thegoodfellas/blogset-br huggingface dataset:
Quem nunca foi dormir pilhado para fazer um role de skate no outro dia cedo e acordou sem conseguir mexer o pescoco? Sim hoje falaremos sobre o torcicolo, problema que nao atinge somente os skatistas mas boa parte das pessoas no mundo todo.O torcicolo e uma contracao involuntaria dos musculos do pescoco provocada por ma postura ao dormir ou ao utilizar o computador, por exemplo, causando dor no lado do pescoco e dificuldade para mexer a cabeca. E comum que a pessoa acorde com torcicolo e tenha dificuldade para movimentar o pescoco, mas em alguns casos o musculo fica tao preso que a pessoa nao consegue movimentar o pescoco para nenhum dos dois lados.Os sintomas do torcicolo incluem, principalmente, dor no pescoco e limitacao para movimentar a cabeca. Alem disso, tambem pode acontecer que um ombro fique mais elevado que o outro, ou que o rosto se apresente assimetrico.E comum que os sintomas de torcicolo surjam de manha devido a ma postura ao dormir, mas tambem e frequente que aconteca depois de uma atividade fisica como o skate, ou devido diferencas significativas e bruscas de temperatura, e principalmente apos algum acidente como uma queda repentina do skate.Geralmente o torcicolo melhora apos as primeiras 24 horas, e tende a desaparecer em 3 dias. Por isso, caso o torcicolo demore mais de 1 semana para curar ou se surgirem sintomas como formigamento, perda de forca no braco, deve-se buscar ajuda medica.O tratamento pode ser feito em casa, com compressa de agua quente, massagem no local, pequenos alongamentos, repouso e principalmente paciencia. Tomar remedio somente em ultimo caso e sempre com orientacao medica. Nao perca aquela sessao de skate com seus amigos por conta de um pequeno contratempo como esse. Faca alongamentos constantes, prepare seu corpo para andar de skate. Lembre-se: ande de skate, evolua e divirta-se. A regiao lombar e de grande importancia para o skatista, tanto na hora de andar de skate como para manter a postura nas suas atividades diarias. Esta regiao e um local de preocupacao pelos skatistas devido o risco de lesoes, mas um exercicio simples pode ajudar a fortalecer essa regiao e minimizar os problemas, o Superman.Se voce tem filhos ou ja acompanhou o crescimento de uma crianca com certeza ja viu eles fazerem este exercicio que e o primeiro exercicio de nossas vidas. Esse exercicio e o principal responsavel pela sustentacao da coluna. Primeiro passo no fortalecimento da musculatura paravertebral faz com que o bebe possa evoluir para posicao de quatro apoios, engatinhar, sustentar a posicao sentada e entao ficar de pe. Infelizmente depois que aprendemos a ficar de pe, esquecemos dele. A falta desse treino ao longo da vida pode trazer, alem de uma ma postura, desvios de coluna, dores e hernias. A medida que crescemos nosso corpo se modifica e ele deve estar sempre sendo treinado para essas mudancas. E assim com as criancas em idade escolar, quando ganhamos ou perdemos peso, quando ficamos mais altos, quando a mulher engravida, quando nos machucamos, passamos por alguma cirurgia ou, por algum motivo, modificamos algum habito diario. Fortalecer
a musculatura e o unico remedio para evitar que esses problemas surjam.A execucao do movimento e simples, basta deitar no chao ou em uma superficie firme com bracos e pernas juntas esticadas. Contraia os gluteos e as costas e tire os bracos e as pernas do chao sem dobra-los. Estique-se ao maximo como se alguem te puxasse pelas maos e pelos pes. Lembre-se de manter a cabeca entre os bracos com o rosto para baixo, como se estivesse voando e vendo a cidade de cima. Este exercicio pode ser feito de duas formas, movimentando-se ou em isometria, sendo que esta forma estatica e melhor para iniciantes enquanto a dinamica para quem ja domina o movimento. O ideal alem de fortalecer sempre alongar esta musculatura com exercicios ativos ou passivos, melhorando a forca e a flexibilidade os movimentos ficarao mais fluidos. Inclua este exercito na sua rotina de treinos e sinta a diferenca na hora de andar de skate, garanta uma melhor postura para sua qualidade de vida e colha os beneficios sobre o skate. Lembre-se: ande de skate, evolua e divirta-se.
