone 3GS\n- Audio Playback; Playback Media: CD, CD-R, CD-RW, MP3-CD, WMA-CD; Disc Playback Modes: Repeat or one or all or program, Shuffle Play, 20-Track Programmable, Fast Forward or Backward, Next or Previous Track Search\n- Convenience; Alarms: CD Alarm, Radio Alarm, Sleep timer, USB alarm, iPod Alarm; Clock: On main display; Display Type: LCD; Backlight color: WhiteAccessories; Included accessories: Guarantee booklet, MP3 Line-in cable\nEnjoy your favorite CDs and portable music just the way you like it. The Philips Micro system DCM109 plays and charges your iPhone or iPod, and has USB Direct for other portable music playback. The compact design fits any space, any lifestyle.", "domain": "music_and_dance"}
{"url": "http://valentinoflamenco.com/index.php/biography", "date": "2017-11-22T16:15:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-47/segments/1510934806615.74/warc/CC-MAIN-20171122160645-20171122180645-00410.warc.gz", "language_score": 0.9805139899253845, "token_count": 292, "dump": "CC-MAIN-2017-47", "global_id": "webtext-fineweb__CC-MAIN-2017-47__0__44133074", "lang": "en", "text": "Valentino - Biography\nBorn in Melbourne Australia, Valentino has been playing the guitar since the age of 3\nand has been performing professionally since the age of 16. Coming from a musical family,\nValentino's first teacher was his father, teaching him many styles of music and the importance\nof versatility on the guitar. Valentino has a wide knowledge of music and has various musical\nInfluences including Balkan, Gipsy, Latin, and his main being Flamenco.\nStudying classical guitar as a teenager, Valentino's heart was always in flamenco therefore\ndecided to pursue his childhood dream of being a well established flamenco guitarist.\nLiving in Spain and studying under one of the most renowned flamenco guitarists, Carlos Heredia,\nhe has incorporated various styles of playing yet keeping the pure sound of flamenco.\nValentino has performed both in Europe and Australia with flamenco musicians, dancers and singers\nas well as artists of various genres.\nValentino is a well established flamenco guitarist based in Melbourne, Australia and heads his own flamenco ensemble performing his own arrangements and compositions. The Valentino Flamenco Ensemble consists of well established musicians and dancers which include vocals, bass, percussion, flamenco dancers and of course himself on guitar. All musicians are highly experienced artists who are all based in Melbourne, Australia.", "domain": "music_and_dance"}
{"url": "https://chaoticcritic.com/tag/icon/", "date": "2022-01-26T14:16:40Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320304954.18/warc/CC-MAIN-20220126131707-20220126161707-00260.warc.gz", "language_score": 0.9779373407363892, "token_count": 274, "dump": "CC-MAIN-2022-05", "global_id": "webtext-fineweb__CC-MAIN-2022-05__0__148956586", "lang": "en", "text": "The Miseducation of Lauryn Hill is by far one of the staples in not only greatest albums of all time, but a great album that merges both R&B and Hip-Hop.\nOn February 24, 1999, Lauryn Hill took home 5/10 Grammys at the 41st Annual Award Show which included: Album of the Year, Best New Artist, Best R&B Song, Best R&B Vocal Performance, and Best R&B Album. Her having 10 nominations made her the only women to have been nominated for that many in one night.\nHere is her performance of ‘Zion’ with Carlos Santana:\nLauryn Hill was known for her vocals in rhymes as 1/3 of the Fugees. The Miseducation of Lauryn Hill was released on August 25, 1998 with the mega hit, Doo-Wop (That Thing) leading the way. The album also held hit singles, ‘Ex-Factor,’ and ‘Everything is Everything.’ The album has garnered dozens of awards and in 2003 was placed at #313 on Rolling Stone 500 Greatest Albums of all time.\nLauryn Hill might have left fans empty handed without more music, but this album still lives on and has become a staple in music history.", "domain": "music_and_dance"}
{"url": "https://eurasianstars.com/gulzhamilya-kadyrbekova.html", "date": "2023-02-09T11:42:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764499966.43/warc/CC-MAIN-20230209112510-20230209142510-00503.warc.gz", "language_score": 0.939874529838562, "token_count": 1383, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__11436313", "lang": "en", "text": "Professor Gulzhamilya Kadyrbekova is an exceptional and outstanding authority in the modern piano art of Kazakhstan. Because of her international success and numerous awards she is regarded as one of the best piano players of Kazakhstan. Due to her outstanding performance she was awarded with the title “People’s Artist of the Republic of Kazakhstan”. Her name first became widely known in 1980 when the young musician won the First prize at the 31st Viotti International Competition in Italy. Gulzhamilya Kadyrbekova became the first pianist of Kazakhstan awarded the highest international recognition.\nAccording to the contest conditions, the winner was entitled to ten solo concerts in various cities of Italy, and Gulzhamilya Kadyrbekova’s performances were a triumphant success everywhere. In their excited reviews musical critics unanimously recognized the emergence of a new bright artistic name, called her a “great pianist”, “pianist of international class”, “tiger of a fingerboard”, emphasized her extraordinary musicality coupled with the “dizzying technique”, noted her “perfect performance” of the works being part of a program of her performances, compared her play with the outstanding artists of the XX century: Ciccolini, Berman and Cziffra.\nThe time after the contest was marked for the pianist with continuous artistic perfection.\nWith her inherent persuasiveness of interpretations, she performs works by Scarlatti and Bach, Mozart and Schubert, Beethoven and Brahms, Chopin and Schumann, Rakhmaninov and Prokofiyev, Shostakovich and Gubaidulina. Her extensive repertoire covers all musical periods and styles. Gulzhamilya Kadyrbekova is also an active promoter of the works of Kazakh composers: G. Zhubanova, N. Mendygaliyev, T. Kazhgaliyev.\nGulzhamilya Kadyrbekova was born in Alma-Ata. She received her initial musical education in the Republican Special Music School named after K.Baiseitova, from which she graduated in the class of Associate Professor Lyudmila Ivanovna Oshkukova. She graduated from the Moscow State Conservatory named after P.I. Tchaikovsky and post-graduate school under the direction of Honored Artist of the RSFSR, Professor Gleb Borisovich Axelrod, who had a great influence on the formation of the pianist’s personality.\nThe high musical culture, honed skills, generosity of her performing style, extraordinary artistic charm and spirituality of the performance – all these qualities brought wide recognition to the pianist.\nAs a soloist of the Kazakh State Philharmonia named after Dzhambul, Gulzhamilya Kadyrbekova lifted a huge collection of complex works of the world’s piano literature both in the performances with orchestra and in solo and chamber music concerts. Her recent concerts include such works as Ravel’s Concerto for the Left Hand d-moll, Beethoven’s Fantasy for Piano, Orchestra and Chorus C-dur, Concerto No. 5 and Triple Concerto, Chopin’s Concertos No. 1 and No. 2, Brahms’s Concerto No. 1, Tchaikovsky's Concertos No. 1 and No. 2, Rachmaninov's Rhapsody on a Theme of Paganini, Gershwin’s Concerto in D Major, Poulenc’s Concerto for two pianos. Gulzhamilya Kadyrbekova constantly gives concerts both in her native country and abroad with well-known orchestras and conductors such as the Russian Philharmonic Orchestra conducted by Dm. Kitayenko, Romanian Philharmonic Orchestra conducted by O. Balan, Georgian Philharmonic Orchestra, State Symphony Orchestra of the Republic of Kazakhstan, etc.\nAfter her success at the contest, Gulzhamilya Kadyrbekova gave a series of concerts in Italy and participated in the XX International Music Festival in Stresa with M. Rostropovich, V. Ashkenazi and A.-S. Mutter, where she gave a solo concert, which the reviewers called “magic”. Kadyrbekova’s performance at the festival of young performers “Interforum” in Hungary left a “very good impression”, as it was noted in the press. Her concerts in the best halls of Moscow were a huge success (Hall named after Chaikovskiy, Conservatory Small Hall), St. Petersburg (Great Hall of Philharmonia named after Shostakovich), Rome and Turin (conservatory halls), Vienna, Paris (Debussy Hall in Pleyel, Cortot Hall in the Ecole Normale), Tunisia, Ankara (University Concert Hall), Istanbul (Ayia Irini Hall), the cities of the Baltic states and the Caucasus, etc.\nIn 1981, the pianist recorded a solo album with the Second Sonata b-moll of Rachmaninoff, “Scherzo and March” and “The Forgotten Waltz No. 1” of Liszt at the record company “Melody” in Moscow.\nIn 2015 Gulzhamilya Kadyrbekova recorded all Impromptus of Schubert at the record company “Hofa” in Germany.\nGulzhamilya Kadyrbekova is in the prime of her creative powers, at the stage, when a person combines gained experience, performing maturity and its usual idea of searching. This is reflected in her concert programs, which are always substantial, attracting with their wide range, as well as in the interpretation of the works performed – the ability to give them a live and direct feeling, to speak the language of music sincerely and with emotion. The harmonious relationship of the emotional and intellectual beginning is a characteristic feature of the pianist’s performing image. Her play attracts with its integrity and credibility of the interpretation coming from a deep comprehension of the author’s intention. A wide range of dynamic gradations also draws attention, in which the noble-sounding and very powerful forte stands out. One of the advantages of Gulzhamilya Kadyrbekova is her developed sense and skillful use of the timbre and coloristic capabilities of the instrument. Talent, intelligence, desire of grace communication with the public – this is a key to achieving new heights by the pianist.", "domain": "music_and_dance"}
{"url": "https://virtualvarig.org/best-ballroom-dance-shoes-in-2022/", "date": "2022-07-02T20:46:25Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656104204514.62/warc/CC-MAIN-20220702192528-20220702222528-00193.warc.gz", "language_score": 0.8475248217582703, "token_count": 1969, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__149361152", "lang": "en", "text": "The best ballroom dance shoes have top notch materials, snug fit, and long-lasting wear. However, the shoes come with different looks and categories.\nThe Best Ballroom Dance Shoes In 2022\nLis The Best Ballroom Dance Shoes Reviews\nBloch Women's Splitflex T-Strap Character Shoe, Tan, 7\n- Versatile leather character shoe with leather upper and leather lining\n- Contoured chic 2 1/2” heel\n- Elasticized panel underfoot enables Split flex to move with the foot in pointe and demi\n- T-bar strap and buckle attached with elastic allowing movement of the foot\n- Suede forefoot outsole facilitates turning and sliding while providing some grip\nRoseMoli Women's Latin Dance Shoes Satin Professional Ballroom Salsa Practice Performance Dance Shoes Tan-2.8\n- Design: Elegant & generous classical style design.Adjustable crisscross ankle straps match shining rhinestone quick release buckle，the beauty and practicality are reflected in every detail.\n- Material: high quality satin upper, soft & silky. High elastic latex midsole, high quality insole , soft breathable lining, extremely soft to the touch.\n- Anti-slip Suede Sole:good skid resistance & balance, lightweight & durable.Not only high elasticity, but also high wear resistance, can withstand multiple bending compression without damage.\n- Size and Heels:2.2inch heels or 2.8inch heels for you to choose.We have adjusted the size based on customer reviews.Please measure the length of your foot and choose the size according to the size chart in the last picture.\n- RoseMoli Latin Dance Shoes:Exquisite workmanship,flexible and comfortable.Perfect for amateur & professionals for Latin, Salsa, Samba, ChaCha, Rumba practicing & performance.Moreover,we have extra rhinestone buckle for every pair of shoes,we will do our best to make our customers more satisfied.\nCapezio mens Ben 1\" Ballroom dance shoes, Black, 10.5 Wide US\n- Lace-up dress shoe with classic apron toe and short heel\n- Cushioned insole\nJoocare Women Black Leather T-Strap Latin Ballroom Dance Shoes Ladies Modern Tango Salsa Party Dancing Shoes (7, Black)\n$22.99 in stock\n- Classic design,Supple Leather vamp and suede soles\n- Heel measures approximately 2.5 inches, Non-slip heel\n- T-strap style with adjustable buckle,easy to wear\n- Lined with moisture-absorbing brushed material, Cushioned insole\n- Used for Theater, Actors, Dance Students, Latin, salsa, tango, Ballroom Dancing\nDKZSYIM Women's Satin Latin Dance Shoes Professional Ballroom Salsa Practice Performance Dancing Shoes,213-ZS-Pink-7.5,US 8.5\n- Upper Material: Silk Sole: Suede Heel height: approximately 3 inches(about 7.5cm)\n- Design:Classic design,Buckle design provides instant slip and release,which is good skid resistance & balance.High-quality suede sole with anti-slip, anti-static and mute effect.Let you enjoy your dancing.\n- Comfortable: High elastic latex midsole, sweat-wicking suede insole, comfortable and breathable lining, thick and durable non-slip suede sole, make you feel great freedom, and you can turn smoothly when you dancing.\n- Occasions:Extremely light,flexible and comfortable,suitable for ballroom dance such as Salsa,Quickstep,Latin,Viennese Waltz, Tango,Waltz,Foxtrot,Rumba,Chacha,Samba,Disco,Flamenco,Modern dance,Ballroom dance,Dance training,Rehearsal,Physique lesson,Jive Practice and Performance.Or other special occasions,such as Wedding,Party or Dance Training Center,etc.\n- SizeTips: Dance shoes are different from ordinary sports shoes. Please measure the length and width of your feet before place new order, then prefer to our size chart for purchase.(Please choose the size according to the centimeters),If your feet is wider,please choose a larger size.\nCLEECLI Low Heel Ballroom Dance Shoes Women Latin Salsa Practice Dancing Shoes 1.5 Inch Heel ZB14(7.5,Black)\n- Low & wide Heel: 1.5\" low and wide heel helps to figure your leg shape. More stable and stronger for longer wear. No more falling.\n- Perfect Materials: Crafted from lightweight materials. High elastic latex midsole, sweat absorption suede insole, soft breathable lining, extremely soft to the touch.\n- Dressed up: Simple and generous style design with high quality satin and mesh upper. Very durable, comfortable dancing shoes that allow you to glide across the floor with ease and grace.\n- True to size: Designed and made in strict accordance with US shoe size standard. The best way is to measure your feet length and contrast the length with the size chart we provide.\n- Applications: Suitable for ballroom dance performance, or ideal for your salsa and other Latin dance classes. Can also be worn as formal indoor dress shoes!\niCKER Women's Professional Latin Dance Shoes Satin Salsa Ballroom Wedding Dancing Shoes 2.4'' Heel 8 Silver\n- ♪ Suede Sole: Non-slip suede sole is suitable for indoor floor, good skid resistance & balance\n- ♪ Made of high quality satin, smooth and exquisite, light weight and durable\n- ♪ Adjustable quick release buckles.The 2.4 inch heel shows the graceful figure of ladies, showing the extreme charm of dancers\n- ♪ Dance Shoes suitable for Latin, Salsa, Tango, Rumba, ChaCha, practicing & performance.\n- ♪Warm Tips: If the feet are wide,Suggest foot should choose a bigger size,please reference the size chart of the last picture carefully to choose your size\nVery Fine Women's Delphine Ballroom Salsa Latin Tango Waltz Dance Shoe, Flesh, 8\n- For women who desire to look, feel and be their best. You will love the way Very Fine Delphine Dance Shoes complement your beauty and grace on the dance floor.\n- From the exquisite glittering crystals to the memory foam heels. The Delphine was designed to wrap you in a luxurious dance shoe that is certain to attract eyes both on and off the dance floor.\n- High-quality suede on the outer sole for the perfect amount of traction and slide. High-quality insole for durable wear.\n- Look your best, feel your best, be your best with the Very Fine Delphine Dance Shoes. Glide through the night with these beautiful and comfortable crystal-studded Ballroom Dance Shoes. Great for Salsa, Tango, Latin, Waltz, and much more.\n- Made with premium satin and synthetics that will stretch to fit your feet and also cushioned with memory foam, the Delphine presents a luxurious feel that lasts all night long.\nVery Fine Women's Gabriella Ballroom Salsa Latin Tango Waltz Swing Dance Shoe, Brown Satin, 8\n- High quality suede on the outer sole for the perfect amount of traction and slide. High quality leather insole for durable wear.\n- Look your best with these Classic 2.5\" heels. Dance the night away with these beautiful and comfortable strapped Ballroom Dance Shoes. Great for Salsa, Tango, Latin, Waltz and much more.\n- Made with premium synthetics that will stretch to fit your feet avoiding those nasty blisters from other shoes that fit a little loose.\n- Cushioned heel to protect your feet from wear and tear.\n- Arch support for increased stability.\nBallroom Dance Shoes Women Latin Salsa Practice Dancer Shoes 2.5'' Heels YT02(7, Black)\n- PERFECT MATERIAL: High quality satin upper with fine sweat absorption suede insole, soft breathable lining, High elastic latex midsole with thick durable suede outsole, flexible and comfortable.\n- COMFORTABLE DESIGN:Simple and generous style design, low-key luxury; Elastic band makes you wear it quickly and fit well; 2.5'' Heeled dance shoe featuring to protect you dance well and aren't fall down.\n- SOFT LIGHTWEIGHT: Super lightweight and flexible, make you feel great freedom and comfortable in wearing, keep your amazing dancing.\n- OCCASION: Dance Shoes suitable for Latin, Salsa, Tango, Rumba, ChaCha, practicing & performance.also you can wear it in many occasions, such as: indoor leisure dancing, practice, competition, wedding, etc.\n- SIZE: Choose these dancing shoes size as your Street shoe size, or you can measure the length of your feet, and then choose the size according to our size chart. Maybe your feet feel a little tight when you first wear these new shoes, No worry, your feet will comfortable adapt to it.", "domain": "music_and_dance"}
