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Este site dedica-se às aves e a relação com o Homem. O canto do Canário Timbrado, Canário Harz Roller, do canário Malinois e outros canários.. O objectivo de site é contar as aventuras e os arcos de descobertas relacionados com Homem e as aves. This site is dedicated to birds.singing canaries song,canaries,canaries de chant. carmelita=carmelo=jardim
Mostrar mensagens com a etiqueta Singer canaries. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta Singer canaries. Mostrar todas as mensagens
14 de março de 2012
12 de dezembro de 2008
City of Clermont -Song competitions - Spanish timbrado canary
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Spanish Timbrado Canary
December 12 - 13, 2008
UNITED SPANISH TIMBRADO FANCIERS2008 Florida Canary Fanciers ShowColor, Type and Song competitions.12th Annual Show Days Inn Clermont, FL
http://community-2.webtv.net/FloridaCanaryFanciers/FLORIDACANARY
Judge: Randy Wilson
http://community-2.webtv.net/FloridaCanaryFanciers/FLORIDACANARY
Judge: Randy Wilson
8 de dezembro de 2008
United Spanish Timbrado Canaries
December 6, 2008
Santa Clara Valley Canary and Exotic Bird Club47th Annual Bird ShowHayward, CA http://www.geocities.com/SiliconValley/1570/
Timbrado Judge: Rafael Ortiz
December 12 - 13, 20082008 Florida Canary Fanciers ShowColor, Type and Song competitions.12th Annual ShowDays InnClermont, FL
Judge: Randy Wilson
15 de outubro de 2008
Valery Gergiev: Russian maestro
"Russian maestro Valery Gergiev may appear to conduct with his whole body; from his sweeping arms to his quivering fingers to the way he stands on the tips of his toes and puffs out his cheeks. But the true message comes from the look on his face, most of all, through his eyes.
"You can do the same thing with your right hand, totally the same, but give a different look, the sound will change," Gergiev tells CNN.
Valery Gergiev is considered one of the greatest conductors of his time. He's certainly one of the busiest. Not only is he the principal conductor and artistic director of Russia's famous Mariinsky Theater, he's the general director responsible for the institution's opera, ballet, orchestra and latterly Academy of Young Singers.
He's also the artistic director of a number of international music festivals: the Stars of the White Nights Festival, the Red Sea Festival and the New Horizons Festival...."
"You can do the same thing with your right hand, totally the same, but give a different look, the sound will change," Gergiev tells CNN.
Valery Gergiev is considered one of the greatest conductors of his time. He's certainly one of the busiest. Not only is he the principal conductor and artistic director of Russia's famous Mariinsky Theater, he's the general director responsible for the institution's opera, ballet, orchestra and latterly Academy of Young Singers.
He's also the artistic director of a number of international music festivals: the Stars of the White Nights Festival, the Red Sea Festival and the New Horizons Festival...."
22 de agosto de 2008
Júlio Pereira actua na segunda-feira no País de Gales
Júlio Pereira vai actuar esta segunda-feira, dia 25 de Agosto, pelas 23:00 horas, no Tenby Folk Festival, a decorrer no País de Gales, em Tenby, Cardiff, apresentando um espectáculo que percorre músicas do mundo.
O músico vai interpretar o repertório do seu último trabalho, que o trouxe de volta ao seu instrumento de eleição: o bandolim.
O artista subirá ao palco acompanhado por Miguel Veras, na viola; e Sofia Vitória, na voz, teclados e programação.
O músico vai interpretar o repertório do seu último trabalho, que o trouxe de volta ao seu instrumento de eleição: o bandolim.
O artista subirá ao palco acompanhado por Miguel Veras, na viola; e Sofia Vitória, na voz, teclados e programação.
11 de agosto de 2008
6 de junho de 2008
The Fairy-Queen
The Fairy-Queen (Z.629) is a masque or semi-opera by Henry Purcell. It was first performed on May 2, 1692 at the Queen's Theatre, Dorset Garden in London by the United Company.
The libretto is an anonymous adaptation of William Shakespeare's wedding comedy "A Midsummer Night's Dream".
From:Sotto Voce
16 de maio de 2008
BANJARA, The gypsies of Rajasthan
The Banjara, a group of traditional music, consisting of eight excellent musicians and dancers, all hail from the Thar desert. Heirs of ... Tout » an ancient culture, today, under the direction of Kamal Kant, himself a musician and a dancer who has been living in France for over a decade, they are the ambassadors of the great Banjara tradition which stands at the cross roads of classical North Indian music and the skilful art of Persia.
The lively rhythms, bordering frenzy, which accompany the whirling dancers in their famous costumes of a thousand, scintillating mirrors, are an invitation to a journey rich in colour and emotion, following in the footsteps of the gypsies of Rajasthan.