a student of Rafael Ruiz and has worked closely with conductor Antonio Pappano whom Alagna described as his 'musical brother'. Recounting a recording session for the sound track of the Tosca film, Anna Picard wrote in BBC Music..."I see Antonio Pappano persuade Alagna to sing four, simple repeated notes of recitative completely straight like a conventional interjection. Operatic artifice is stripped away and the dialogue between Cavaradossi and the Sacristan comes to life. Later in the same session they work on the final passage of 'Recondita Armonia'. Somewhere around take six, Alagna flips briefly into falsetto, then reclaims the voice at the end of the note - a technique he jokes is the benefit of his years in cabaret. It's magical. Watching Pappano respond to the switch between registers is like watching a blind baseball player catch what should have been a home-run ball."In 1994 Roberto Alagna was named Personnalite Musicale de l'Annee by the French national press, and in April 1995 he received the Laurence Olivier Award for Outstanding Achievement in Opera for his performance in Romeo et Juliette at the Royal Opera House Covent Garden. In 1996 he was made a Chevalier de l'Ordre des Arts et Lettres by the French Ministry of Culture. In 2004 he was named Artiste Lyrique de L'annee at the Victoire de la Musique Classique awards.Elina Garanca nasceu em Riga, Letonia, em uma familia de musicos. Seu pai era diretor de coral e sua mae cantora de lieder e professora de canto. Sua mae, Anita, e uma professora da Academia de Musica da Letonia, e professora da Academia de Cultura da Letonia, e uma professora de musica na Opera Nacional Leta.Ela ingressou na Academia de Musica da Letonia em 1996, para estudar canto com Sergej Martinov. Continuou seus estudos em Viena com Irina Gavrilovic e nos Estados Unidos com Virginia Zeani. Elina comecou sua carreira profissional no Sudthuringisches Staatstheater em Meiningen e posteriormente foi trabalhar na Opera de Frankfurt. Em 1999 ela venceu a Competicao de Canto Mirjam Helin, em Helsinki, Finlandia.A carreira internacional de Garanca comecou em 2003, no Festspiele de Salzburgo, quando ela cantou o papel de Annio, em uma producao de La clemenza di Tito, de Wolfgang Amadeus Mozart, conduzida por Nikolaus Harnoncourt. Outros trabalhos maiores vieram em seguida, com Charlotte em Werther (Jules Massenet), Dorabella em Cosi fan tutte (Mozart) na Opera Estatal de Viena (2004) e Dorabella em Paris, em uma producao de Patrice Chereau (2005). Em 2006 ela retornou com La clemenza di Tito, mas cantando o papel de Sesto. Em 12 de janeiro de 2008, Garanca fez sua estreia no Metropolitan Opera House, em Nova Iorque, com o papel de Rosina, em Il barbiere di Siviglia, de Gioacchino Rossini. Ela retornou ao Metropolitan Opera House em 2010, cantando o papel-titulo Carmen, de Georges Bizet.E casada com o maestro Karel Mark Chichon.
estudos na Holanda com Jeroen den Herder. Fundador do Quinteto de Cordas Britton, tocou com as orquestras Royal Phillarmonic Orchestra, Welsh National Opera, Halle e BBC Phillarmonic, dentre outras, e apresentou-se como camerista em renomadas salas de concertos como o Royal Festival Hall e o Wigmore Hall. Desde 2010 integra o corpo docente do Departamento de Musica da Universidade Federal de Goias. Alem disso, dedica-se a conclusao do mestrado em pedagogia musical pela University of Reading, na Inglaterra.Conheca tudo sobre a Sociedade de Concertos de Brasilia e associe-se atraves do site: www.scbrasilia.com.br.Presidente Executivo: Monfardini Frederico (061) 3338.6908 /(061) 9146.3033 http://concertos.strikingly.com
and death.Much of the raw material was autobiographical, and there was a lot of biography to draw on. Apart from his professional ups and downs, Mahler was part of a large and close family of 14 children (though many of his siblings died in infancy), which provided its own running soap opera. He also had plenty of opportunity to meet young singers and got entangled in various romances. But the defining passion of his life was Alma Schindler, the musical daughter of a well-to-do Viennese family. When they met, he was 41 and she 22. He wooed her ardently, they were soon married and she quickly bore him two daughters. But the relationship was stormy. He wanted her to stop composing. She reluctantly complied, but got her own back in other ways, mainly by having blatant affairs. She also took charge of managing his public image, sometimes boldly adjusting the record to suit her story.In many ways, though, Mahler led a charmed life, mixing with the musical and artistic elite of his daycomposers such as Brahms, Richard Strauss, Busoni, Rachmaninov, Schoenberg, Wolf, Berg, many famous musicians, and artists from the Vienna Secession such as Gustav Klimt. When Alma took a lover, he was not just anybody but a young architect called Walter Gropius who went on to set up the illustrious Bauhaus school of art and design. When Mahler needed advice on his marital troubles, he booked a long session with Sigmund