{"url": "http://www.timjennings.co.uk/", "date": "2013-06-19T15:44:52Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368708835190/warc/CC-MAIN-20130516125355-00081-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.875887393951416, "token_count": 222, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__64456749", "lang": "en", "text": "about tim jennings\nTim Jennings provides bespoke music for Film, TV, Advertising, Theatre and Dance.\nWith over 20 years experience within the music field Tim’s music & songs have been published by Sony Music and he has worked with Paul Stacy (Oasis producer), Guy Chambers (Robbie Williams’ co writer) and Grammy award winning producer Matt Howe (U2 and The Rolling Stones).\nPast and present clients include: Sony Music, Kate Flatt choreographer for the royal ballet, london school of contemporary dance, RSC, Royal opera house, Smart Planet, RCA a Universal company. Tim’s recent projects include:\n- Love Tales. A film focusing on seven love stories\n- London Symphony Orchestra Barbican Concert\n- Shakti. A contemporary dance film set in London\n- Brown Paper Packages. A theatre production performed in London’s west end.\n- Love Me, Love Me. A feature film about the human condition.\n- Exodus. A classical tango piece in collaboration with world renowned choreographer Kate Flatt.", "domain": "music_and_dance"}
{"url": "http://www.realpercussion.co.uk/about-matt/", "date": "2020-11-29T23:16:02Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141203418.47/warc/CC-MAIN-20201129214615-20201130004615-00101.warc.gz", "language_score": 0.9344844222068787, "token_count": 1035, "dump": "CC-MAIN-2020-50", "global_id": "webtext-fineweb__CC-MAIN-2020-50__0__12291405", "lang": "en", "text": "Hi, I’m Matt Whittington, a London, UK based percussionist and drummer known for incredible versatility and my huge collection of esoteric percussion and drums.\nHaving always been fascinated by the recording process, I set up RealPercussion specifically to solve the most common problems composers, producers and artists run into when recording percussion and drums:\nCostly Porterage and Studio fees – hiring a studio then getting drums and percussion into it can be incredibly expensive, especially larger instruments that may only be required for a few notes. I’ve seen so many composers frustrated by having to use samples instead of real instruments, compromising their ideas just to fit a budget. With RealPercussion EVERYTHING is ready to record all the time:\n- no studio fees\n- no porterage (cartage/transport) fees\n- your percussive orchestration ideas are never limited by your budget\n**Create parts and tracks from a variety of sources – Whether you have written a score, programmed some MIDI demos or know that you need some drums and percussion but aren’t sure what’s required, working with me to bring your music to life I’ve got huge experience, working in whatever medium you feel most comfortable with:\n- record from traditional written parts or guides\n- replace MIDI tracks with real instruments\n- recreate audio demo tracks\n- create parts from your written or aural description\n- working to your picture**\nFlexible Instrumentation – on a recent film session, a call from the director whilst recording meant that the composer to change from using African instruments to Japanese and Korean ones. Because all my instruments are here ready to go, it took just a few minutes before we were recording again, as opposed to a regular session which would have been written off. I can often make suggestions for instruments and parts once I’ve heard an artist’s music, and get out exactly the right instrument for their music. RealPercussion gives you huge amounts of flexibility:\n- all instruments available for you instantly at all times\n- orchestration decisions don’t have to be made until you’ve heard the available options\n- get my professional feedback on your orchestration\nTechnical Issues – Technical issues – poor monitoring, computer glitches etc are the bane of modern sessions. They can be a huge waste of time, and stop musicians giving their best performance. With RealPercussion, you:\n- Import great performances of your music straight into your project\n- Don’t waste your time on tech problems.\nSpill – when audio from one instrument bleeds down the channels of other instruments on a session it’s known as spill. Whilst it’s not necessarily a bad thing, it can limit your options when mixing so on many sessions it’s now commonplace to record stems of individual instruments or sections separately, and to have drums and percussion in a separate booth. Whilst this minimises spill, these are often cramped and don’t sound ideal, particularly for some of the larger instruments.\nRealPercussion tracks are:\n- recorded in a room set up specifically for drums and percussion\n- have no spill into or from other tracks\n- you get a fantastic amount of control at the mix stage\nA graduate of Royal Academy of Music, I’ve performed and recorded with orchestras including the Royal Philharmonic Orchestra, the orchestras of the Royal Opera House and English National Opera, the Academy of St Martin In The Fields and the City of London Philharmonic Orchestra.\nI’ve also worked with Elmer Bernstein, Claude-Michel Schönberg, Ladysmith Black Mambazo, Hugh Jackman, Josh Groban, Laura Mvula, Idina Menzel, Kerry Ellis, Hurts, Rumer, John Barrowman, Alfie Boe, The Nolans, Jimmy Osmond, Marti Pellow, Michael Ball, Bonnie Langford, Russell Watson, Jane MacDonald and Maria Friedman.\nMy West End career started on the groundbreaking and award winning Jerry Springer – The Opera I’ve worked on a huge number of musicals, including The Sound of Music, A Chorus Line, Dirty Rotten Scoundrels, Passion, Urinetown, The Producers, Scottsboro Boys, Legally Blonde, We Will Rock You, Lion King, Wicked, Mary Poppins, Lord Of The Rings, Stephen Ward, Thriller Live and Dirty Dancing.\nSince starting RealPercussion in 2011 I’ve recorded for a wide range of musicians, from singer-songwriters to composers for film and television. Some come to me with very specific written parts, some with MIDI tracks and others with a completely blank slate – either way I still get a huge buzz from helping making their music sound as good as possible! To find out more please take a look at some Case Studies.\nGET IN TOUCH TO DISCUSS HOW I CAN HELP YOUR NEXT PROJECT!", "domain": "music_and_dance"}
{"url": "http://www.themondaymovement.com/bio", "date": "2019-02-19T10:51:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247489933.47/warc/CC-MAIN-20190219101953-20190219123953-00532.warc.gz", "language_score": 0.9843675494194031, "token_count": 239, "dump": "CC-MAIN-2019-09", "global_id": "webtext-fineweb__CC-MAIN-2019-09__0__13911164", "lang": "en", "text": "The Monday Movement is an indie rock outfit from Knoxville, TN. The band was founded first in 2012 as a singer-songwriter project combining the writings of Aaron White and Kamron Sanders, as a creative outlet while the two were in college. Jon Lucas joined the duo later that year. As their writing and playing developed together, their quiet musings grew jagged edges, and eventually became their debut EP, Through the Fire/Through the Night, which was released in 2015 and later featured on Noisetrade's \"New & Notable.\"\nWithin the year The Monday Movement released two live videos, \"Let Loose\" and \"Black Lung\" - their audio released in the form of another EP, Live at The War Room. \"Black Lung\" in particular received notable attention and the EP was noted as one of the \"Top 15 Album Releases in Knoxville\" in 2015 by Knoxville Music Warehouse, who said \"It only has two songs, but The Monday Movement's Live At The War Room packs an awful lot of power.\" The band is currently recording their first full length album, developing and giving depth to the rock 'n' roll sound of \"Black Lung.\"", "domain": "music_and_dance"}
{"url": "https://12hdem.com/watch/brian-culbertson-039-s_7a7OQgo5DqmXkkz.html", "date": "2019-11-22T20:12:51Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-47/segments/1573496671548.98/warc/CC-MAIN-20191122194802-20191122223802-00452.warc.gz", "language_score": 0.6914236545562744, "token_count": 161, "dump": "CC-MAIN-2019-47", "global_id": "webtext-fineweb__CC-MAIN-2019-47__0__55996119", "lang": "en", "text": "From the sessions of Brian Culbertson's \"Another Long Night Out\" album (available now):\nCheck out the guitar session on \"Alone With You\" with Chuck Loeb as he explains how he creates this really cool looping effect while playing over the top of it.\n\"Another Long Night Out\" available now:\nWebstore (autographed copies and merchandise bundles): http://bit.ly/ALNO-webstore\nTickets for Brian Culbertson's Napa Valley Jazz Getaway available here:\nFollow me on Twitter: www.twitter.com/brianculbertson\nLike me on facebook: www.facebook.com/BrianCulbertsonOfficial\nThanks to Silver Oak for the wine - www.SilverOak.com", "domain": "music_and_dance"}
{"url": "http://www.trinitycathedraleaston.com/music.htm", "date": "2014-10-20T21:11:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2014-42/segments/1413507443438.42/warc/CC-MAIN-20141017005723-00075-ip-10-16-133-185.ec2.internal.warc.gz", "language_score": 0.9221169352531433, "token_count": 158, "dump": "CC-MAIN-2014-42", "global_id": "webtext-fineweb__CC-MAIN-2014-42__0__158277842", "lang": "en", "text": "Music at Trinity Cathedral is a reflection of the Anglican liturgical tradition; incorporating hymns, anthems, organ voluntaries, and service music from the Renaissance period up to contemporary sources. All music is selected for its beauty, quality, Scriptural integrity, and its pertinence in worship. The church is blessed with a wonderful pipe organ and baby grand piano, both used in the 10:15 service. The Trinity music program offers an adult choir and handbell choir, both rehearsing on Wednesday evenings throughout the academic year. For more information contact Music Director, Amy Morgan, email@example.com.\nHandbell Choir, Wednesdays, 5:45, Miller Hall\nAdult Choir, Wednesdays, 7, Cathedral", "domain": "music_and_dance"}
{"url": "https://sikorahistory652.wordpress.com/2018/04/07/protest-music-assignment-4-08-18/", "date": "2018-05-26T06:08:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-22/segments/1526794867311.83/warc/CC-MAIN-20180526053929-20180526073929-00312.warc.gz", "language_score": 0.9589459896087646, "token_count": 366, "dump": "CC-MAIN-2018-22", "global_id": "webtext-fineweb__CC-MAIN-2018-22__0__89101480", "lang": "en", "text": "Rockin’ the World: Student Worksheet\n- After our discussion about “message music”, including anti-war/pro-military songs, choose 1 song from the Vietnam era (approximately 1960-1975), and evaluate it with worksheet below. It does NOT have to be a song about the war but just from the time period. It can be about the war but does not HAVE to be.\n- THEN, choose one song from your era (1990’s-2018) that fits the description of “message music” and evaluate it the same way.\nNAME OF SONG:\nMood: How does this song make you feel? What feeling do you think the musician was trying to express? What kind of mood does the song convey? What about the song contributes to this mood?\nWhat is the topic of the song?\nTo whom (or what audience) is the song addressed?\nWhat were the circumstances at the time the song was released?\nWhat is the purpose of the song? Does the song seem to be written in response to a specific event?\nWhat issues, problems, or events are presented in the song? Does this song suggest any solution(s) to the issues/problems addressed?\nWhat points of view are revealed?\nWhat portion of the song is fact? What part is conjecture (opinion)?\nHow reliable is the information in the song?\nWhat inferences, generalizations, and conclusions based on evidence can be drawn from the song?\nHow effective is this song as social protest?\nDo any of the events, issues, or conclusions concern America today?\nWhere might the group find more information about the song and its content?\nHow might additional information differ from the content of the song?", "domain": "music_and_dance"}
{"url": "https://blog.destinationmaternity.com/2013/05/22/music-to-your-ears-not-your-average-lullabies/", "date": "2023-02-02T11:49:20Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500017.27/warc/CC-MAIN-20230202101933-20230202131933-00197.warc.gz", "language_score": 0.7880446910858154, "token_count": 214, "dump": "CC-MAIN-2023-06", "global_id": "webtext-fineweb__CC-MAIN-2023-06__0__273472304", "lang": "en", "text": "No matter your age or genre preference, music speaks to all, even the tiniest of listeners! It truly is the universal language.\nWe searched high and low, and found a great selection of music created especially for babies. From lullaby versions of old-time classics to lullaby renditions of Madonna and The Beatles, there is something to please every little ear.\nHere are some of our favorites to enjoy:\n- Rockabye Baby! Lullaby Renditions of The Beatles\n- Bill Weisbach – Baby Einstein: Baby Mozart\n- Hushabye Baby! Lullably Renditions of Carrie Underwood\n- Jammy Jams – Once Upon a Rhyme: Lullaby Renditions of Hip-Hop Classics\n- Over the Moon: The Broadway Lullaby Project\n- The Baby Loves Jazz Band – Baby Loves Jazz: Go Baby Go!\n- Rainforest Music: Nature’s Lullabies & More\n- Rockabye Baby: Lullaby Renditions of Madonna", "domain": "music_and_dance"}
{"url": "http://www.ic2uspodcast.com/", "date": "2024-04-24T08:40:00Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296819089.82/warc/CC-MAIN-20240424080812-20240424110812-00278.warc.gz", "language_score": 0.9219188690185547, "token_count": 127, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__84224817", "lang": "en", "text": "Welcome to Ic2us\nIc2us is your source for any and everything conducting, listening, teaching, and music making. Treat yourself to a dose of musical inspiration as we pick the minds of great conductors and delve into note worthy repertoire. If you’re a musician, teacher, or conductor: you’ve found your people.\nIc2us is a proud member of the Music Teacher Development Podcast Network! The MuTed network provides support in the form of audio on demand programming designed by and for music educators. You can find more information about the network at mutedpodcasts.com.", "domain": "music_and_dance"}
{"url": "https://trainofthoughtcollective.com/collections/rap-tee-collection", "date": "2023-09-30T03:17:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510575.93/warc/CC-MAIN-20230930014147-20230930044147-00017.warc.gz", "language_score": 0.8486623167991638, "token_count": 114, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__149597415", "lang": "en", "text": "Subscribe to the club to get discounts on releases and free giveaways..\nRap Tee Collection\nDiscover the ultimate collection of rap tees only here at Train of Thought Collective.\nFrom iconic legends to trending artists, our handpicked selection showcases the essence of hip-hop culture. Shop now and express your love for rap music with our high-quality, stylish, and comfortable t-shirts.\nStand out from the crowd, make a statement, and let your fashion reflect your passion. Embrace the rhythm and style of hip-hop with our exclusive Rap Tee Collection.", "domain": "music_and_dance"}
