Sera (Oriental Music)
Their creation is a haunting, bare-bones blend of blues, folk music and old-time country that allows Cahoone to experiment with melody, harmony and, most important, her poetically straightforward lyrics.
Sera (Oriental Music)
Sera Cahoone (born August 4, 1975) is an American singer-songwriter from Seattle, Washington. Cahoone's music combines elements of classic country-western and modern indie rock and lo-fi music. She works as a drummer, especially with the bands Carissa's Wierd and Band of Horses.[1]
Cahoone is the daughter of Bill Cahoone, a Rocky Mountain dynamite salesman, and Judy Cahoone (née Ahrendts), a business executive.[2] Cahoone said that she was raised by a single mother.[1] She has a sister named Kal Cahoone[3] and brother named Nathan Cahoone, both of whom are also musicians.[4]
Cahoone got her musical start on the drums at twelve years old. She had taken up drumming to combat anxiety, and found she had a talent and affinity for the instrument. She also played her brother's guitar and sang, but not in public at that time. Her first stage performance came in a North Denver bar called Ziggie's Saloon (near the Oriental Theater). She played drums behind a group of bluesmen at an open mic night.[4]
In 1998, Cahoone moved to Seattle, Washington, when the snowboarding shop where she worked in Colorado opened a retail store in Washington state.[4] She worked there for two years before quitting. She subsequently worked in a coffee shop and focused on playing music.[1]
Sera Cahoone, and bandmate, Jason Kardong, were the first people to ever play music on the rooftop of Seattle's iconic Space Needle as part of the Sub Pop Records Silver Jubilee Celebration on July 11, 2013. Their performance was broadcast live on radio station KEXP and streamed around the world.[12]
Drawbars organs are so important to many musical styles and the Drawbars page has been revised to feel more like the classic organ console. And the drawbar sound has also been refined to be even better!
He performs recitals at Tonhalle in Zurich, La Seine musicale in Paris, Auditorio Nacional de Música in Madrid, Conservatorio di Musica "Giuseppe Verdi" in Milan, Teatro della Pergola in Florence, Boston Celebrity Series, Tilburg Recital Series and Vancouver Recital Society in Canada.
Alexander Malofeev participates in international music festivals such as Ravinia festival, Festival Napa Valley, Aspen Music Festival, La Jolla Music Festival in California, Lucerne Festival and Festival La Folle Journée de Nantes.
This is a list of compositions that feature the violoncello, including solo works, sonatas, concerti, transcriptions and even chamber music pieces that feature the cello.Order is by surname of composer and also LCC classification method.
This year, the Baalbeck Festival will present ILLA IZA The Musical play. ILLA IZA, the theatre play written and directed by Georges Khabbaz, which has had tremendous success in Beirut, will be turned into a musical featuring 70 actors, dancers and musicians.
Samira Said is one of the biggest Arabic superstars today with a repertoire of more than 50 albums, many massive hits and successful music videos. Singer, songwriter, performer, producer and actor, she is one of the most accomplished Arab singers of the last three decades. Samira Said has achieved an unusual longevity in the Arab world, frequently adopting new musical styles, such as Tarab, Raï and Jazz. She has produced a series of albums including Inssani, Khaifa, Ashka, EntaHabibi, Kul Dee Eshaat, AyamHayati and Ayza Aaich. Her album Aweeni Beek went on to sell more than 25 million copies. The acclaimed diva won more than 40 awards including a BBC Award for Best Artist in the Middle East.
With her exquisite and unique talent, in performing many different musical styles, Abeer Nehme, the Lebanese international crossover singer and musicologist, will embark the audience on a musical journey, inside the Bacchus Temple.Abeer will follow the footsteps of the great Arab poet Abu El Tayb Al Mutanabbi, and farther beyond, where she will perform both ethnic and original melodies.Abeer is considered to be the first Arabic singer, and one of the few worldwide, to perform in more than twenty five languages, which makes her the emissary of cultural and musical dialogue in the region.
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The journal wishes to examine current art historical writing in Portugal and the Lusophone countries, encompassing research on history of architecture, urbanism, archaeology, history of collections and museum studies, dance, design, music, photography, cinema, theater, etc. Far from being exclusively focused on exceptional works or objects, or stylistic divisions, this broad range of subjects opens to novel approaches and transcultural comparisons. We aim to embrace the study of material culture and foster dialogue with other fields of research, focusing on a historical and theoretical perspective on processes of migration, movement of objects and ideas, colonial and postcolonial circuits and cultural networks. The purpose of this issue of the journal is to engage with the substantial debates occurring within the discipline, such as those regarding gender and postcolonial perspectives, the importance of conservation, mediation and curatorial practices, the tensions between art and politics, or the challenges faced by urban regeneration and heritage.
The present paper is the first attempt in musicological literature dedicated to pasticcios to analyse their relation to pleasure; for this reason, I do not claim to have reached any ultimate conclusions in this area.
Let us now consider what the varietas of the music selected for the pasticcio consisted in, on the example of the Venetian production. The arias chosen for this spectacle have been listed in the table below.
Fin che per te mi palpita and Quel vapor che in valle impura by Nicola PorporaI have selected two arias by Nicola Porpora, whose music has been my main field of study within the Pasticcio project. The musical excerpts from two arias by Porpora attached to this paper perfectly illustrate my thesis that varietas was the constitutive principle of the pasticcio. The two arias differ in both type of affection and its musical settings. Cf. the music examples. 041b061a72