Freud.The couple experienced joint tragedy when their elder daughter died youngnot long after Mahler had composed his Kindertotenlieder (songs on the death of children), which his wife had feared would be tempting fate. The composer himself was in poor health, made worse by stress and constant overwork. After a particularly taxing stint conducting in New York, his heart condition deteriorated and he went home to Vienna to die at 50.Norman Lebrecht, a British commentator on music and cultural affairs, became obsessed with Mahler in his mid-20s and soon embarked on a quest to retrace his every step. In 1987 he published Mahler Remembered, a portrait of the composer through the eyes of those around him. But his fascination continued. Why Mahler?, part musical biography, part homage, is an attempt to convert the rest of the world to his belief that Mahler is the most influential symphonist of our age, dethroning Beethoven. It comes on cue for the 150th anniversary of the composer's birth this year and the 100th one of his death in 2011.There have been a fair number of books about and biographies of Mahler, which Mr Lebrecht briefly reviews. But none of them, he says, tells the story from a 21st-century perspective. His claims for his hero are towering: The man and his music are central to our understanding of the course of civilisation and the nature of human relationships. He cites a number of people who have undergone damascene conversions while listening to Mahler's music. He himself has found each symphony a search engine for inner truths and a fast track to deep-core emotion. From Mahler the
man, he says he has learnt lessons such as the best is never good enough and dignity survives defeat.Mr Lebrecht's admiration for the composer is a wonderful thing, but he is trying too hard to proselytise: other people may feel the same way about Bach or Mozart or Wagner. His book is very enjoyable to read, gossipy as well as learned, and it makes the man come to life. It provides an idiosyncratic but useful review of the main recordings. It even offers advice to newcomers on getting into Mahler's music (go and hear the second symphony on your own CLIQUE AQUI PARA ASSISTIR, COM LEGENDAS EM INGLES). (Extraido DAQUI)Books of The TimesCelebrating a Man With Many AcolytesBy JAMES R. OESTREICHPublished: November 29, 2010Norman Lebrecht, in his new book, Why Mahler?: How One Man and Ten Symphonies Changed Our World, speaks of Mahlers capacity to pierce human defenses. And it is certainly true that Mahlers music can unhinge the susceptible.Some three decades ago, as classical music editor of High Fidelity magazine, now defunct, I received a manuscript of a Mahler discography from a college professor: a bare catalog of recordings with a brief introduction. Though I recall little else of the introduction, I can still reconstruct its last three paragraphs almost verbatim:When the conductor Bruno Walter saw Mahlers coffin lowered into a grave in Vienna, the sun broke through the clouds, and Walter wept. When I visited Mahlers grave, the sun broke through the clouds, and I wept.That is why I have undertaken this task. It is the first installment of an impossible debt.Gustav Mahler, thou art God.Mr. Lebrecht, bless him, stops a few paces short of that professors idolatry. And he turned his fixation, which he dates to 1974, to excellent use with an earlier book, Mahler Remembered (W. W. Norton & Company, 1987), consisting mostly of extended quotations from players in Mahlers biography: fellow composers and conductors, singers, family members, acquaintances. But Mr. Lebrecht, too, has difficulty maintaining perspective and a tendency to inject himself into the story.Leaving home at 15 is a defining act, he writes of Mahler in the new book. I left at 16 to study in another country, a foreign language.Like Mahler, he adds, I felt no homesickness, no regret at leaving tragedy and faith behind.Who, reading a biography of a historical personage, hasnt occasionally identified in some way with the hero? But who does it out loud? A book about Mr. Lebrechts search for Gustav Mahler, as he calls his obsession, this is also a book about Mr. Lebrecht, a far less compelling subject.In addition to the Mahler studies, Mr. Lebrecht has written a half-dozen books on music, including the gleefully apocalyptic Who Killed Classical Music? (Birch Lane Press, 1997). Despite the sensationalist title, there is enough life left in the classical music business (about the music itself, we neednt worry) to keep Mr. Lebrecht busy documenting its further travails in Slipped Disc, his blog on artsjournal.com, and elsewhere.In Why Mahler? Mr. Lebrecht travels much of the same ground he trod in Mahler Remembered. Mahlers