{"url": "http://www.nvcoc.com/events/details/doumbek-drumming-workshop-dragonfly-wellness-31756", "date": "2018-05-24T17:39:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-22/segments/1526794866733.77/warc/CC-MAIN-20180524170605-20180524190605-00425.warc.gz", "language_score": 0.931516170501709, "token_count": 241, "dump": "CC-MAIN-2018-22", "global_id": "webtext-fineweb__CC-MAIN-2018-22__0__38650912", "lang": "en", "text": "Doumbek Drumming Workshop with Mike Gregian, Professional Musician\nSep 17 @ 1:00 pm – 3:00 pm\nDragonfly Wellness Center 176 Jackson Road, Devens, MA (978) 487-7181\nHave you ever wanted to learn how to drum? We are honored to introduce and invite you to join talented teacher and Master Drummer Mike Gregian for an intriguing introductory workshop to Middle Eastern Rhythms and Doumbek drum playing. Pure percussion vibrations will radiate through your entire body as you learn the basics and experience the beauty of the Doumbek drums.\nNo experience necessary. If you have a Doumbek drum, please bring it. There will be a few drums available to rent for $5 but the supply is limited. Drums can be purchased on Amazon or Ebay for $35 and up.\nMike also teaches drumming classes and holds drumming circles in the area if you would want to continue to learn and practice after the workshop!\nCost: $30 with preregistration $35 day of event\nThere is a 6 participant minimum to run this workshop, so please register early if you plan on attending.", "domain": "music_and_dance"}
{"url": "http://www.strictlycomedancinglive.com/2012/09/strictly-come-dancing-live-is-back-2/", "date": "2013-05-22T16:44:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368702019913/warc/CC-MAIN-20130516110019-00002-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9297386407852173, "token_count": 207, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__12655139", "lang": "en", "text": "We are very pleased to announce that Strictly Come Dancing Live is back for a sixth incredible year! This multi million pound production is hitting the road in January and February 2013, bringing the Strictly magic to fans around the UK.\nCraig Revel Horwood, Len Goodman and Bruno Tonioli are back as the tour’s formidable judges. They will be on hand to give their expert feedback and all important scores to the celebrities and their dance partners.\nThe ultimate in feel-good entertainment, Strictly Come Dancing Live features all the must-haves from the hugely popular BBC1 TV series. Stunning costumes, outspoken judges, dazzling dances from your favourite celebrity contestants and some brand new routines courtesy of the ever-popular professional dancers make this a must-see show that is sure to bring a smile to your face and beat away any winter blues.\nDon’t miss your chance to experience the energy and excitement of Strictly Live.\nTickets will go on general sale 28 September 2012.", "domain": "music_and_dance"}
{"url": "http://slippeddiscaudio.com/", "date": "2024-04-17T09:42:31Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817146.37/warc/CC-MAIN-20240417075330-20240417105330-00133.warc.gz", "language_score": 0.9414904117584229, "token_count": 382, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__65815937", "lang": "en", "text": "Mastering Suite and Recording Studio\nRecording, editing, mixing and mastering on traditional and contemporary soundware\nConceived in 1995 as a support mechanism for home studios, Slipped DISC currently endeavors to provide the highest possible technical support to the music community, from inexperienced basement hobbyists, to seasoned, award-winning professionals.\nBill McElroy has engineered hundreds of albums and compact discs as well as audio for television and has received special recognition for his work:\nGrammy Recording Academy of Arts and Sciences Award Bill is on the Board of Directors for JAMInc, a non-profit organization whose mission statement is: \"To open minds, hearts and ears to music deserving a wider audience through education, performance and support.\"\nEngineer, Best Country Instrumental, \"Fireball\", J. D. Crowe and the New South.\nIndys Five Independent Record Distributors Association Awards\nBest Album PARENTS' MAGAZINE Children's Award\nArticle FRETS MAGAZINE\n\"Bill McElroy's Educated Ear\" by Orrin Star\nDULCIMER PLAYERS' NEWS Article\n\"An Interview With Bill McElroy\" by Madeline MacNeil\nBill McElroywas also founder, former president and engineer of Bias Recording Co., Inc. Under Bill's leadership, Bias became the dominant music recording studio in the Mid-Atlantic area, produced 12 Grammy award winners, 3 \"Gold\" albums, one \"Double-Platinum\" album, and won the Washington Area Music Association's Best Studio Award in 1988, 1989 and 1990. Bill co-designed and managed the construction of Bias' half-million dollar Springfield, Virginia recording complex, as well as the forty-input, thirty-two-output, API Automated recording console for the A room at Bias.", "domain": "music_and_dance"}
{"url": "https://artsandculture.nd.edu/events/2014/02/22/lift-every-voice-celebrating-the-african-american-spirit/", "date": "2018-03-18T13:45:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-13/segments/1521257645775.16/warc/CC-MAIN-20180318130245-20180318150245-00362.warc.gz", "language_score": 0.9400669932365417, "token_count": 742, "dump": "CC-MAIN-2018-13", "global_id": "webtext-fineweb__CC-MAIN-2018-13__0__143459441", "lang": "en", "text": "Symposium by trumpeter Rodney Craig Mack @ 12:00 noon\nBrass Master Class @ 3:00 p.m.\nWhere: Education and Arts Building room 1103\n1002 S. Esther Street (IU South Bend Campus)\nAdmission to both events is free of charge\nBlack History Month Celebration Concert\nFeaturing guest artists: trumpeter Rodney Craig Mack, soprano Denise Murchison Payton, and pianist Maria Thompson Corley as well as the South Bend Symphonic Choir and IU South Bend Gospel Choir @ 7:30 p.m.\nWhere: Campus Auditorium Northside Hall\n1825 Northside Blvd. (IU South Bend Campus)\nTickets $3, free to students and children\nJoin the Ernestine M. Raclin School of the Arts in celebrating Black History Month with our 6th annual \"Lift Every Voice: Celebrating the African American Spirit\" concert. The South Bend Symphonic Choir and IU South Bend Gospel Choir will be joined by three guest artists, and the concert will feature the world premiere of a choral composition written by Julius Miller, one of our talented students.\nHeadlining the concert is trumpeter Rodney Mack. The sound of Rodney Mack’s trumpet has reverberated throughout the world. Mack made his solo debut at the age of 15 with the New Orleans Symphony and received national attention at the age of 19 as soloist with the Boston Pops. He is founder of The Rodney Mack Philadelphia Big Brass, composed of some of America's top brass musicians. His year is split between his duties as principal trumpet with Chamber Orchestra of Philadelphia, artist-in-residence at Temple University, and various masterclass and solo engagements in the United States and abroad.\nJoining Mack will be pianist Maria Corley and soprano Denise Murchison Payton.\nPayton’s recent release of \"Songs in 'D' Inspirational Songs of Faith\" displays her versatility. She performs regularly with the Long Leaf Opera Company and is frequently a soprano soloist in such operas as Susannah, Amahl and the Night Visitors, and Regina. Under her baton, the Fayetteville State University Concert Choir made their debut with a Prelude Concert at the famed Carnegie Hall in April 2013. Payton is also the founder of The Heritage Restoration Chorale, an ecumenical group of singers from the Fayetteville region specializing in the Negro Spiritual.\nCorley, a Jamaican-born Canadian pianist, gave her first public performance at the age of eight. Since then, she has appeared on radio, television, and concert stages in Canada, the United States, Central America, the Caribbean, Bermuda, and Europe with performances at the Carnegie Recital Hall, Aaron Davis Hall, and Alice Tully Hall. She has collaborated with Metropolitan Opera soprano Priscilla Baskerville, and internationally renowned clarinetist James Campbell.\nThe concert will also feature selections by the IU South Bend Gospel Choir and the South Bend Symphonic Choir singing the world premiere of \"Set Me As A Seal,\" composed by student Julius Miller. Miller is a junior music major at IU South Bend and this is his first published musical composition. A native of Detroit, Mich., he is also a featured soloist at St. Michael’s and All Angel’s Episcopal Church in South Bend.\nThe weekend of events is under the direction of Marvin Curtis, dean of the Ernestine M. Raclin School of the Arts.\nFor more information: 574-520-4203 // arts.iusb.edu", "domain": "music_and_dance"}
{"url": "https://www.youarrived.com/product/piano-signed-by-frank-sinatra-tony-bennettyamaha-c7-grandrare-collector-item/", "date": "2022-01-19T19:13:05Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320301488.71/warc/CC-MAIN-20220119185232-20220119215232-00131.warc.gz", "language_score": 0.9173731803894043, "token_count": 169, "dump": "CC-MAIN-2022-05", "global_id": "webtext-fineweb__CC-MAIN-2022-05__0__210106000", "lang": "en", "text": "Imagine an instrument Frank Sinatra once graced with his genius! Or that 15-time Grammy winner Tony Bennett entertained with. Now make it the conversation piece of your collection. This is a once in a lifetime opportunity and this rare instrument won’t last long!\nSigned by Frank Sinatra & Tony Bennett (among many others), this piano is in pristine condition! Add to your celebrity collection an unbelievably rare piece! You won’t find another like it. Appreciated by so many fine musicians, this piano is sure not to disappoint.\nThis 1974 Yamaha C7 Grand piano in satin ebony, with original, natural key-tops, comes with adjustable artist bench and is ready for your collection.\nFor your buying confidence, signatures come with documentation; 100% certified authentic.", "domain": "music_and_dance"}
{"url": "http://the-merrells.blogspot.com/2009/08/ahoy-matey.html", "date": "2018-07-17T04:11:35Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676589557.39/warc/CC-MAIN-20180717031623-20180717051623-00165.warc.gz", "language_score": 0.9913121461868286, "token_count": 172, "dump": "CC-MAIN-2018-30", "global_id": "webtext-fineweb__CC-MAIN-2018-30__0__32580400", "lang": "en", "text": "Naomi and her fellow dancers were pirates for the dance recital in June! She loves pretending to be a pirate captain, so this dance theme was perfect for her.\nNaomi was THRILLED about searching for the material to make her pirate tutu (you wouldn't believe how hard it is to find red tulle in Tucson!).\nShe was THRILLED to try it on while I was making it.\nAnd she was THRILLED to be on the stage dancing out her heart. Of course, she mostly just did one of the dance moves over and over. But at least she latched on to one and remembered it!\nLast but not least, she was THRILLED to troop onstage after the program was over and dance a bit more by herself. We may have a performer on our hands. :)", "domain": "music_and_dance"}
{"url": "https://www.tucsonmariachi.org/workshops.html", "date": "2015-04-28T18:12:58Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2015-18/segments/1429246661916.33/warc/CC-MAIN-20150417045741-00161-ip-10-235-10-82.ec2.internal.warc.gz", "language_score": 0.912596583366394, "token_count": 272, "dump": "CC-MAIN-2015-18", "global_id": "webtext-fineweb__CC-MAIN-2015-18__0__58458469", "lang": "en", "text": "Mariachi & Folklórico Workshops\nMusic, Dance, Education & Culture\nHundreds of mariachi and folklórico students from around the Southwest United States participate in three days of intensive music-making and dance workshops and dress rehearsals at Tucson’s mariachi conference. Students learn and perform a variety of musical and dance selections that demonstrate the highest mastery of the art.\nClasses cover instruction in guitarrón, guitar, trumpet, violin, vihuela, harp and voice along with baile folklórico. There are four levels of workshops; Level I, II, III and Masters.\nAfter two and a half days of study, students have a chance to walk on stage and perform for family and friends at the Student Showcase Concert ... or they could be invited to play with the masters at the Espectacular Concert or Fiesta De Garibaldi. Every year since 1982, thousands of students of all ages come from all over the country to learn from some of the best mariachi and baile folklórico masters.\nWorkshops provide study opportunities for students who love mariachi and want it to be a bigger part of their lives. Classes help instill self-confidence through performance skills and education in the tradition of mariachi.", "domain": "music_and_dance"}
{"url": "https://www.jneuro.com/abstract/the-influence-of-music-on-time-and-number-of-steps-in-the-gait-of-children-with-cerebral-palsy-1983.html", "date": "2020-05-25T07:58:49Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-24/segments/1590347388012.14/warc/CC-MAIN-20200525063708-20200525093708-00287.warc.gz", "language_score": 0.9074996709823608, "token_count": 240, "dump": "CC-MAIN-2020-24", "global_id": "webtext-fineweb__CC-MAIN-2020-24__0__922820", "lang": "en", "text": "Background: It is essential to determine whether music helps in carrying out locomotion activities in children with cerebral palsy (CP). This study aimed to determine whether music influences the locomotion of children with CP.Methods and findings: We measured time and number of steps and verified whether there was a difference in performing the task without singing and singing. The test was performed on eight children: four children with CP and four children who formed the group without CP (control). There was statistical significant difference in percentage change in the performance of singing in comparison to without singing (Kruskal-Wallis test, p <0.05), with the group with CP showing a mean reduction of 19% and 31% in time and number of steps, respectively.Conclusion Only the children with CP had lower time and a fewer number of steps while at the same time walking and singing a song of preference.\nCarlos Bandeira de Mello Monteiro, Angela Maria Dias, Talita Dias da Silva, Silvia Regina Pinheiro Malheiros, Alessandro Hervaldo Nicolai Re, Marilia Velardi, Jorge Alberto De Oliveira, Marilena Do Nascimento", "domain": "music_and_dance"}
{"url": "https://www.rooftopshunda.com/post/tina-turner-at-the-fox", "date": "2023-09-26T00:01:05Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510100.47/warc/CC-MAIN-20230925215547-20230926005547-00247.warc.gz", "language_score": 0.9765741229057312, "token_count": 138, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__208928338", "lang": "en", "text": "This past week I got the opportunity to see Tina Turner the Musical at the Fox theater Atlanta,GA. It was everything and more.💃🏾\nAs a young girl I was introduced to the voice of Tina Turner through my mom who was a fan. Whenever Tina's videos would come on tv I would run to get my moms red high heels and tie up her leather skirt and then I was ready to perform just like her.\nThe musical did a fantastic job of highlighting Tina's childhood in Nutbush, TN and capturing her singing career. The audience was a mixture of young and old and all races, who came together for a night of pure Rock n Roll!", "domain": "music_and_dance"}
{"url": "http://smkcatholicschool.com/index.cfm?load=page&page=168", "date": "2013-05-18T12:41:11Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-20/segments/1368696382396/warc/CC-MAIN-20130516092622-00057-ip-10-60-113-184.ec2.internal.warc.gz", "language_score": 0.9572998285293579, "token_count": 191, "dump": "CC-MAIN-2013-20", "global_id": "webtext-fineweb__CC-MAIN-2013-20__0__166569646", "lang": "en", "text": "My name is Lori Estes. I love sharing my love of music with the children and families at St. Mary of the Knobs Catholic School. In the music classroom, the children experience music from all cultures and styles, a variety of instruments, and creative movement. My goal is to instill an appreciation and love of music in each student through an age appropriate knowledge. I am also blessed to work with the Fifth and Sixth grade teachers, Kimberly Paris and Brittany Geswein, in producing our annual Spring Musical. In addition to teaching at St. Mary of the Knobs, I also teach private piano lessons and group music classes.\nMy husband Daryl and I have been blessed with two children, Caleb and Luci, who we enjoy homeschooling. We enjoy home improvement, listening to music, watching movies, and eating dessert. Our family is involved in worship ministry with preschoolers, scouts, interpretive sign language ministry and serving opportunities.", "domain": "music_and_dance"}
