BORDINI, Ricardo Mazzini. A teoria pós-tonal e o processador de classes de notas aplicados à composição musical: um tutorial. Tese (doutorado) Universidade Federal da Bahia, Escola de Música, 2003.PDF
gauldin harmonic practice in tonal music pdf.rar
KARLSEN, Sidsel. BoomTown Music Education and the need for authenticity: informal learning put into practice in Swedish post-compulsory music education. Britsh Journal of Music Education, 2010, 27:1, p. 25-46.PDF
Hasna El Becharia is a native of Bechar, a large town in the south-west of Algeria which is at the crossroads of different cultures. Bedouin music, berber rhythms, gnawa, French pop and Moroccan sounds all meet here.All these have influenced Hasna El Becharia a creative multi-instrumentalist who is in her 50s. Like many Algerian musicians Hasna has her roots in popular wedding repertoire. She plays electric guitar, oud, derbouka, bendir and even banjo. To the polyrhythms of the percussion she has added the bendir and Tunisian derbouka adapted for the powerful Fezzani on tight skins as well as the Moroccan Hajouj subtly adapted for accompaniment.Hasna composed most of these songs whilst on tour in France, using her experiences there to explore the sound of the guitar, different vocal timbres and tonalities, to improvise and make new connections.For this recording great musicians from not only Algeria but also Morocco, Tunisia and Niger have been brought together.they have brought a demand for perfection and rigor. Hasna's work thus achieves a dimension far beyond its Algerian roots.Personnel: Hasna El Becharia - (vocals, acoustic & electric guitars, gumbri, karkabous), Majid Bekkas - (gumbri, chorus, karkabous), Brahim Belbali - (chorus, derbouka, karkabous), Rachid Belgacem - (derbouka, bendir, daf, chorus), Farida Abdelhalim - (chorus, karkabous, chekchaka), Mohamed Kerami - (karkabous, djembe, chorus), Camel Zekri - (guitar), Yacouba Moumouni - (flute), Rabah Mezzouane - (chorus) 1. Bouri Bouri Manandabo (Traditionnel Gnawa)2. Djazair Johara (Hasna El Becharia) Ah Oueja (Traditionnel Marocain)3. Koul Chi Oualidine (Hasna El Becharia)4. Jinger Mama (Traditionnel Gnawa)5. El Lil Lil, El Lilibiya (Maâlem Zouzou)6. Hakmet Lakdar (Hasna El Becharia)7. Lala Y Lala (Bachir Hosni) / Ya Loubena (Traditionnel Marocain)8. Brani Britou (Hasna El Becharia)9. Radi Braide (Traditionnel Marocain)OiNK.me.uk/details.php?id=1255516&hit=1
from amg:The Claudia Quintet utilize unusual rhythmic patterns, creative repetitions, and such instruments as accordion, vibes, and clarinet to create a dramatic set of music. As much a soundtrack for a nonexistent movie as it is a jazz set, the music on Semi-Formal is quite cinematic, moody, and thoroughly intriguing. Although some of the individual pieces could stand alone, this is very much a 13-song suite, with one selection leading logically if unpredictably to another. In a similar way, the individual musicians, although impressive by themselves, are most important being part of the group sound, adding to the wide variety of tonal colors. Semi-Formal, which will take time to fully appreciate, is well worthy of several listens.major nelsondrewslatekordthey point...glance...whisper...then snickerbindi bindersusantwo teachersgrowthlimp mintguaranawheres my mint?boy with a big bag and a guardian elephantminor nelsonOiNK.me.uk/details.php?id=1257277&hit=1
from amg:This second release from the Claudia Quintet (and their first on the Cuneiform label) not only offers Claudia's great blend of instrumental textures from tenor sax/clarinet, vibraphone, accordion, acoustic bass, drums, and percussion, but also provides a satisfying stroll among multiple musical genres. Drummer John Hollenbeck is the group's composer, and his clever pieces move effortlessly from funky chamber jazz to minimalism (both rhythmic and ambient), with some African elements and "new music" vocabulary thrown in for good measure. A good example of Hollenbeck's eclecticism (one of many) would be the piece "...Can You Get Through This Life With a Good Heart?," which was inspired by a quote from Joni Mitchell in a PBS documentary. It opens, in Hollenbeck's words, with "the harmonic clouds and space of Morton Feldman," which eventually give way to a pensive folk melody stated by accordion and vibes. The Claudia Quintet has been compared favorably with Tortoise, and it's an apt analogy as far as it goes, but the Quintet brings a different mix to the table, with a stronger jazz presence, more musical intellect, and a bit less of the slacker/stoner vibe embraced by the post-rock crowd. Jazz credentials aside, Claudia's supple rhythmic patterns (sometimes with a dash of whimsy) form a link with the witty, "invented ethnic" music of the Penguin Cafe Orchestra, although their minimalist tendencies