biography, dispatched there in an introduction, is here heavily laced with snippets of quotations from Remembered and elsewhere, and spun out in a breathless historical present as the main body of the book. Although the heavy emphasis on gossip and scandal grows tiresome (however much grist Mahlers wife, Alma, and others may have provided), Mr. Lebrecht writes with flair, at times, and shows a good command of source material.But to reach the biography, you have to get past a scene-setting chapter, Some Frequently Asked Questions, which stopped me in my tracks repeatedly. One question is especially revealing: Am I related to Mahler?He makes a case for why he might be. Then he abandons the topic abruptly. Does this make my great-nephew a Mahler? he asks. Lets stop this right here.But some of the other answers are what really take the breath away. Mr. Lebrecht notes that Leonard Bernstein conducted Mahlers Second Symphony (Resurrection) after the assassination of John F. Kennedy and the Adagietto from the Fifth after that of Robert F. Kennedy. From this and little more, he concludes, Along with Samuel Barbers Adagio, itself a Mahlerian imitation, Mahlers Second, Fifth and Ninth Symphonies were Americas music of lamentation.No matter that Bernstein trotted out the Resurrection for almost any occasion, including his 1,000th concert with the New York Philharmonic, or that if many Americans know the Adagietto at all, it is probably from its use in the Visconti film Death in Venice rather than from any occasion of mourning. And the Ninth?Mr. Lebrecht is projecting his own proclivities here, as he reveals later: In my occasional role as the Record Doctor on WNYCs Soundcheck show, I have prescribed the finale of the Ninth Symphony and the Adagietto of the Fifth for callers in situations of grief and loss.In his eagerness to establish irony as a defining quality of Mahlers music, one that defines it in particular as being Jewish, Mr. Lebrecht, as he does so often, goes too far. Music, before Mahler, had a lexicon of simple emotions: joy, sorrow, love, hate, uplift, downcast, beauty, ugliness and so on. This discounts not only the Wagnerian leitmotif, a tool virtually made for irony, but also any number of poignant, bittersweet moments in Mozartean opera and so much other earlier music.After flatly stating that Mahler, in his Third and Seventh Symphonies, hinted at a future ecological disaster and, in his Sixth, warned of imminent world war, Mr. Lebrecht backtracks. Some of the connections he makes are open to debate, he says with for a change considerable understatement.The opposite, he adds, as so often in Mahler, may also be true.What is important to Mr. Lebrecht, it seems, is to make a striking statement in the moment, even if it has to be canceled out a few pages later. In a chapter discussing recordings of Mahlers music, he writes, The first truth in Mahler interpretation is that there are no absolutes, no hard-and-fast rules. Then, after blasting conductors who obviate irony, those who deny emotion and others, he adds: There are many no-nos in Mahler: these
are just a few of the worst. Accordingly, he dismisses most Mahler recordings in a hard-and-fast word or two.Mr. Lebrecht can turn a nice phrase at times, as when he speaks of Mahlers plunging into an oblivion of work. And you never doubt, reading him, that he knows a lot, but he doesnt know everything, as he would have you believe.His chronic overstatement and striving for effect, a kind of forced informality (he calls Bernstein Lenny, Otto Klemperer Klemp) and a certain looseness in the handling of facts (in quick succession he implies a wrong year for the premiere of Mozarts Magic Flute and gives a wrong year for an important dinner party) make it hard to put much faith in any particular pronouncement.Writing of Alma Mahler, he all but invites comparison with his own work: Nothing she writes can be accepted without corroboration. (Extraido DAQUI)Paperback Questions & Answers: Norman Lebrecht on Why Mahler?The author explains how he came to abandon a conventional biography of the composer in favour of a 'club DJ' approach 'with lots of fast-forward and rewind'How did you come to write Why Mahler?I had been struggling with the question for most of my adult life. Why, I wondered, was a composer, derided when alive and discarded for decades, displacing Beethoven at the heart of symphonic culture?Why Mahler? Born 1860, died 1911, it struck me on first hearing his music in the 1970s that Gustav Mahler anticipated in his symphonies many issues we confront in our 21st-century lives: social exclusion, racism, broken relationships, the work-life balance, the health debate, how to die. It was no surprise to discover that Mahler struck an instant, mutual empathy with Sigmund Freud. Both worked along the same lines, converting incidents from their own lives into universal theory and catharsis. Mahler felt so much closer to our time than Debussy, Elgar or Richard Strauss. He was, with Einstein, Freud, Picasso, James Joyce and Kafka, one of the makers of the modern world. To write a composer's life born, studied, struggled, triumphed, died - would not do him justice. So I wrote Why Mahler?What was most difficult about it?Breaking the mould. I was encouraged on several fronts to write a straight biography