{"url": "http://muszakiigazgato@opera.hu/en/FrontendDocuments_page/11", "date": "2014-11-24T18:02:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2014-49/segments/1416400380948.74/warc/CC-MAIN-20141119123300-00067-ip-10-235-23-156.ec2.internal.warc.gz", "language_score": 0.9091668128967285, "token_count": 107, "dump": "CC-MAIN-2014-49", "global_id": "webtext-fineweb__CC-MAIN-2014-49__0__47035960", "lang": "en", "text": "Nutcracker Festival, Christmas tree decoration, charity events for people in need. The Hungarian State Opera has turned into a fairy tale fantasy in and out for the festive season. (Photo: Peter Herman and Attila Nagy)\nOn the birth anniversary of the British composer, Benjamin Britten the Hungarian State Opera welcomes the audience to a ’night of discovery’. The concert performance of The Rape of Lucretia will debut on 22 November with outstanding soloists, conducted by Máté Hámori.", "domain": "music_and_dance"}
{"url": "https://ukumetronome.com/", "date": "2021-07-30T06:06:37Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-31/segments/1627046153934.85/warc/CC-MAIN-20210730060435-20210730090435-00089.warc.gz", "language_score": 0.9157108664512634, "token_count": 419, "dump": "CC-MAIN-2021-31", "global_id": "webtext-fineweb__CC-MAIN-2021-31__0__118549674", "lang": "en", "text": "How do you know how fast to play? Why are the terms in Italian?\nOne of the most basic and important aspects of interpreting a piece of music is determining the speed, or tempo. A composer’s most accurate way to indicate the desired tempo is to give the beats per minute (BPM). This means that a particular note value (for example, a quarter note) is specified as the beat, and the marking indicates that a certain number of these beats must be played per minute.\nBefore the metronome, words were the only way to describe the tempo of a composition. After the metronome’s invention, these words continued to be used, often additionally indicating the mood of the piece, thus blurring the traditional distinction between tempo and mood indicators. For example, presto and allegro both indicate a speedy execution (presto being faster), but allegro also connotes joy (from its original meaning in Italian).\nMusicians typically use Italian terms to denote the tempo of a certain piece. Some of the more common Italian tempo indicators, from slowest to fastest, are:\n- Grave - slow and solemn (20–40 BPM)\n- Lento - slowly (40–45 BPM)\n- Largo - broadly (45–50 BPM)\n- Adagio - slow and stately (literally, “at ease”) (55–65 BPM)\n- Adagietto - rather slow (65–69 BPM)\n- Andante - at a walking pace (73–77 BPM)\n- Moderato - moderately (86–97 BPM)\n- Allegretto - moderately fast (98–109 BPM)\n- Allegro - fast, quickly and joyous (109–132 BPM)\n- Vivace - lively and fast (132–140 BPM)\n- Presto - extremely fast (168–177 BPM)\n- Prestissimo - even faster than Presto (178 BPM and over)", "domain": "music_and_dance"}
{"url": "https://www.gerryspehar.com/sneak-preview", "date": "2023-06-01T02:47:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224647525.11/warc/CC-MAIN-20230601010402-20230601040402-00120.warc.gz", "language_score": 0.9659066796302795, "token_count": 131, "dump": "CC-MAIN-2023-23", "global_id": "webtext-fineweb__CC-MAIN-2023-23__0__54672340", "lang": "en", "text": "top of page\n“During Gerry's early Colorado years, Bobby’s captivating voice, writing and presence made him a star of the Denver music scene. Bobby and Gerry have been writing and performing as a duo since 1981, and have opened shows for artists ranging from Merle Haggard to Ray Charles to Boz Scaggs to Townes Van Zant. In 1985, they played the Grand Ol Opry as finalists of the Wrangler Country Showdown; in 1986, Bobby won the Showdown and a Columbia contract. This wide-ranging album includes their recordings from 1980s Nashville to current LA.\nbottom of page", "domain": "music_and_dance"}
{"url": "https://instrumentasia.net/performance-of-wukir-suryadi-andreas-siagian-the-instrument-builders-project-ok-video-2013%EF%BF%BC/", "date": "2023-09-29T07:51:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510498.88/warc/CC-MAIN-20230929054611-20230929084611-00515.warc.gz", "language_score": 0.9024513363838196, "token_count": 329, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__306843638", "lang": "en", "text": "Performance of: Wukir Suryadi & Andreas Siagian | The Instrument Builders Project @ OK Video 2013\nA performance I did with Wukir Suryadi as part of “The Instrument Builders Project” participation for Muslihat | OK. Video Festival 2013. The performance was conducted in the Conference Room of Galeri Nasional Indonesia (Indonesia National Gallery) after a session of discussion, led by Kristi Monfries (the curator of this project) and moderated by Leonhard Bartolomeus (ruangrupa).\nIn the performance, Wukir was playing with “Akar Mahoni (Mahogany Root)” while I was controlling “Glass Bell”. Outside of the room there’s “Long Wire Instrument” from Ardi Gunawan. Three of these instruments were displayed as examples of collaboration outputs between Australian and Indonesian artists participated in the project. Other instruments and projects were presented during the presentation session by Kristi Maya Dewi Monfries.\nThe Instrument Builders Project\n* curators: Joel Stern & Kristi Monfries\n* artists: Rod Cooper, Dylan Martorell, Pia Van Gelder, Michael Candy, Wukir Suryadi, Lintang Raditya, Asep Nata, Ardi Gunawan, Andreas Siagian\n* venue: iCan (Indonesian Contemporary Art Network)\n* time: Yogyakarta, Indonesia; 24 June-16 July, 2013;", "domain": "music_and_dance"}
{"url": "http://newmexicojazzfestival.org/nmjazz2012elling.html", "date": "2018-04-20T06:24:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-17/segments/1524125937161.15/warc/CC-MAIN-20180420061851-20180420081851-00129.warc.gz", "language_score": 0.9686370491981506, "token_count": 293, "dump": "CC-MAIN-2018-17", "global_id": "webtext-fineweb__CC-MAIN-2018-17__0__60330101", "lang": "en", "text": "Sunday, July 29, 8pm\n“Since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz.” (The Washington Post). Considered the preeminent young male jazz singer today, Elling boasts a rich baritone voice that spans four octaves and displays an astonishing technical facility and emotional depth. With an impressive command of rhythm, texture, phrasing, and dynamics, his repertoire ranges from original compositions to modern interpretations of standards both of which serve as a springboard for free form improvisation, scatting, spoken word, and poetry, or vocalese. The natural heir to pioneers like Eddie Jefferson, King Pleasure, and Jon Hendricks, he is the contemporary voice of vocalese. Elling has recorded and/or performed with Terrence Blanchard, Dave Brubeck, Al Jarreau, and John Pizzarelli among others, and has released ten of his own recordings, including his 2010 Grammy winning, Dedicated to You. His latest, 2011’s,The Gate, a collection of originals and songs by King Crimson, Herbie Hancock, The Beatles and Stevie Wonder has also received rave reviews.\n$35/$30 Members & Students (No Member Passes)", "domain": "music_and_dance"}
{"url": "https://www.focusandthrive.com/portfolio-items/focuswill/", "date": "2023-12-08T00:16:26Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100705.19/warc/CC-MAIN-20231207221604-20231208011604-00817.warc.gz", "language_score": 0.9504898190498352, "token_count": 142, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__60862118", "lang": "en", "text": "On the surface, this is a music membership service specifically designed to provide background music to listen to while you are working. Look a little deeper, though, and you can find an amazing tool to help you stay focused & productive throughout your workday. You choose the music style and energy level. Then, you can choose to set a timer. When the timer is up, a meditation bell rings and the music stops. It doesn’t start again until you press “play”. You can use the sound of the bell and stopping of the music as a signal to take a mindful pause. You can also use it as a pomodoro timer, which helps you keep on track.", "domain": "music_and_dance"}
{"url": "https://pabloneruda.bibliofilos.cl/en/1926-2/", "date": "2023-11-30T18:04:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100229.44/warc/CC-MAIN-20231130161920-20231130191920-00007.warc.gz", "language_score": 0.9862675666809082, "token_count": 157, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__54560276", "lang": "en", "text": "Enrique is an architect and a writer. He is currently the Director of the Society of Chilean Bibliophiles and is also a music producer. In Chile, he has produced “My Fair Lady”, “Cabaret”, “The Sound of Music”, “Chicago”, “Cats” and “A Chorus Line”. In 2008, thanks to his management, Ennio Morricone performed for the first time in Chile with huge success, accompanied by the Symphony Orchestra of Rome and he also performed with the Choir of the University of Chile. Enrique is the First Vice President of the Pablo Neruda Foundation and a collector of his work, and during his youth he met the poet.", "domain": "music_and_dance"}
{"url": "https://havenecarter.com/what-is-nia/", "date": "2018-12-19T16:28:04Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376832559.95/warc/CC-MAIN-20181219151124-20181219173124-00291.warc.gz", "language_score": 0.9176735877990723, "token_count": 375, "dump": "CC-MAIN-2018-51", "global_id": "webtext-fineweb__CC-MAIN-2018-51__0__2785327", "lang": "en", "text": "Nia is a path to condition, heal and express your self through movement and sensation. A dynamic blend of dance arts, martial arts and healing arts, Nia revolutionized the face of fitness in 1983, and has since changed millions of lives and bodies across the globe. Balancing technical precision with free-form expression, Nia brings the body, mind, emotions and spirit to optimum health through music, movement and self-expression, guided by the sensation of Pleasure.\nNia is designed for any body. It is ageless and limitless, transformational and effective for every person everywhere, from athletes, dancers and fitness instructors, to children, special needs groups and the elderly. With the philosophy, Through Movement We Find Health, Nia addresses the whole person through music and movement integrated from nine traditional movement forms.\n“Haven is an amazing embodiment of the power of Nia! She is in fantastic shape and leads her classes with gentle strength, inspired enthusiasm, and a contagious passion for the gift of the Nia form of Mind, Body, Spirit exercise. When we dance with her, I am inspired, affirmed, filled with gratitude for the amazing Universe and community I am a part of, and sweaty! I’m getting a great workout and having so much fun that I forget it is great for me! I highly recommend working with Haven!” Michele\nFor testimonials, click here.\nNia TV is the latest rage! It’s wonderful! You can dance Nia whenever you want.\nNia TV is perfect if you‘re traveling and you can’t find Nia nearby, or you just want more Nia than what is available in your area, too.\nTry it. There’s no obligation.\nI love Nia TV! You will too!", "domain": "music_and_dance"}
{"url": "http://www.wearemcbs.com/blog/2016/2/18/jjxz04u1f88hihqc1o4y141ju81wml", "date": "2019-09-15T20:39:29Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514572289.5/warc/CC-MAIN-20190915195146-20190915221146-00513.warc.gz", "language_score": 0.9521247744560242, "token_count": 326, "dump": "CC-MAIN-2019-39", "global_id": "webtext-fineweb__CC-MAIN-2019-39__0__90062189", "lang": "en", "text": "Jordan “DJ Swivel” Young graduated in 2005 from Full Sail University and hit the ground running. DJ Swivel’s roots mixing tunes for live audiences in the Toronto music scene trained him to hear the experience through the audience perspective and tell a story through music. As Media Communications students, audience engagement and storytelling are weaved into everything we learn and a strong quality that DJ swivel represents in his work. These days, Swivel mixes sounds for music artists as a producer and sound engineer for artists such as Jay-z, The Chain Smokers, and Beyonce.\nOne of the most intriguing aspects about DJ Swivel is he hasn’t let the industry box him into a specific career path. DJ Swivel represents the necessary fluidity of being a dynamic chameleon in the audio industry by constantly switching between mixer, producer, and engineer depending on where the opportunity and passion arise.\nWhen speaking on his rise to success in life after Full Sail, DJ Swivel said this about opportunity:\n“It’s about being in the right place at the right time and creating your own opportunities” - Jordan \"DJ Swivel\" Young\nAs technology and the music industry evolve, DJ Swivel is engaging both as an entrepreneur, partnering up with a music streaming service called Skio Music.\nJoin the conversation and follow @WeareMcbs to hear what audience members have to say about DJ Swivel’s panel discussion and his advice to all of you future Hall Of Famers.\nWritten By: Devin Lawrence", "domain": "music_and_dance"}
{"url": "http://morninggloryfarm.com/event/best-fest/", "date": "2020-05-31T16:46:55Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-24/segments/1590347413551.52/warc/CC-MAIN-20200531151414-20200531181414-00579.warc.gz", "language_score": 0.8373528718948364, "token_count": 132, "dump": "CC-MAIN-2020-24", "global_id": "webtext-fineweb__CC-MAIN-2020-24__0__67031384", "lang": "en", "text": "- This event has passed.\nSeptember 8, 2018 @ 4:00 pm\nThe ninth annual Best Fest brings live music to the streets of Oak Bluffs with a spectacular marching band parade following an afternoon of performances by Martha’s Vineyard musicians. Feel free to dance along.\n- 4 p.m. – 8 p.m.: Live music at the Ocean Park bandstand\n- 8 pm. – 9 p.m.: Parade from the park to—and up—Circuit Avenue featuring the Extraordinary Rendition Band (ERB) from Providence\n- Post-parade till closing time: More live music at the Ritz", "domain": "music_and_dance"}
{"url": "https://www.rombaux.be/nl/product/detail/ennio-morricone/6267813?colour=174319", "date": "2022-12-04T01:33:25Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710953.78/warc/CC-MAIN-20221204004054-20221204034054-00879.warc.gz", "language_score": 0.8520487546920776, "token_count": 197, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__6946346", "lang": "en", "text": "A great and original compilation of Ennio Morricone’s best works for Classical Guitar. The publication includes original transcriptions edited by the renowned guitarist Mauro Di Domenico and officially approved by Mr. Ennio Morricone himself. In addition to that, this title includes various special content, such as writings by Ennio Morricone, an unpublished work written for the author and the possibility to listen to Mauro Di Domenico’s performances, playing and interpreting some of the pieces of music included in the book. Contents include Gabriel’s Oboe, C’era una volta il West, Giù la testa, Nuovo Cinema Paradiso, Maturità, Temad’amore, Poverty, C’era una volta in America, Deborah’s Theme, Playing Love, La corrispondenza and Non telefonare.\nClick & Collect", "domain": "music_and_dance"}
{"url": "https://www.eurovisionshow.uk/allstars", "date": "2020-11-28T17:29:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-50/segments/1606141195687.51/warc/CC-MAIN-20201128155305-20201128185305-00132.warc.gz", "language_score": 0.9202499389648438, "token_count": 235, "dump": "CC-MAIN-2020-50", "global_id": "webtext-fineweb__CC-MAIN-2020-50__0__166750635", "lang": "en", "text": "What's Your Favourite Eurovision Song?\nLast year we compiled our very first Eurovision All Stars collection - and asked you to vote for your top winning Eurovision song.\nThis year we're going one better and inviting you to nominate your favourite contest entry of all time - regardless whether it was a winner or not!\nFrom Abba to Zlata Ognevich and everything in between, we will be compiling your nominations over the coming weeks and will reveal your top 30 Eurovision songs of all time in two special shows at Christmas and New Year.\nCheck out the simple rules below and then complete the voting form to register your favourite Eurovision song of all time!\n- Your chosen song must have been an entry in a Eurovision Song Contest Semi Final or Final;\n- You cannot vote for a non-Eurovision song from a Eurovision artist;\n- You cannot vote for national selection songs that did not appear at the Eurovision Finals;\n- One vote per person - duplicate votes will not be counted;\n- Votes must be received no later than December 19th 2020.\nComplete the form below to register your choice.", "domain": "music_and_dance"}