14 de abril de 2008
Robirda's
Song Canaries
There are three general kinds of canaries. Within each kind is, in most cases, a multitude of different breeds. These three kinds are song, type, and colour canaries.
While you can find good songsters in any breed of canary, rarely will those bred for colour or type have the refined songs of the birds bred specifically for song.
I have discussed a few of the more popular singing breeds here, but this is by no means a complete list! But it should be enough to give you an idea of the variety available in the world of Song Canaries.
The German Roller
The German Roller Canary, originally known to many as the ‘Hartz Mountain Roller’, is the bird most people think of when they speak of a singing canary.
This is one of the older and best-known of the distinct breeds of canaries, having been in development for hundreds of years. Its history goes back almost to the beginning of canary keeping, and it has a quiet, refined song, singing with the beak almost fully closed.
These birds are trained to sing on cue for shows, but this does not mean that they require training in order to sing at all, as some people seem to think.
All canaries sing naturally. Training can help refine the sound of the song to a certain extent, as some tend (to varying degrees) to mimic sounds they hear nearby, particularly other bird songs. Training will also help to teach the canary to sing when it is expected of him, but it does not teach him how to sing – he knew that already.
A few breeders worked on developing red German Rollers some years back, but so far none of these attempts seem to have been successful at producing red or bronze roller canaries with a pure song for the breed.
In general, orange or bronze colouring should not occur in any of the song breeds – if it does, it usually means one of two things, sometimes both; either the bird is not purebred, or it has been artificially colourfed.
Some fanciers of the German Roller endorse feeding a diet rich in oily seeds, such as canola. This is said to improve the song.
What it actually does is coat the syrinx (the canary’s voice box) with a layer of fat, which mellows the sound of the tones the bird is able to emit. The fact that such a diet renders a canary susceptible to heart and liver disease is not usually taken into consideration, nor is the fact that such a practice can help mask song faults which would otherwise be very noticeable.
In my experience, it is not necessary to feed a well bred song canary such a diet to hear beautiful songs, and I recommend that anybody wanting to buy a roller canary should make a point of inquiring about the exact diet the bird has been receiving, before considering buying it.
The Waterslager Canary
Waterslager canaries, like most of the other song-breed canaries, are another old breed. They originated in Belgium, where records indicated their presence as early as the 1733, when a French traveller noted the beauty of the songs emitted by the otherwise rather plain-looking little yellow canaries raised by people living in the town of Mechelen, which the French called Malinois. This is why you will sometimes, to this day, still find the Waterslager being referred to as a ‘Malinois’ canary.
Waterslagers were bred for the ‘water’ sounds of their songs, rather than the ‘rolls’ typified by the German Rollers. This trait led to the name they are most commonly known by, ‘Waterslager’, from the Flemish term ‘waterslag’, meaning, ‘water sounds’.
Rumour has it that this unique song was taught to the ancestors of the breed through ‘tutoring’ the young canaries by allowing them to listen to a nightingale, in order to encourage their canaries to mimic this bird’s bubbling, cheerful song. This seems a little unlikely though, since nightingales rarely sing during the day, when canaries are awake and listening, but prefer to sing only during the night, when canaries are invariably asleep.
Whatever the origin of the Waterslagers’ unique songs, scientists have recently discovered an interesting fact, that they suspect may have something to do with the songs this breed produces – it seems that this breed has a genetically inherited difference from all other breeds of canaries. Their inner ear lacks certain sensory hairs found in all other canary breeds, which means that these birds are capable of hearing (or not hearing) a different range of sounds than other breeds of canaries.
You will never see a dark Waterslager canary – they don’t exist. It is rare to see even a small tick on one of these birds, and some people say that such a tick is an indication of impure blood.
Most Waterslagers are pure yellow, with an occasional white bird occurring. Red or orange should never be seen, and if they are, will indicate that the bird cannot be purebred.
White Waterslagers are more often considered acceptable, and yet visit a show and you will find groups of fanciers engaged in intense discussions over whether white birds should be allowed to be shown on an equal basis as the yellows, it being argued that the white is a mutation from the original yellow stock, and therefore not pure.
The American Singer Canary
This breed is one of the three breeds of canary developed in the United States, the others being the American Hartz Canary and the Columbus Fancy. The American Singer Canary as we know it today descended from a planned cross between the Roller Canary and the Border Canary as it existed earlier in the 20th century.
The goal was to achieve a bird with the bright active personality and freely offered song of the Border Canary, but with the overly loud, often harsh song of the Border modified by the singing skills bred for so long into the German Roller.
The result is a bird who sings more loudly than a Roller, but nowhere near as loud as it’s Border ancestors. The American Singer should and usually does display the Border’s renowned habit of being very free with its song, offering its songs willingly and frequently.