and for a while I got stuck in that Dewey groove. But this was a man whose success belonged to my lifetime, not his own. If I wrote about him in the present continuous, I could tell his story in the context of a future world that he helped shape, with lots of fast-forward and rewind, like a club DJ. I knew that some of the crustier publishers and critics would reject my approach. But once I found the right tense to use, I was able to write at high speed and confidence.What did you most enjoy?Revisiting the music in micro-detail, sourcing manuscripts, tilting at long-held truisms, retracing my own steps down Mahler's path, from a nondescript village (known as "Muddy Ditch") in a nameless part of Middle Europe to the summits he bestrode as music director, at the Vienna Opera and Carnegie
Hall. I sat in the forest where he lurked as a boy, listening for the A note in the high pine-tops that opens his first symphony. I paced the corridors of the building where he died.Fearful of error, I sent finished chapters to the world's most meticulous Mahler-checker. Knud Martner of Copenhagen is a man who can spend weeks studying the 1902 Vienna train timetables to demonstrate prejudicial lies in the widow Alma's account of her husband's life. An email from Knud informing me that I had revealed things about Mahler that he never knew before was one of the happiest pings of my life.How long did it take?Eighteen months. Sixteen to write, two to cut.What has changed for you since it was first published?A sense that the world's view of Mahler is moving my way. Ideas that sounded radical when I first presented them are becoming normative. Suggestions of mine are recycled (without attribution) in concert notes. Gustavo Dudamel has asked me to give a week of lectures at his Mahler cycle in Los Angeles. The University of Granada asked me to open its academic year. Why Mahler? has become a microbrand.Who's your favourite writer?In my teens, Graham Greene and Isaac Bashevis Singer. Journalism enabled me to spend time with them both and learn more than I can relate here. Technically, I am in awe of Philip Roth for his ability to hold the attention through a 250-word sentence. I will be first in line to buy the next Mark Haddon, Linda Grant, Simon Mawer.What are your other inspirations?All forms of music, a handful of languages, malt whisky, fierce polemical arguments with family and close friends.Give us a writing tipAlways have two books on the go. That way, you never suffer writer's block.What, if anything, would you do differently if you were starting the book again?Make it half as long again. No, in all seriousness, nothing at all except obliterate the memory of the deadly-brown US hardback jacket.What are you working on now?I've just delivered my third novel, and started a fourth. (Extraido DAQUI)http://www.theguardian.com/books/2011/oct/04/qanda-norman-lebrecht-why-mahler* * * Norman Lebrecht is a prolific cultural commentator and an award-winning novelist.He has written 12 books about music, which have been translated into 17 languages. The latest is Why Mahler?, a radical reinterpretation of the most influential composer of modern times (see Books). Also back in print is Mahler Remembered (Faber, 1987), a ground-breaking biographical compilation.Norman Lebrechts first novel The Song of Names won a Whitbread Award in 2003 and is presently being cast as a major feature film. His second novel, The Game of Opposites,was published in the US by Pantheon Books. A third is in preparation.US: Anchor BooksA collection of Lebrecht columns was published in China in 2012, the first such anthology by any western cultural writer. A Lebrecht essay appears monthly in Standpoint, the cultural and intellectual magazine. Norman Lebrechts Album of the Week is featured on the Sinfini website.Slipped Disc, Norman Lebrechts blog, has become the worlds most-read cultural news and views site in English, drawing well over one million readers every
month.Norman Lebrecht is a popular lecturer at cultural institutions and leading universities. Other works in progress include a stage play, a radio series and television documentaries.Mahler, Sinfonia no 2 em do menor (ressurreicao)Eteri Gavazava (soprano)Anna Larsson (mezzo soprano) Orquestra do Festival de Lucerna,Claudio Abbado (2004)
Schoenberg.O Laboratorio de Musicologia e coordenado pela Profa. Beatriz Magalhaes Castro e tem como objetivo coordenar as atividades musicologicas relativas a linha C "Teorias e contextos em musicologia" do Programa de Pos-graduacao Musica em Contexto, e da nova habilitacao em Musicologia do Bacharelado em Musica do Departamento de Musica da UnB.Dr Christopher Dromey e professor da Universidade Middlesex desde 2005, tendo lecionado no Kings College de Londres (analise musical), na Open University (teoria musical), no Royal Opera House (The Tempest de Thomas Ades), e Birkbeck College, Universidade de Londres (musica do sec. XX). Alem de teoria musical e analise, Dromey leciona musicologia e legislacao de direitos autorais.