{"url": "https://www.mcleanstringmusic.com/products/god-rest-ye-merry-gentlemen-3-violins-and-optional-piano", "date": "2023-09-23T05:45:39Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506479.32/warc/CC-MAIN-20230923030601-20230923060601-00404.warc.gz", "language_score": 0.9191631078720093, "token_count": 167, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__275516102", "lang": "en", "text": "God Rest Ye Merry Gentlemen | 3 Violins (and optional piano)\nHarmonically rich and dark with an ingenious contrapuntal rendering.\n* Please note that you can also find this piece included in the Holiday Joy Bundle and Holiday Volume #2\nHoliday Pieces for 3 Violins, 3 Violas, and 3 Cellos\nThese arrangements are completely interactive between the Violin, Viola, and Cello versions - in other words, they are in the same key and the parts can be swapped out between the different instrumental types.\nFor many of these arrangements, the first strain is a standard, traditional rendering - one could play the opening section as a simple performance of the carol.\nThe string parts are composed to stand alone or, of course, played with or without piano accompaniment.", "domain": "music_and_dance"}
{"url": "https://oceansroar1000drums.bandcamp.com/album/oceans-roar-1000-drums", "date": "2020-01-17T21:39:55Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-05/segments/1579250591234.15/warc/CC-MAIN-20200117205732-20200117233732-00409.warc.gz", "language_score": 0.8836753964424133, "token_count": 211, "dump": "CC-MAIN-2020-05", "global_id": "webtext-fineweb__CC-MAIN-2020-05__0__95352791", "lang": "en", "text": "Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.\nPurchasable with gift card\n€7EUR or more\nRecord/Vinyl + Digital Album\nAfter 10 years of making music together, Oceans Roar 1000 Drums is finally releasing a proper vinyl document of their work. Recorded on a rainy day in the Summer of 2017, the trio's first release in 5 years features the floating presence of Catherine Lamb's \"secondary rainbow synthesizer\", which is filtering both recordings of the band and environmental recordings to add another layer to the trio's dense and loving music.\nrecorded July 12th, 2017, at Maple Studio, Berlin-Spandau by Kurt Ralske mixed by Shades McKenna, Berlin 2018 mastered for vinyl by Giuseppe Ielasi 2019 photo by Sergey Kolosov\nIncludes unlimited streaming of Oceans Roar 1000 Drums\nvia the free Bandcamp app, plus high-quality download in MP3, FLAC and more.", "domain": "music_and_dance"}
{"url": "https://wotantx.info/i-are-a-star-texas-and-red-dirt-country-3", "date": "2022-10-02T01:17:41Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030336978.73/warc/CC-MAIN-20221001230322-20221002020322-00158.warc.gz", "language_score": 0.9626345634460449, "token_count": 288, "dump": "CC-MAIN-2022-40", "global_id": "webtext-fineweb__CC-MAIN-2022-40__0__190565533", "lang": "en", "text": "This post originally appeared in BattleRedBlog as a FanPost.\nFor this week’s installment, we have a song from one of the big names in Texas Country as well as a major songwriter for Outlaw Country (including some of Waylon Jennings’ hits): Billy Joe Shaver.\nHe has had an impressive career as a songwriter, with the following titles to his credit: Honky Tonk Heroes, You Asked Me To, Live Forever, Georgia On A Fast Train, I’m Just An Old Chunk Of Coal, just to name a few. At some point, if I continue this series, I’m sure I will get to one or more of those songs. However, in this post, I have selected Slim Chance And The Can’t Hardly Playboys, featuring fellow Texas Country artist, Kevin Fowler. This song tells the story of a very bad band, the Can’t Hardly Playboys, until Slim Chance came along and “played the songs that stick right in your head.” That’s not necessarily to say he was any good either. The band continues to play in Walmart parking lots, for instance. They still dream of getting dressing rooms when they play. It’s a very silly song, with a number of puns in the lyrics.\nAnd the link to the Play Music playlist for this series:", "domain": "music_and_dance"}
{"url": "https://musicandmellc.com/spanish-classes.html", "date": "2021-04-17T12:16:48Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00543.warc.gz", "language_score": 0.9463886618614197, "token_count": 140, "dump": "CC-MAIN-2021-17", "global_id": "webtext-fineweb__CC-MAIN-2021-17__0__234613486", "lang": "en", "text": "Join Music and Me LLC as we go on a musical journey exploring the Spanish language and its cultures. The Canta y Baila Conmigo curriculum focuses on music education and language immersion. This program is ideal for native Spanish speakers as well as beginners and allows children to experience musical learning and language in a fun and engaging environment.\nCanta y Baila Conmigo classes are conducted entirely in Spanish by certified and trained teacher/musicians. Folk classics, familiar children's songs, and new adaptations of traditional songs and rhymes are new each semester. Families receive a CD and a songbook containing Spanish lyrics, sheet music, cultural notes, and an English language supplement for families learning Spanish.", "domain": "music_and_dance"}
{"url": "http://www.evolchicago.com/chicago-house-music-shirts.html", "date": "2018-05-21T11:05:32Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-22/segments/1526794864063.9/warc/CC-MAIN-20180521102758-20180521122758-00060.warc.gz", "language_score": 0.8592807650566101, "token_count": 184, "dump": "CC-MAIN-2018-22", "global_id": "webtext-fineweb__CC-MAIN-2018-22__0__105818001", "lang": "en", "text": "Black Chicago House music Shirts\nOur unique selection of black house music shirts are sure to make any fan of house music happy. House music has deep roots in Chicago and we have taken the Chicago skyline, the Chicago flag, \"we love house music\" and put them all together to make an awesome house music shirt.\nWe Love House Music T-shirt (Midnight Edition)\nRule the nighttime on the streets of Chicago where you can hear the house music playing until the early hours of the morning. Grab this all black men's t-shirt with light black print and the white \"We Love House Music\" symbols.\n- We Love House Music Light Black on Black T-Shirt\n- 100% Ring Spun Cotton\nWomen's Black We Love House Music T-Shirt (We❤🏠🎶)\n- 100% Ring-spun Cotton\n- Slim Fit", "domain": "music_and_dance"}
{"url": "https://guides.laguardia.edu/c.php?g=758977&p=7844056", "date": "2024-04-16T04:42:07Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817043.36/warc/CC-MAIN-20240416031446-20240416061446-00414.warc.gz", "language_score": 0.9112982749938965, "token_count": 291, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__120067041", "lang": "en", "text": "Sounding Like a No-No by\nCall Number: Click on link to view EBOOK\nPublication Date: 2012-12-26\nSounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.", "domain": "music_and_dance"}
{"url": "https://www.avalonmusic.ca/stephenparton.htm", "date": "2020-08-15T19:10:28Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-34/segments/1596439741154.98/warc/CC-MAIN-20200815184756-20200815214756-00392.warc.gz", "language_score": 0.9518260955810547, "token_count": 211, "dump": "CC-MAIN-2020-34", "global_id": "webtext-fineweb__CC-MAIN-2020-34__0__48180265", "lang": "en", "text": "Since the late 1980's, Stephen has been teaching music to\nchildren and adults, many of whom have gone on to become performers\nand teachers themselves.\nBorn in Jonquière, Québec, he began playing\nguitar at the age of ten years while living in Dundas, Ontario.\nFurther studying brought him to London, Ontario and to Montreal,\nwhere he studied classical guitar. In Toronto, Parton also\nstudied fingerstyle guitar with Canada's premier acoustic\nguitarist, Don Ross. Classical guitar instructors have included\nmasters Alexander Dunn, Davis Joachim and Norbert Kraft.\nParton has composed for, and performed on guitar several times\nas a soloist with the Vancouver Island Symphony Orchestra.\nHe still plays professionally as a session guitarist (live\nand studio), in the Avalon String Ensemble, and as a soloist.\nSteve's guitar work has graced over a dozen albums.\nSteve also owns Avalon\nHis music website is www.partonmusic.com.", "domain": "music_and_dance"}
{"url": "http://www.pianosplusschool.ie/practice-advice/", "date": "2019-09-21T16:13:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514574532.44/warc/CC-MAIN-20190921145904-20190921171904-00394.warc.gz", "language_score": 0.9276642799377441, "token_count": 327, "dump": "CC-MAIN-2019-39", "global_id": "webtext-fineweb__CC-MAIN-2019-39__0__15072212", "lang": "en", "text": "Pianos Plus School - Practice Advice\nWelcome to our school at Pianos Plus, Centrepoint. We now have 4 teaching centres in Dublin. Everything you need to know for the coming term is listed below if you have any questions please talk to your child’s teacher.\nAt your first lesson you will be given a list of books your child will need for the year. The books can be bought in town at McCullough Pigotts on South William St. or online at amazon.co.uk or musicroom.com.\nRegular practice is the most important thing if you want to improve at the piano and just as important as your lesson. Piano will be a lot more enjoyable if you are fitting in daily practice and making progress. Part of every lesson time is given to learning to practice effectively.\nPlease follow these practice methods in your practice time rather than just playing through. Recommended daily practice times depending on your level/grade are below. Younger students will need to be monitored by parents to check they are putting aside time for piano practice. Please Note: It is a requirement at Pianos Plus School that all students have daily access to an acoustic piano – a digital or electronic instrument is not acceptable.\nRecommended daily practice time: Beginner - 20 minutes, Grade 1/2 - 30 minutes, Grade 3 - 40 minutes, Grade 4 - 45 minutes, Grade 5/6 - 1 hour, Grade 7 - 1 hour 15 mins, Grade 8 - 1 hour 30 mins\nYou are also welcome to visit our Pianos Plus Shop website www.pianosplus.ie", "domain": "music_and_dance"}
{"url": "https://marcelamendezmusic.com/?page_id=23", "date": "2020-02-22T09:15:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-10/segments/1581875145657.46/warc/CC-MAIN-20200222085018-20200222115018-00179.warc.gz", "language_score": 0.956699788570404, "token_count": 428, "dump": "CC-MAIN-2020-10", "global_id": "webtext-fineweb__CC-MAIN-2020-10__0__184756609", "lang": "en", "text": "Known for her role as lead singer of San Diego’s popular pop/rock cover band HoneyRock, Marcela’s acoustic music has been turning ears for several years now with her soaring vocals (think Adele meets Stevie Nicks) and spicy personality.\nMarcela is originally from Walnut Creek, CA but moved to San Diego 18 years ago to become a part of this great City. Marcela got her start in Musical Theatre which truly helped her transition into becoming one of San Diego’s favorite female entertainers.\nHer lower register offers a smoky blend that reminds people of a cross between Natalie Merchant and Stevie Nicks. Add in Marcela’s Chilean descent, she is as comfortable singing in Spanish as she is in English. Her ability to sing both allows her the opportunity to appeal to an even larger, more diverse audience.\nMarcela’s love for music has her performing a diversified selection of well known Rock tunes that range from the 60’s all the way up to today’s top Artists. Songs by the Beatles, Elvis, Johnny Cash, Mel Torme, Tina Turner, Fleetwood Mac, U2 all the way up to Ed Sheeran, Jason\nMraz, Justin Timberlake, Amy Winehouse and Adele scratch the surface of all the music she loves to perform.\nSome of the Spanish Artists that she covers include Selena, Shakira, Reik, Jesse y Joy, Zayra Alvarez, etc…. She will truly impress when she performs Roy Orbison’s “Crying” in Spanish – it is a beautiful rendition.\nSo many artists over the years have inspired Marcela to become the singer that she is today and she considers herself very fortunate to share something that she loves for others to enjoy that will surely remind us all of different eras of our lives.\nWhether your music needs are for a Corporate Event, a Wedding, a Private Party or a Life Celebration, Marcela promises to deliver exceptional, musical entertainment that everyone will enjoy!", "domain": "music_and_dance"}
{"url": "https://www.visitvarkaus.fi/en/naejakoe/musiikki/", "date": "2022-12-06T11:45:24Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446711077.50/warc/CC-MAIN-20221206092907-20221206122907-00619.warc.gz", "language_score": 0.8444954752922058, "token_count": 525, "dump": "CC-MAIN-2022-49", "global_id": "webtext-fineweb__CC-MAIN-2022-49__0__247831579", "lang": "en", "text": "Hotel Oscar, Kauppatori 4\ntel. +358 (0)293 200 525\nHotel Oscar / Contacts page\nWarkaus-sali is a diverse building for events and music suitable for concerts, exhibitions, celebrations, meetings and congresses. Finland’s star performers and the best local ones are seen on stage.\nUpcoming Events: www.hoteloscar.fi/warkaus-sali\ntel. +358 (0)40 7138 660\nSoisalo-opisto’s programme include several performing groups and a diverse selection of concerts featuring different kinds of music.\nUpcoming Events: www.soisalo-opisto.fi\nANNUAL MUSIC FESTIVALS\nSturgeon and Champagne\nSturgeon and Champagne is a two-day city festival held in August that combines good music, delicious food and a pleasant atmosphere. There are programmes for the whole family at this event.\nMore information: www.sampeajasamppanjaa.fi\nWanuvarock is a music festival held in August which is organised by the youth council of Varkaus together with the City of Varkaus.\nMore information: facebook.com/wrock14\nMusic Days of Heinävesi\nMusic Days of Heinävesi is a classical music festival held in June, which offers a versatile and fresh programme every year, with respect for local traditions.\nMore information: www.heinavesimusic.fi\nJoroinen Music Festival\nJoroinen Music Festival is a classical music event held at the end of July or early August with a diverse and high quality supply of performances. The concerts of the festival are organised in churches, country mansions and outside in a beautiful rural setting.\nMore information: www.joroinenmusicfestival.fi\nTop Finnish musicians of younger generation, young musicians from the Varkaus region as well as other musicians from the larger region will be playing classical music at the Festival. Concerts take place in several places, some of which are unique like Harjurannan Luontokirkko (church in nature) and Humisevan Harjun Tilan Latokahvila (farm barn).\nMore information: www.varkauden-kesaklassinen.fi (in Finnish)", "domain": "music_and_dance"}