American Singers are known to be very inventive little birds, who have a much stronger ability than most canary breeds to mimic sounds they hear in their environment. This means that breeders and affecionados of the American Singer need to be rather careful just what their birds hear; if any member of the flock decides they like a certain sound, they are liable to keep repeating it, and teach it to the whole flock!
When this happens, it is known as ‘song contamination’ – except in the case where the added sound enhances rather than detracts from the overall quality of the song.
The way American Singer Canaries are judged at shows reflects this philospohy, and has led to some fanciers of the older song breeds (who are judged much less freely) to be heard to state the opinion that the American Singer is not a ‘real’ singing canary, because the birds are not judged by a set of fixed standards, but are instead rated on the variety, freedom, and pleasantness to the ear of each songster’s tunes.
Occasionally you will find a seller who believes that, because they are situated in America, they have the right to term any singing canary as an ‘American Singer’, due apparently only to their geographic location, and because the bird sings!
This is a rather blatant invention, and the truth is, that if a bird is going to be sold as an American Singer, it should be wearing the certified American Singer closed bands, marked with the club’s initials, on its leg. These bands are registered with and obtainable only through the AS clubs, and must be put on when the chicks are still in the nest, helping to serve as proof of the lineage of the bird.
Further, the American Singer Club is incorporated, and that means that any seller incorrectly using this terminology to describe their birds is actually conducting business illegally!
What it comes down to is that an canary not close-banded with the proper leg rings – no matter what its lineage – may not legally be called an American Singer.
The Timbrado Canary
Although new to most of the world, the Timbrado has a long history in the land of its origin, Spain, where it was known for centuries as the ‘Canary of the Country’. The Spanish breeders who developed this breed kept only two goals in mind, that the bird’s song must be attractive and freely offered, and that no use must be made of other songbirds, whether other breeds or other species, either in breeding or in song training.
Instead, the songs considered the most desirable were fixed to the repertoire of the breed through strict selection of the breeding stock.
The Spanish Timbrado is similar in appearance to the wild canary, but tends to be a little larger. In principle, all colours are accepted in the Timbrado, however, it should be stressed that the pure bloodlines of the Timbrado do not include the Red Factor, which derives from the South American Red Siskin.
Beware when looking to buy a Timbrado, of people who will try to take advantage of its rarity by trying to sell you any dark-coloured canary as a Timbrado, which will usually sell for a much higher price than a bird of a more ordinary breed.
The Timbrado’s song is often called ‘metallic’, being freely offered, bright and cheery, full of bell tones. A good songster will have a great richness and variety in his songs, a trait the breed is famous for.
This canary was not officially recognized as a breed until 1962, when, after several failed attempts, the breed was finally recognized during the celebrated General Convention in Brussels. This was a triumph to many Spanish breeders, to whom it represented the first great honor of Spanish canary keeping.
The Russian Canary
This breed has reportedly been in existance for more than three hundred years, but suffered severe declines through the political climates of the last century or so in its homeland.
Nonetheless, the breed persisted here and there, due mostly to the efforts of the people who loved them and were unable to give them up, despite the label given this canary as being a symbol of everything bourgeois.
Although they kept the breed alive, it is still in a state of severe decline, with few dedicated fanciers remaining.
Ironically, at the same time it has recently begun to gain more notice throughout the world for the uniqueness of its song, known in its homeland as ‘ovsyanochnevo’. Very few people know much about this unique and historic canary, but recently a society was created to support and educate interested fanciers, as well as planning contests, creating record libraries, etc, so it is hoped that in the future more will be heard of this unique and most interesting breed of song canary.
The Future of Song Canaries
Raising and training song canaries requires dedication, skill, and much time. The art of training canaries in the delivery of their song is a long and involved process, requiring not only interest and a natural talent and ability for working with birds, but also specific skills developed laboriously through much practice, along with a good ear; not to mention a fairly hefty material investment in equipment and other related costs!
In these days of fast food, fast travel, and fast living, such arts tend to drop by the wayside, and few ever seem to realize what is being lost until it is already gone. Will our beloved song canaries, who left their mark on so many ears, take the same route, in the end? Or will there be enough interested and dedicated fanciers to maintain their presence in an ever-more-rapidly changing world?
Only time will tell – time, and our own efforts.
by R. C. ‘Robirda’ McDonald,Originally published in Flock Talk 74.Copyright © June, 2003. All rights reserved
3 de abril de 2008
Festival de Guitarra de Santo Tirso
A chinesa Xuefei Yang e o argentino Ricardo Moyano são alguns dos nomes no cartaz do XV Festival Internacional de Guitarra de Santo Tirso, que decorre de 10 a 31 de Maio, em várias salas do Concelho, anunciou fonte da organização do evento.