also draw upon Feldman or early Steve Reich. Matt Moran's percussive mallet work evokes the sound of classic Reich pieces such as Music for 18 Musicians, but Moran can also swing mightily, especially when he, Hollenbeck, and bassist Drew Gress grab onto a groove. On some pieces (or portions thereof), Chris Speed's microtonal and/or multiphonic forays on clarinet and tenor also bring to mind various Jimmy Guiffre experimental trios and quartets. Likewise, accordionist Ted Reichman wanders "outside" at times, pulling atonal bursts from his instrument, and pitch-blending with Speed's clarinet. But Hollenbeck's compositions are so deft and fluid that any movements toward the fringes are integrated into a broader musical palette that beguiles and seduces rather than throwing a thorny musical challenge at the listener. As a consequence, the Claudia Quintet manages to produce music that is mellow, easy on the ears, but also creative and intellectually stimulating.just like himopeningarabicthe cloud of unknowingadowa (for gra)...can you get through this life with a good heart?misty hymencouchOiNK.me.uk/details.php?id=1257268&hit=1
from amg:Releasing three quite noteworthy CDs in as many months, drummer/composer John Hollenbeck certainly made what one might describe as an "auspicious debut" as a leader. Just consider the range of styles covered in this burst of activity. No Images, Hollenbeck's initial recording from October 2001, is the most avant-garde of the three, with drums and saxophones squaring off in free jazz territory and trombones and drums accompanying the taped voice of Dr. Martin Luther King, Jr.; Quartet Lucy, hitting the street in January 2002, reflects Hollenbeck's attraction to the austere and spacious music of the ECM label. And The Claudia Quintet, released on the very same day as Quartet Lucy, is perhaps the best place to start investigating Hollenbeck's work as a bandleader, a recording of subtlety, beauty, and a fair measure of fire smoldering beneath its surface. Hollenbeck may have an avant streak as wide as the pond between Tonic and Bimhuis, but he's surely not one to avoid a groove. In the Claudia Quintet's drum chair, he often locks into a rhythm and gradually builds the intensity of his attack, taking his own sweet time to reach the dynamic peak in a piece of music. Hollenbeck also propels the music forward with a crisp and clean style that doesn't overwhelm his bandmates, including Chris Speed, the noted N.Y.C. reedman who tends to prefer subtle expressiveness over displays of high-volume bluster. On this debut CD by the band, Claudia pursues a cool after-hours chillout vibe much of the time, and the instrumentation should suggest what Hollenbeck is after: aside from Speed (contributing a bit of tenor sax in addition to clarinet), the quintet features vibraphonist Matt Moran, accordionist Ted Reichman, and ubiquitous upright bassist Drew Gress.This lineup doesn't require listeners to stuff cotton in their ears to prevent hearing damage. The inclination is rather to pull out the cotton in order to best appreciate the clarity and nuance of this ensemble -- the round tones of the clarinet, shimmer of the vibes, earthiness of the accordion, and deep resonance of the bass. All the instruments are afforded room to breath, as unembellished melodic lines and shifting harmonics are drawn out across the sure and steady pulse and gathering rhythmic energy of "Meinetwegen" and the first and third of the album's "Thursday" compositions. Modalism and momentum are traded for spacy atmospherics on the second "Thursday" piece, with its ringing and sustained tones courtesy of Moran's bowed and struck vibes. But don't think The Claudia Quintet is entirely a space cruise, as the album includes the lovely downtempo ballad "Love Song for Kate," the swinging tenor-driven "Burt and Ken," the nearly cacophonous riot of voices during the improvised middle section of "a-b-s-t-i-n-e-n-c-e," and the angular stop-and-start "No D," in which Reichman fires off a solo on accordion that sounds about as wild as one could get without breaking the thing. Auspicious debut, indeed. One senses that a new and important voice has emerged on the New York creative music scene. John Hollenbeck's future output is cause for much anticipation, whether he chooses to release subsequent albums single-file or two and three at a time. [The Claudia Quintet and Hollenbeck's other CRI Blueshift recordings may be purchased directly from his website at www.johnhollenbeck.com.]meinetwegenabstinencelove song for katethursday 7:30pmthursday 11:14amthursday 3:44pmburt and ken...after a dance or two, we sit down for a pint with gil and tim...no dvisions of claudiaOiNK.me.uk/details.php?id=1257263&hit=1 2ff7e9595c
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