{"url": "https://www.robertnajlis.com/klee-music-polyphony/", "date": "2024-04-20T12:46:01Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296817650.14/warc/CC-MAIN-20240420122043-20240420152043-00705.warc.gz", "language_score": 0.9622362852096558, "token_count": 2787, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__49075538", "lang": "en", "text": "Paul Klee, Musician or Painter\nPerhaps the biggest decision in Paul Klee’s life was whether to pursue a career as a musician or as a painter, as both paths were open to him. His parents were both musicians and his father was a professor of music. By age 11, Klee was an accomplished musician performing as an extra with the Bern symphony. In the end he chose painting, as he felt that the great days of music were in the past, whereas those of painting were yet to come.1\nKlee especially liked the music of the 18th century, composers such as Bach, Mozart and Beethoven, as well as Haydn and Schubert. He preferred the chamber music of the Viennese school because, as his friend and biographer, Will Grohmann, states, “he found that it stimulated his sense of form and provided him with a sure guide through the labyrinth of his own formal invention.”2\nKlee agreed with Goethe that color and sound should not be directly compared, rather that both should be derived from a higher law. As Goethe said in the Theory of Colors, “Colour and sound do not admit of being directly compared together in any way, but both are referable to a higher formula, both are derivable, although each for itself, from this higher law. They are like two rivers which have their source in one and the same mountain, but subsequently pursue their way under totally different conditions in two totally different regions, so that throughout the whole course of both no two points can be compared.”3 Klee looked to music as a means to derive an organizing principle for painting. He was not looking to make paintings that were merely musically inspired or that had a musical type of feeling. Instead, he was looking to the principles of music as a way of thinking about composition in painting. According to Klee, what had already been done for music by the end of the eighteenth century had at last begun for the pictorial arts.\nWhat was it that had been done for music and that was at last being done for the pictorial arts? In 1725 Johann Josef Flux published the landmark 18th century treatise on music theory, Gradus ad Parnassum, which introduced and codified the theories of counterpoint and polyphonic composition. This treatise had a profound influence on the composers of the Viennese classical school, such as Mozart, Haydn and Beethoven, all of whom learned the fundamental techniques of composition for the treatise.4\nPolyphony, Counterpoint and Fugue\nIn music there are different ways of organizing the number of voices being used, the methods described below will be helpful in understanding the work that Paul Klee was doing with music and the visual arts.\nMonophony is the simplest form of music with just one part or voice being used. Even if there are various instruments or singers, if all the notes are played or sung in unison, even if in different octaves, this is considered monophony.\nIn homophony there is one dominant melodic voice accompanied by chords. This can be seen below in the example from Frederic Chopin’s Nocturne, Op. 62 No 2. The chords are in the lower part of the diagram, the bass clef. Notice how the chords are formed by notes stacked one on top of another in a vertical fashion. The notes in the upper part of the diagram, the treble clef are arranged in a horizontal fashion, one next to the other. This sense of verticality versus horizontality is the principle difference between chords and melody notes.\nPolyphony describes the general class of music where two or more voices acting as independent lines of melody are acting at the same time. This differs from homophony in which there is one melody line and line of chordal harmonics.\nCounterpoint is a form of polyphony that generally involves musical lines with strongly independent identities. It involves the study of the motion of musical lines relative to one another. The rules of counterpoint can be strict or freer, with most pieces adapting a freer interpretation of counterpoint to allow for musical freedom. Below is an example of counterpoint from Liszt’s B minor Sonata. Note how both lines are acting in a horizontal manner at the same time and in relation to one another.\nA fugue is a contrapuntal composition in which a short melody or phrase (the subject) is introduced by one part and successively taken up by others and developed by interweaving the parts. In the example below, one can see how successive voices are introduced into the composition.\nKlee’s Research into Music and Art\nCubism helped Klee to see the possibilities of music in the visual arts. In the alternating darks and lights he saw aspects of musical rhythm in the visual. Klee continued to further and refine his interest in music, rhythm and visual movement. His interest in individual lines of music as seen in counterpoint prompted him to attempt a visual translation of the different voices in the Adagio from J.S. Bach’s Sonata No. VI in G Major for violin and clavier.5\nKlee studied the movement of the voices in counterpoint compositions. He created a large musical staff able to span three octaves thereby allowing him to visualize all of the voices in one large space. Below this area he described the quality of the beat, both in terms of dynamic changes as well as reproducible accents that corresponded to the overall meter of the piece. The curvilinear motion correlates to the movement of the melody, while the weight of the line expresses the rhythmic and melodic emphasis given to that voice at that time. This study lead Klee to further pursue this theme and consider the question of texture and voices in the visual arts.6\nKlee distinguished between what he called individual and structural components in musical texture. Structural components are characterized by rhythmic repetition without variation. Thus they are divisible as they can be broken down into smaller units while still retaining the same basic structure. Individual components are rhythmically independent (non-repetitive) compositional entities that can not be subdivided into repeating parts, but can be combined with the supporting structural rhythm. Klee applied this to the study of the individual vs structural parts of a piece by Bach, giving the individual line more free reign, separating it from the structural part.7\nKlee’s painting ‘Snake Paths’ takes this idea further, with the snake acting as an individual melodic voice over the visual counterpoint of the structural shapes echoing and interacting with the snake’s movement.\nFugue in Painting\nIn the painting Fugue in Red, Klee worked in style of the fugue, with repeating forms entering at different times. About this piece, Klee said: “The repetitive characteristic of structures is here the concept of increase or decrease which is repeated at every step. If the naturally ordered movement perceived with the ears instead of the eyes is comparable to the movements of natural tones, the artfully ordered movement is reminiscent of the structured division of tones we find in musical scales.” 8\nIn the painting Rhythmic Landscape with Trees, Klee used trees as a kind of rhythmic notation set upon horizontal staff lines. 9 He started to think about creating discrete elements in his painting that can correspond to musical notes, elements of time and space, movement (color/notes). The idea of individual structural elements in painting that would act similarly to notes is an idea that would be developed further in later paintings.\nFlat Color Grid\nKlee further developed the flat color grid idea, using color grid squares as notes. In the painting Alter Klang (ancient sound) Klee utilized the color grid idea. Part of the original inspiration for this painting came from Leonardo da Vinci’s St John the Baptist. However, Klee changed from Leonardo’s continuous range of dark to light into discrete value in a grid like format.\nNew Harmony and twelve-tone music\nBy early 20th century, composers of contemporary classical music were not writing in major minor keys anymore, they were not writing music that fit in one tonality. Schoenberg developed his idea of atonality, which he used to give all 12 notes equal importance, and to avoid being locked into one key. The basis of this twelve-tone technique is to arrange all twelve notes of the chromatic scale into a row of notes, and the inverted and rearrange them in various ways throughout the composition. Composers such as Aaron Copland and Igor Stravinsky also used this technique. In the painting New Harmony, Klee employs a similar idea of 12 tones of color that are repeated in a bilateral inverted symmetry.\nPolyphony and the Dot Screen\nKlee’s ideas on polyphony in the visual arts did not grow alone. Through conversation with Robert Delaunay and looking at his works, such as Blue Rider and Simultaneous Window, Klee was able to further his thoughts on polyphony in the visual arts. With the help of Delaunay, Klee had come to see pictorial polyphony as tied together with transparent color depth. However, Klee eventually found Delaunay’s use of transparencies lacking in the kind of structure and definition he desired to provide organization for his compositions. Klee found that using overlapping transparencies resulted in both themes being destroyed and merged into one, rather than being held up as separate but related voices.\nSimultaneous Harmonic Relationship\nRealizing that he needed a planar color space that would be more unified as well as more transparent, Klee experimented with various formats and ideas, eventually developing what he called his “so-called pointillism.” 10 This technique was not in fact pointillism, instead it was more of a dot screen. First he set down one theme in the ground plane of the painting. Over that plane he laid a screen of white dots. The white dots provided a new surface to paint on, while not completely covering the bottom plane. Thus, with the bottom plane still visible, over the white dots he applied a wash or series of washes to gain the effects of space and color. This process resulted in two fully independent themes. Each theme was visible independently as well as together.\nThis technique of so-called pointillism is best seen in Klee’s great work Ad Parnassum. The title of the work references directly Fux’s treatise on musical polyphony, Gradus ad Parnassum. The painting shows two fully independent yet related themes. As in late 18th century musical polyphony, the painting Ad Parnassum shows a simultaneous harmonic relationship, rather than a sequential one. Finally, Klee had succeeded in creating the kind of visual polyphony he had been working on ever since he first began to study the movements of voices in Bach’s counterpoint.\nWhile Klee’s ultimate goal was color polyphony, he was also aware of the current trends in painting. As painting was moving towards a flatter space, he still wanted to keep a sense of space so as to avoid having the work end up as decoration. Klee understood linear perspective to be a dead metaphor 11 so he worked towards alternate means of preserving a sense of space and depth. Furthermore, he looked to codify and safeguard the traditions of pictorial depth and transparent color just as Fux had safeguarded the polyphonic tradition in music.\nFux dealt with fundamental principles of harmony and counterpoint, though tastes might change, the fundamental principles of composition do not. Klee sought to do the same with painting, lay down fundamental principles of working in polyphonic themes, preserving depth and and space. Klee was very aware of the history of painting and saw himself as part of that. He saw the transparent color interaction as part of painting tradition going back to Leonardo da Vinci, as well as having roots in the glazing techniques of early Flemish masters. 12\n1. Andrew Kagan, Paul Klee / Art and Music (London: Cornell University Press, 1983)\n2. Richard Verdi, Musical Influences on the Art of Paul Klee, Art Institute of Chicago Museum Studies, Vol. 3 (1968), pp. 81-107\n3. Johann Wolfgang von Goethe, Theory of Colors, Translated by Charles Lock Eastlake, R.A., F.R.S (London, Wlliam Clowes and Sons, 1840) pg 298\n4. Andrew Kagan, Paul Klee / Art and Music (London: Cornell University Press, 1983)\n5. Richard Verdi, Musical Influences on the Art of Paul Klee, Art Institute of Chicago Museum Studies, Vol. 3 (1968), pp. 81-107\n8. Galen Johnson, The Retrieval of the Beautiful: Thinking Through Merleau-Ponty’s Aesthetics, (Illinois: Northwestern University Press, Dec 31, 2009)\n9. Andrew Kagan, Paul Klee / Art and Music (London: Cornell University Press, 1983)", "domain": "music_and_dance"}
{"url": "https://newtrier.k12.il.us/Homepage/News/New_Trier_student_dance_company_DTNT_adds_fundraising_component_to_spring_show/", "date": "2020-07-12T09:35:22Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2020-29/segments/1593657134758.80/warc/CC-MAIN-20200712082512-20200712112512-00434.warc.gz", "language_score": 0.8922104835510254, "token_count": 816, "dump": "CC-MAIN-2020-29", "global_id": "webtext-fineweb__CC-MAIN-2020-29__0__184699171", "lang": "en", "text": "The Performing Arts Division at New Trier High School is proud to present Dance Theater New Trier , its spring student dance company, in concert on May 2 and 3 in the Northfield campus Cornog Auditorium. Tickets are $7 and available at the door or at showclix.com\nDTNT provides an opportunity for sophomore-senior dancers, as well as select freshmen, to choreograph their own dances and collaborate with their peers. The performance will include eight original student works by Elizabeth Johnson, Jenna Khalifeh, Grace Lee, Paris Levin, Bess Perry, Natalie Ringel, Eden Snower and Abby Wilson.\nEach dance is a one-of-a-kind creation, created by student choreographers with an intent or focus completely original to the dance. For example, senior Grace Lee developed the movements for her dance by studying wind and weather patterns. In another dance, senior Natalie Ringel investigated fractals, or complex patterns created by repetition. Junior Eden Snower uses a spoken word, slam poem about personal responsibility for creating change in the world to accompany her dance.\nThe program is also thrilled to present a one-of-a-kind, original work by professional guest artist Yariana Baralt Torres, created especially for 13 DTNT dancers. Baralt Torres is a Puerto Rican dancer, choreographer and sociologist who uses dance as a platform for social change. She obtained her BA in Dance and Sociology from Loyola University Chicago and has performed works by Amy Wilkinson, Sarah Fuller, Sandra Kauffman and Darrell Grand Moultrie. She has had the privilege of performing with Mandala Dance Company in Rome, Italy, as well as with Hedwig Dances as their performing apprentice. Baralt Torres has presented her own works at the American College Dance Association, the 100 Acts of Resistance by the Greenhouse Theater, Collaboration's Encounter Series and Loyola University Museum of Art, and more of her work can be found on her Instagram account at @yariananicole.\nThis year, Dance Theater New Trier will hold a bake sale after the performance on Friday, May 3, and 100 percent of the proceeds will be donated to HELPING WOMEN period , a nonprofit organization the brings free feminine hygiene products to homeless and at-risk women.\nNew Trier faculty Laura Deutsch and Johannah Wininsky, the 2018/19 SHAPE America National Dance Teacher of the Year Award recipient, share the artistic direction of the company and are extremely proud of the talent and artistry of this year's company of over 60 students.\nThe 2018 Dance Theater New Trier Company is: Mira Becker, Emily Beckmann, Hannah Bender, Caroline Bennett, Annie Berlin, Chloe Blesi, Madeline Brown, Cat Cohen, Caroline Davis, Phoebe Dwyer, Jenna Dyke, Lindsey Economos, Christina Fahmy, Marin Freedman, Jacquelyn Garabedian, Juliana Gurevich, Evie Halston, Ellie Hanlon, Olivia Ho, Bridget Hogan, Dai-lin Hummel, Isabella James, Millie James, Elizabeth Johnson, Brianna Karras, Jenna Katlin, Katie Kelly, Caroline Kenney, Jenna Khalief, Stella Kustra, Misbah Lalani, Grace Lee, Bella Leon, Alex Levin, Paris Levin, Hannah Li, Cynthia Liu, Camryn Lowry, Emily Lu, Katy Malueg, Olivia Matsuro, Caitlyn Mulligan, Amanda Neslund, Gabby Nocera, Allison O'Bara, Emmy Osuna, Robin Park, Bella Passeri, Sarosh Patel, Bess Perry, Kara Philoon, Rylie Raupp, Natalie Ringel, Emmanuel Ruiz, Mina Seals, Eden Snower, Lauren Spillane, Joelle Stressler, Grace Tobey, Christina Waltman, Emily Wang, Samantha Wert, Abigail Wilson, Esther Xu, Ariana Zawacki, Angel Zheng and Erin Zielke.", "domain": "music_and_dance"}
{"url": "https://ryanknorr.bandcamp.com/album/the-darker-side", "date": "2019-03-20T03:46:41Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-13/segments/1552912202199.51/warc/CC-MAIN-20190320024206-20190320050206-00021.warc.gz", "language_score": 0.9678597450256348, "token_count": 293, "dump": "CC-MAIN-2019-13", "global_id": "webtext-fineweb__CC-MAIN-2019-13__0__155325058", "lang": "en", "text": "released July 1, 2013\nProduced by Ryan Knorr\nAll songs written and performed by Ryan Knorr\nexcept additional acoustic guitars provided by Nick Motil on “Someday Somebody”\nAll tracks recorded by Ryan Knorr\nAll tracks mixed by Tony Bohnenkamp at Sonic Factory Studios, Des Moines, Iowa\nAll tracks mastered by Matt Sepanic at Sonic Factory Studios, Des Moines, Iowa\nAlbum cover original artwork by Nick Motil\nAlbum cover graphic design by Reid Knorr\nMy wife, Kelsey, for her continued support and love while I once again worked long hours on this project and neglected a few of my duties around the house. :)\nMy family and friends for their continued support of my musical endeavors.\nSpecial thanks to my good friend Nick Motil for his guidance on this project and for lending his talents on a track.\nSpecial thanks as well to another good friend, Tony Bohnenkamp, who put up with my over the top perfectionism when mixing this album. He spent countless hours looking over every single detail and I am grateful for his hard work.\nFinally, thank you to all of you who continue to listen to my music and support my art. I can’t say enough how much it means to me to have even a single person listen to what I’ve created and express to me that they enjoy it. It means the world and always will.", "domain": "music_and_dance"}
{"url": "https://waahli.com/bio/", "date": "2024-04-24T16:04:21Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-18/segments/1712296819668.74/warc/CC-MAIN-20240424143432-20240424173432-00325.warc.gz", "language_score": 0.9708678126335144, "token_count": 453, "dump": "CC-MAIN-2024-18", "global_id": "webtext-fineweb__CC-MAIN-2024-18__0__202261870", "lang": "en", "text": "Waahli is a Montreal artist born of Haitian parents. Raised in a family where music is omnipresent, he is immersed by the traditional Haitian melodies with artists such as Tabou Combo, Coupé Cloué or Manno Charlemagne. He learned to play the guitar on his own. In spite of a great influence of Haitian music, it is with Hip-Hop that he develops his own style.\nIn 2004, Waahli co-founded Nomadic Massive, a mythical hip hop group in Montreal. Still active, the group has just completed a new EP recorded during a tour in South America. At the same time, Waahli felt the need to develop a solo project. In 2018, he released his very first album ”Black Soap” followed in 2020 by the EP ”Soap Opera”.\nPerformed in English, French and Haitian Creole, these songs are a fusion of catchy rhythms at the crossroads of rap and Afro-beat and are a true tribute to Haitian culture.\nOn September 30, 2022, Waahli returned with “Soap Box”, a reflection of his newfound intimacy during his confinement. He signs an even more personal and committed album, paying a vibrant tribute to his Haitian roots. The 11 tracks, co-produced with Boogat & Lou Piensa from Nomadic Massive are an amalgam of instrumentals, live vocals and percussion influenced by Haitian and African sounds. The opening song “Machann” is a subtle and moving mix of traditional Haitian songs combined with Waahli’s incisive tone.\nWith “Soap Box”, he collaborates with Clerel on an upbeat and danceable track in which he salutes his Afro-descendant heritage.\nThe song “Te revoir” created with the complicity of the singer Malika Tirolien is a heady love ode, ranked for several weeks among the 50 most listened to tracks on CBC Music. Also, Waahli is an organic soap maker!\nWith its ancestral rhythms and his sharp words, Waahli’s innovative hip-hop takes us to the four corners of the world.", "domain": "music_and_dance"}
{"url": "https://ardeemall.com/blog/event-new/festival-of-rejoice-3/", "date": "2023-12-02T14:42:25Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100427.59/warc/CC-MAIN-20231202140407-20231202170407-00793.warc.gz", "language_score": 0.9352707266807556, "token_count": 99, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__62010677", "lang": "en", "text": "The Ardee Mall Festival of Rejoice is here and we are all set to make it a merry event with a melodious live musical performance. Shop all you want and then sway to the tunes .\nPerformance on 30th and 31st December. See you there\n🏢 Venue: Ardee Mall Atrium, Sector 52, Gurugram\n🗓 Date: 30th December 2020 – 31st December 2020\n🕚 Time: 6PM – 9PM", "domain": "music_and_dance"}
{"url": "https://www.ian-peter.com/events-1/sons-of-bach", "date": "2021-12-08T21:02:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964363598.57/warc/CC-MAIN-20211208205849-20211208235849-00178.warc.gz", "language_score": 0.8771749138832092, "token_count": 155, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__80783316", "lang": "en", "text": "Sons of Bach\nTime & Location\nAbout the event\nJohn 'Les Bougies Baroques' as they explore the music of Johann Sebastian Bach's talented sons in works that encompass the fascinating stylistic transition from the High Baroque of their father's music to the Viennese legacy that followed.\nW.F. Bach: Sinfonia in D [BR C-Inc.16]\nJ.C. Bach: Quartet in E-flat [Op. 8, No. 6, W B53]\nC.P.E. Bach: Sinfonia in E [WQ. 182/6, H.662]\nJ.C.F. Bach: Keyboard Concerto in A [BR C30]", "domain": "music_and_dance"}
{"url": "https://pixelsiitbombay.com/unveiling-the-mesmerizing-melodies-of-cuundu-music/", "date": "2024-02-29T14:28:43Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474843.87/warc/CC-MAIN-20240229134901-20240229164901-00892.warc.gz", "language_score": 0.9048154950141907, "token_count": 1545, "dump": "CC-MAIN-2024-10", "global_id": "webtext-fineweb__CC-MAIN-2024-10__0__197706023", "lang": "en", "text": "Cuundu Audio: A Captivating Melodic Journey\nPut together to immerse yourself in the fascinating globe of Cuundu Audio, the place mesmerizing melodies and soul-stirring rhythms converge. Hailing from Zambia, Cuundu Tunes has speedily gained recognition for its special blend of standard African seems and contemporary influences. This powerful style has struck a chord with music fans, providing an entrancing encounter like no other.\nEncompassing a diverse variety of musical designs and themes, Cuundu Tunes has turn into a notable force in the Zambian audio scene. Latest Zambian Music whether you happen to be seeking the most current Cuundu releases or looking to dive into the globe of Zambian Gospel audio, this style has something to provide absolutely everyone. From its infectious beats to its heartfelt lyrics, Cuundu Music by no means fails to depart a long lasting effect.\nIf you are in research of an immersive musical expertise, seem no even more than Cuundu Audio. With the capacity to transport you to one more world, this genre invitations you to obtain the most recent Cuundu hits, discover the enchanting sounds of artists like Yo Maps and Chile 1, and link with the soulful melodies that will leave you yearning for far more. Get all set to unlock the concealed treasures of Cuundu Songs and embark on a melodic journey like no other.\nDiscovering the Cuundu Songs Genre\nCuundu Tunes, a charming genre originating from Zambia, is a delightful blend of traditional rhythms and modern day sounds. With its infectious beats and soul-stirring melodies, Cuundu Audio has become an integral element of the lively Zambian music scene. In this article, we dive into the enchanting entire world of Cuundu Songs, where musicians very easily weave jointly elements of Zambian folk music, gospel influences, and up to date variations.\nOne particular of the distinguishing functions of Cuundu Audio is its rich cultural heritage. Drawing inspiration from classic Zambian music, this genre pays homage to the ancestral rhythms and melodies that have been passed down via generations. The distinct use of indigenous devices these kinds of as the kalimba and ngoma produces a captivating sonic tapestry that resonates with the two younger and outdated alike.\nIn modern several years, Cuundu Audio has gone through a intriguing evolution, incorporating modern day influences that have propelled it into the mainstream. Artists like Yo Maps and Chile A single have played a considerable function in this transformation, infusing their exclusive variations into the genre. Their songs very easily mix conventional factors with contemporary beats, ensuing in a sound that is refreshingly dynamic and obtainable to a broader audience.\nCuundu Songs has also made its mark in the gospel genre, with quite a few gospel musicians embracing its expressive rhythms and heartfelt lyrics. With its concentrate on spreading positivity and uplifting messages, Zambian gospel Cuundu tunes has become a potent medium for spiritual rejuvenation and celebration.\nIf you might be hunting to immerse oneself in the irresistible melodies of Cuundu Audio, you’re in luck. Downloading the most current Cuundu Songs has by no means been less difficult, regardless of whether it be the soul-stirring gospel tracks or the most current releases from well-liked artists like Yo Maps and Chile One particular. Get ready to be mesmerized as you embark on a musical journey like no other, the place custom seamlessly blends with modernity, offering start to the mesmerizing melodies of Cuundu Audio.\nThe Impact of Cuundu Songs on Zambian Songs Business\nCuundu Music, a fascinating style originating from Zambia, has manufactured a substantial affect on the country’s vivid songs business. With its unique blend of conventional African rhythms and contemporary melodies, Cuundu Tunes has carved its personal unique specialized niche, charming the hearts of songs fanatics throughout the nation.\n1 of the key contributions of Cuundu Audio to the Zambian songs business is the infusion of wealthy cultural components. The essence of Zambian heritage is intricately woven into every be aware and lyric of Cuundu Tunes, creating a mesmerizing knowledge for listeners. This infusion of cultural elements has not only preserved and promoted Zambia’s assorted cultural heritage but has also established a feeling of nationwide satisfaction amongst Zambian tunes fans.\nIn addition, Cuundu Audio has served as a catalyst for the growth and prominence of Zambian artists globally. With the increase of electronic platforms and the accessibility of audio downloads, Cuundu Audio has garnered huge reputation beyond the borders of Zambia. Talented Cuundu artists have emerged as celebrated ambassadors of Zambian tunes, growing the country’s musical footprint globally.\nIn addition, Cuundu Audio has played a pivotal role in shaping up to date Zambian songs developments. Its fusion of conventional African seems with contemporary beats and instrumentation has motivated other genres, major to the emergence of exclusive and progressive music types. This cross-pollination of musical concepts has added depth and diversity to the Zambian music sector, attracting far more listeners and fostering creativeness among artists.\nIn conclusion, Cuundu Tunes has exerted a profound impact on the Zambian tunes sector. Via its infusion of cultural components, global recognition of Zambian artists, and shaping of contemporary tunes tendencies, Cuundu Music has become an integral part of Zambia’s musical landscape. As this charming style carries on to evolve and captivate audiences, its mesmerizing melodies are confident to go away an indelible mark on the hearts and minds of tunes fans significantly and extensive\nCelebrating the Variety of Cuundu Songs\nCuundu songs, with its rich cultural heritage, gives a diverse array of melodies and rhythms that captivate and enchant audiences. Each location inside of Zambia has its very own special flavor, incorporating to the tapestry of this vibrant songs genre. From the calming harmonies of classic Cuundu music to the energetic beats of modern day Cuundu fusion, this musical design spans a vast variety of expressions.\nOne particular of the impressive facets of Cuundu tunes is its potential to incorporate numerous influences. No matter whether it really is the fusion of standard African rhythms with modern instrumentation or the infusion of gospel themes into the lyrics, Cuundu tunes embraces diversity and produces a captivating fusion of seems. With these artistic improvements, Cuundu songs has not only preserved its standard roots but also developed to remain appropriate in present day dynamic music business.\nRegardless of the at any time-shifting landscape of the Zambian tunes scene, Cuundu songs remains a steadfast pillar. It proceeds to generate talented artists who lead to the abundant tapestry of Zambian audio. The genre also attracts a dedicated fanbase, each within Zambia and past. With its infectious melodies and heartfelt lyrics, Cuundu music has the power to transport listeners to a world of pleasure, reflection, and celebration.\nIn summary, Cuundu songs is a mesmerizing mix of custom and innovation, showcasing the assorted musical abilities of Zambia. By means of its melodic beauty and cultural significance, Cuundu tunes serves as a testament to the richness and diversity of Zambian tunes as a total. So, regardless of whether you are a supporter of gospel audio, up to date tunes, or simply intrigued by the allure of Zambian melodies, checking out and downloading Cuundu audio is bound to be a pleasant journey of musical discovery.", "domain": "music_and_dance"}
{"url": "http://brummages.blogspot.com/2011/12/st-augustines-church-city-of-birmingham.html", "date": "2019-02-18T14:58:46Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247486936.35/warc/CC-MAIN-20190218135032-20190218161032-00581.warc.gz", "language_score": 0.9773989915847778, "token_count": 187, "dump": "CC-MAIN-2019-09", "global_id": "webtext-fineweb__CC-MAIN-2019-09__0__223439774", "lang": "en", "text": "The City of Birmingham Brass Band performed at St Augustine's Church, Edgbaston on the evening of the 10th of December. The performance was in aid of the church lighting fund.\nAn appreciative audience enjoyed the music, mainly Christmas themed, as well as the wit of the conductor and director Warren Belshaw. There was an opportunity for the audience to sing along to carols and to participate actively during the song \"The Twelve Days of Christmas\".\nDuring the interval, hot drinks, wines and cakes were available and a raffle was held to boost the fund.\nThis was a very enjoyable and intimate evening, with much fun and banter between Warren and the audience.\nThe band's website is at http://freespace.virgin.net/oliver.monk/home.htm\nFor more information on the church visit http://www.staugustines-edgbaston.org/", "domain": "music_and_dance"}
{"url": "https://uniqueworldrecords.com/records/posts/worlds-first-rap-song-to-learn-english", "date": "2021-12-01T15:18:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964360803.6/warc/CC-MAIN-20211201143545-20211201173545-00268.warc.gz", "language_score": 0.9638776183128357, "token_count": 121, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__160347281", "lang": "en", "text": "Abhilash Modi, Saurabh Dadhich and Pratik Saini from Rajasthan, India achieved the record “World’s First Rap Song to Learn English”. They created & sung a rap song named “BHASHA” having a duration of 5 minutes 25 seconds. It was recorded at TILS Education in 2 months and released on 31 July 2020 on a YouTube channel. It was the first rap song to learn English. This song was basically to simplify the concept of helping verbs and tenses.\nUnique ID: 2020AC032", "domain": "music_and_dance"}
{"url": "https://finhampark2.communitybookings.co.uk/dance-studio-and-performance-space/dance-studio", "date": "2021-06-19T09:40:33Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-25/segments/1623487647232.60/warc/CC-MAIN-20210619081502-20210619111502-00456.warc.gz", "language_score": 0.9415190815925598, "token_count": 176, "dump": "CC-MAIN-2021-25", "global_id": "webtext-fineweb__CC-MAIN-2021-25__0__145487979", "lang": "en", "text": "The dance studio is a large bright space (9 x 9) fully equipped with all you would expect in a high quality dance studio. The studio has air conditioning, changing facilities, mirrored, sound system, sprung floor and a projector making it the perfect dance space to hire in the Coventry area. As well as being used by local dance clubs and organisations for practice and rehearsals the space is also suitable for those looking to hire a small studio for dance, aerobics or yoga.\nSuitable Uses: Various usage including fitness classes, martial arts, yoga and productions\n£30.00 per hour.\nPlease note prices are inclusive of VAT.\nRegistered affiliated clubs, organisations and charities may be VAT exempt for block bookings. Please get in contact for further information or questions.\nThank you, we've received your message and will respond as soon as possible.", "domain": "music_and_dance"}
{"url": "https://weplaywelltogether.com/collections/soundbath/products/monolini-monochord", "date": "2021-11-27T09:11:09Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358153.33/warc/CC-MAIN-20211127073536-20211127103536-00457.warc.gz", "language_score": 0.889788806438446, "token_count": 1114, "dump": "CC-MAIN-2021-49", "global_id": "webtext-fineweb__CC-MAIN-2021-49__0__32092092", "lang": "en", "text": "Monolini – Light Body Monochord for Sound Massage\nSmall, light, and easy to play the Monolini is designed so anyone can pick it up and play, while also being suitable for concert performances. Use for body massage, sound bathing, sound mediation, or to accompany singing.\nThis Monochord combines energizing overtones with the deeper tones of an octave and fifth tuning and, optional, melody. Spreads the sound gently and quickly from the area where it touches the body into the body itself. With its slightly rounded bottom and lightweight, you can lay the monochord on your back, stomach, or legs for sound massage.\nQuality: Hand Crafted in Germany\nStrings and Tuning: comes tuned in A, C, G, F or D with 21 strings, bass-overtone-fifth\nMonolini in C: rich overtones, character tending to major: 11 overtone strings in c', 5 bass strings in c, and 5 fifth strings in g.\nMonolini in A: rich overtones, character tending to minor: 11 overtone strings in a, 5 bass strings in A, and 5 fifth strings in e.\nMonolini in G: crystal clear and universal: 11 overtone strings in g, 5 bass strings in G and 5 fifth strings in d.\nMonolini in F: for fullness and vibration: 11 overtone strings in f, 5 bass strings in F and 5 fifth strings in c.\nMonolini in D: deepest Monolini with strong bass and vibration: 11 overtone strings in d, 5 bass strings D and 5 fi fth strings in A.\nDimensions: 28.4 x 8.3 x 4.3 inches, 4 pounds\nMaterials: Cherrywood and Ash\nTraining: Free 30 minute training via Skype.\nIncludes: Tuning key, replacement strings, sticks, and tuner.How to chose a monochord:\nThe information for the Monolina applies to the Monolini too. The Monolini has fewer strings 21 instead of 34 and no Koto bridges but the same strings (overtone,bass,fifth) as the Monolina.\nThe Monolini G fits universally to all tunings.\n- Read more and watch videos on: How to chose your Monolina tuning\n- Get Inspired: How do you learn how to play an “intuitive” instrument\n- Learn more: How to destress with the monochord\n- Examples on How to place the Monolina for a sound massage\n- We offer a 30 min online concierge monochord service where we walk you through the different models and talk with you to find out how you are planning to use the monochord. email: firstname.lastname@example.org or give us a call 707-972-0196\nMonolini Manual Download\nHow to replace a string:\nMonolina Manual: Download\nWhat our customers are saying:\n\"I have been working with the Body Monochord from feeltone ( the previous Model of the Monolini Serie) since over 6 years in therapeutic settings as a Music and Sound therapist. The cliental I am working with are persons with severe multiple disabilities, dementia patients and persistent vegetative state patients.\nThe new Monolini Quint Monochord offer me to further extend these areas of application. What convinced me above all else was the exceptional structural shape of the new models. ( Monolini, Monolina). This shape allows me and my client to position the instrument easily and exactly onto the chosen part of the body, which is not possible with other kinds of body monochords.\nEspecially for people with severe multiple disabilities , who can not assume a normal laying down position because of their handicaps, it is important to be able to position the body monochord exactly at a chosen body space with ease.\nThis monochord will not slide when it is played, which will happen with other models that I did try out. The built of the Monolini/Monlina allows me to optimally play and place it on a variety of body sizes, forms and positions.\nThe Monolin Quinten monochord stands out with its brilliant sound. This small and lightweight monochord has an unusual large sound volume, which pleasantly surprised me. Because of its different tuning and variation of its string, it allows me to create different moods and effects with my clients.\nThe beautiful craftsmanship and wood of the instrument creates a wonderful 'look and feel' effect and haptic interactions. It is a joy and pleasure to work with this instrument.\nI use the Monolini Quiten monochord in my treatments receptive and /or active depending of the needs of my clients.\nThe instrument is robust enough to allow my clients to actively play the monochord and create sounds that are deeply touching. The different strings allows the client to play a diversified and surprisingly multifaceted sound carpet. If you add little wooden sticks you can add even more variety, improvisation and sounds.\nI also use the Monolin Quitenmonochord with Sound journeys, sound meditations, therapeutical chanting and singing. The Monlini Quitenmonochors is a truly small and strong Allrounder.”\nSOLUNA Praxis für Massage-Klang-Heilung", "domain": "music_and_dance"}
{"url": "https://kivumbipress.com/2016/12/22/heres-why-the-slick-nature-of-world-music-makes-it-local-music-from-out-there/", "date": "2021-05-06T10:11:55Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-21/segments/1620243988753.91/warc/CC-MAIN-20210506083716-20210506113716-00297.warc.gz", "language_score": 0.9565690159797668, "token_count": 611, "dump": "CC-MAIN-2021-21", "global_id": "webtext-fineweb__CC-MAIN-2021-21__0__15735044", "lang": "en", "text": "Many Ugandan music lovers, over the years, have marveled in silence what sort of music it is that so consummately embraces synchronizations of traditional art and that which is foreign moreover coming out with such sound so conspicuously original while at the same time fathomable and intuitive!\nA song played in this genre is such close to your heart that you’ll immediately relate to it. Yet as it progresses, it introduces new musical “gymnastics” to itself and you’ll almost not be able to put your hands on it, as it were – for it is pristine and almost bizarre. To be honest, this is a sentiment that bamboozles almost everyone around the world. Hence, for abundance of caution, it was named world music.\nThe coinage was adopted as a classification for music that combines Western popular music styles with one of many genres of non-Western music that are also described as folk music or ethnic music. It is music that encompasses many different styles of music from all across the globe – it is a product where more than one culture fuse to create an all-inclusive exotic brand of music. World music therefore is neither exclusively traditional folk music nor is it an unadventurous stand-alone genre.\nIt may include jazz, soul, rhythm and blues and cutting edge pop music styles as well. Concisely, it can be described as “local music from out there”, or “someone else’s local music”. It is a very nebulous term with an increasing number of genres that fall under the umbrella of world music to capture musical trends of combined ethnic style and texture, including Western elements.\nWorld music may incorporate distinctive non-Western scales, modes and/ or musical inflections, and often features distinctive traditional ethnic instruments, such as the adungu [Ugandan bow harp], the drum [engoma], the tube fiddle, the xylophone, the guitar, the sitar, the saxophone, piano, horn, shakers, or the didgeridoo, among others.\nMusic from around the world exerts wide cross-cultural influence as styles naturally influence one another, and in recent years world music has also been marketed as a successful genre in itself. World music in Uganda has grown to include even the isolated forms of ethnic music from diverse geographical regions all over the country.\nProminent world music luminaries in Uganda include, Alex Mukulu, who over the years has been reckoned as the “god-father” of the rather complex genre. In his company, there was always Julie Ssessanga and Afrigo Band’s Moses Matovu, a saxophonist, who continues to deliver inspiration to the new generation of World Music adherents; such as Isaiah Katumwa, Maurice Kirya, Ganda Boys, Lillian Mbabazi, Susan Naava, Esther Nabasa, Kaweesi and Quela Band among others.", "domain": "music_and_dance"}
{"url": "http://rukminichatterjee.com/video.html", "date": "2022-07-04T06:36:50Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656104354651.73/warc/CC-MAIN-20220704050055-20220704080055-00523.warc.gz", "language_score": 0.8370406627655029, "token_count": 127, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__57242123", "lang": "en", "text": "QUESTIONINGS 2012/ 2013\nA coming together of Black Metal music, Bharatanatyam and Kathak. Questionings explores the different energies that surround us today. It tries to understand the complexities and paradoxes of Man’s existence in our times.\nRENCONTRE/ MEETINGS 2008/ 2009\nA coming together of European classical dance and music, Carnatic music, Khayal music, Bharatanatyam and Kathak, The theme explores the mystical traditions of the European, Indian and Sufi cultures. A physical and spiritual confrontation between two worlds.", "domain": "music_and_dance"}
{"url": "https://dirtynoise.gr/product/john-coltrane-with-eric-dolphy-evenings-at-the-village-gate-vinyl", "date": "2023-12-06T21:13:30Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100603.33/warc/CC-MAIN-20231206194439-20231206224439-00860.warc.gz", "language_score": 0.9578880071640015, "token_count": 349, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__272355971", "lang": "en", "text": "In August of 1961, the John Coltrane Quintet played an engagement at the legendary Village Gate in Greenwich Village, New York. Coltrane’s Classic Quartet was not as fully established as it would soon become and there was a meteoric fifth member of Coltrane’s group those nights— visionary multiinstrumentalist Eric Dolphy.\nNinety minutes of never-before-heard music from this group were recently discovered at the New York Public Library, offering a glimpse into a powerful musical partnership that ended much too soon.\nIn addition to some well-known Coltrane material (“My Favorite Things”, “Impressions”, “Greensleeves”), there is a breathtaking feature for Dolphy’s bass clarinet on “When Lights Are Low” and the only known non-studio recording of Coltrane’s composition “Africa”, from the Africa/Brass album.\nThis recording represents a very special moment in John Coltrane's journey—the summer of 1961— when his signature, ecstatic live sound, commonly associated his Classic Quartet of '62 to '65, was first maturing and when he was drawing inspiration from deep, African sources— and experimenting with the two-bass idea both in the studio (Olé) and on stage. This truly rare recording of \"Africa\" captures his expansive vision at the time.\nThis release is an amazing document of Trane’s band in transition, and is accompanied by no less than five outstanding essays from Reggie Workman, Lakecia Benjamin, Branford Marsalis, Rich Alderson, and Ashley Kahn.", "domain": "music_and_dance"}
{"url": "https://scpsassam.org/celebrity/how-old-is-sonu-nigam/", "date": "2023-09-27T07:25:03Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510284.49/warc/CC-MAIN-20230927071345-20230927101345-00876.warc.gz", "language_score": 0.9651350975036621, "token_count": 688, "dump": "CC-MAIN-2023-40", "global_id": "webtext-fineweb__CC-MAIN-2023-40__0__249258275", "lang": "en", "text": "In the vast realm of music, few voices have captured hearts and stood the test of time quite like Sonu Nigam’s. With a career spanning decades, his melodious renditions have become an integral part of our lives. But the question on many minds remains: just how old is Sonu Nigam? Join us as we journey through the milestones of his life and career, unraveling the ageless mystery of this musical maestro.\nHow Old Is Sonu Nigam\nSo, how old is Sonu Nigam? As of now, he stands at the age of 50, but his voice and impact on the music industry remain timeless. Sonu Nigam’s journey from a young, aspiring singer to an iconic vocalist is a testament to his dedication, talent, and unwavering passion for music. As we continue to bask in the magic of his songs, we can only anticipate more mesmerizing melodies from this ageless musical legend.\nThe Early Years\nSonu Nigam, born on July 30, 1973, in Faridabad, Haryana, India, embarked on his musical journey at a tender age. His innate talent was evident from the beginning, and he made his debut in the playback singing world with the song “O Aasman Wale” in the film “Aaja Meri Jaan” at the age of just 18. His voice carried a unique blend of soulful depth and youthful exuberance, setting him apart from the crowd.\nA Journey of Hits\nAs the years rolled on, Sonu Nigam’s discography began to expand, encompassing a wide range of genres from romantic ballads to foot-tapping tracks. His collaboration with music directors like A.R. Rahman, Anu Malik, and Jatin-Lalit catapulted him to the forefront of the industry. The 1990s and early 2000s saw Sonu Nigam becoming a household name with chartbusters like “Yeh Dil Deewana,” “Suraj Hua Maddham,” and “Kal Ho Naa Ho.”\nOne of the most remarkable aspects of Sonu Nigam’s career is his ability to seamlessly transition between various musical styles. Be it classical, pop, ghazals, or devotional songs, he has showcased his versatility time and again. This adaptability not only kept him relevant but also made him a favorite among listeners of all ages.\nMilestones and Accolades\nAs the years went by, Sonu Nigam‘s talent was recognized on a global scale. He received numerous awards, including National Film Awards, Filmfare Awards, and Screen Awards, for his exceptional contributions to the world of music. His renditions in different languages, including Hindi, Kannada, Tamil, and Bengali, further solidified his stature as a pan-Indian sensation.\nThe Eternal Charisma\nAge has failed to diminish the charm of Sonu Nigam’s voice. In fact, it seems that time has only added a richer texture to his singing. His performances continue to enthrall audiences, and his voice remains as enchanting as ever. Whether it’s a soul-stirring melody or a peppy track, his renditions evoke a myriad of emotions.", "domain": "music_and_dance"}
{"url": "https://www.claudemcnealproductions.com/show-licensing/", "date": "2023-12-09T18:43:56Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-50/segments/1700679100942.92/warc/CC-MAIN-20231209170619-20231209200619-00750.warc.gz", "language_score": 0.8274762034416199, "token_count": 140, "dump": "CC-MAIN-2023-50", "global_id": "webtext-fineweb__CC-MAIN-2023-50__0__277438812", "lang": "en", "text": "Over 90 Original Cabaret Shows\nClaude McNeal Productions has a history of success with exclusive licensing rights for more than 80 original cabaret shows. Whether it’s a particular era, style of music, or an in-depth look into America’s most renowned composers, the style and presentation of Claude McNeal Productions captures the magic of cabaret for audience of all ages. Today’s trend in American theatre follows the unique approach that Claude McNeal has been producing for more than 30 years.\nClick here to view a complete list of productions available for licensing.\nFor more information on show licensing, call Jeff Owen at (317) 916-0658.", "domain": "music_and_dance"}
{"url": "https://otmyt.co.uk/laura", "date": "2022-07-06T18:54:47Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656104676086.90/warc/CC-MAIN-20220706182237-20220706212237-00317.warc.gz", "language_score": 0.9579801559448242, "token_count": 353, "dump": "CC-MAIN-2022-27", "global_id": "webtext-fineweb__CC-MAIN-2022-27__0__60926811", "lang": "en", "text": "Performing Arts has always been a huge part of Laura’s life. She trained professionally at Phil Winston’s Theatreworks in musical theatre where she gained her teachers in A.I.D.T.A. She has worked as a freelance Performing Arts tutor teaching a variety of disciplines; dance, casting, drama, musical theatre and singing in the Wrexham and Chester area. Companies she has taught for many years are Bitesize Youth Theatre, Theatretrain and Stagecoach Theatre Arts School.\nNot only a freelance teacher, Laura has also been a freelance choreographer where she has been part of the Production Team for Tip Top Productions youth shows Les Miserables and RENT, On the Mark Theatre Company's production of The 25th Annual Putnam County Spelling Bee and several high school productions.\nLaura is still heavily involved in performing. To name a few, amateur productions include Annie playing Annie, Copacabana playing Lola, The Wizard of Oz playing Wicked Witch of the West, Me and My Girl playing Sally, Little Shop of Horrors with playing Chiffon, Jesus Christ Superstar playing Mary, Hold Tight it’s 60’s Night with playing Ruby, Grease playing Patti Simcox, The 25th Annual Putnam County Spelling Bee playing Olive and 42nd Street playing Peggy Sawyer. Also, she has been involved in a variety of Pantomimes across the North West playing roles of principal girl, boy and ensemble.\nWhilst performing she has also taken on the role of Dance Captain and Assistant Director. Professional productions include Joseph and the Amazing Technicolour Dreamcoat, Evita, Wind in the Willows and a variety of band tributes.", "domain": "music_and_dance"}
{"url": "http://www.ellakriss.com/LadyPiano.htm", "date": "2018-02-20T11:43:10Z", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891812938.85/warc/CC-MAIN-20180220110011-20180220130011-00564.warc.gz", "language_score": 0.8163101077079773, "token_count": 95, "dump": "CC-MAIN-2018-09", "global_id": "webtext-fineweb__CC-MAIN-2018-09__0__241035840", "lang": "en", "text": "Pianist Entertainer Ela Kriss\ntel. (773) 416 1784\nElaKriss@yahoo.com Chicago. IL\nPianist, composer and arranger Ela Kriss has a repertoire of the Classics to pop and Broadway musicals. She performs as a soloist for special occasions including anniversaries, candlelight dinners, weddings and birthday parties.\n© 2015 all rights reserved www.ellakriss.com", "domain": "music_and_dance"}