O presidente da Câmara de Santo Tirso, Castro Fernandes, que falava durante a apresentação do programa do festival, lamentou a falta de apoio do Estado para este evento, que envolve um investimento de 75 mil euros, provenientes na sua quase totalidade dos cofres da autarquia. «Quinze edições são a prova da longevidade invejável do Festival Internacional de Guitarra de Santo Tirso», afirmou o autarca, para quem o festival deveria merecer maior atenção por parte do Governo.
O certame reúne este ano músicos de várias partes do mundo, estando presentes no programa, além de Portugal, nomes vindos da China, Croácia, Argentina e Brasil, mantendo assim a tradição da multiculturalidade, uma das características do evento, que abre a 10 de Maio, um sábado, com o LA Guitar Quartet (música clássica), dos EUA, no Auditório Padre António Vieira, nas Caldas da Saúde.
O presidente da Câmara de Santo Tirso, Castro Fernandes, que falava durante a apresentação do programa do festival, lamentou a falta de apoio do Estado para este evento, que envolve um investimento de 75 mil euros, provenientes na sua quase totalidade dos cofres da autarquia. «Quinze edições são a prova da longevidade invejável do Festival Internacional de Guitarra de Santo Tirso», afirmou o autarca, para quem o festival deveria merecer maior atenção por parte do Governo.
O certame reúne este ano músicos de várias partes do mundo, estando presentes no programa, além de Portugal, nomes vindos da China, Croácia, Argentina e Brasil, mantendo assim a tradição da multiculturalidade, uma das características do evento, que abre a 10 de Maio, um sábado, com o LA Guitar Quartet (música clássica), dos EUA, no Auditório Padre António Vieira, nas Caldas da Saúde.
O segundo concerto realiza-se no dia seguinte, no mesmo local, com a música e dança barroca do trio Marco Meloni, Christine Bayle & Hubert Hazebroucq (Portugal). A 16 de Maio, o Concentus Duo (Portugal) apresenta-se no Auditório Padre António Vieira II, nas Caldas da Saúde, estando o segundo concerto desse fim-de-semana a cargo da virtuosa guitarrista clássica chinesa Xuefei Yang, no Auditório da Biblioteca Municipal, em Santo Tirso, no dia seguinte.
No sábado seguinte (24 de Maio), chega a Santo Tirso a música das Caraíbas, pelas mãos do guitarrista argentino Ricardo Moyano, no Auditório da Biblioteca Municipal. A 30 de Maio, o Auditório do Centro Cultural de Vila das Aves recebe o Zagreb Guitar Trio, agrupamento consagrado na área da música clássica.
O concerto de encerramento tem lugar a 31 de Maio, no Auditório Engº Eurico de Melo, com o Yamandú Costa Trio, que leva a Santo Tirso as novas expressões da música brasileira. O programa do festival inclui ainda um curso, a 15 e 16 de Maio, pela guitarrista chinesa Xuefei Yang, no Auditório do Museu Municipal Abade Pedrosa, em Santo Tirso, e a exposição «Guitarras e outros Cordofones», que se realiza de 9 de Maio a 29 de Junho, no Museu Municipal Abade Pedrosa.
O Festival Internacional de Guitarra teve início em Santo Tirso, em 1994 e, desde então, tem sido realizado anualmente pela Câmara Municipal de Santo Tirso, com o apoio da ARTAVE - Escola Profissional Artística do Vale do Ave, a quem compete a direcção artítica do evento.
Diário Digital / Lusa
O Festival Internacional de Guitarra teve início em Santo Tirso, em 1994 e, desde então, tem sido realizado anualmente pela Câmara Municipal de Santo Tirso, com o apoio da ARTAVE - Escola Profissional Artística do Vale do Ave, a quem compete a direcção artítica do evento.
Diário Digital / Lusa
Clube Ornitológico de Santo Tirso
18 de fevereiro de 2008
Ailin Ailin ئایلین
Ax Lo Bavo
4 Min, 13 Sec
RAM
Listen
ئاخ لۆ باۆه
Emsal
4 Min, 43 Sec
RAM
Listen
ئهمساڵ
Evina Min
5 Min, 41 Sec
RAM
Listen
ئهڤینا من
Ew Mesha Te Xosh Ez Koshtim
3 Min, 25 Sec
RAM
Listen
ئهۆ مهشاته خۆهش ئهز کوشتم
Honelle Honelle
3 Min, 53 Sec
RAM
Listen
هۆنهڵێ ،هۆنهڵێ
Mala Me
3 Min, 58 Sec
RAM
Listen
مالا مه
Taqike
3 Min, 32 Sec
RAM
Listen
تاقیکێ
Yar Sivane
3 Min
RAM
Listen
یار شۆانێ
Yare Ji MIn
14 de fevereiro de 2008
Seamus Heaney e Dario Fo em Festival de Poesia em Córdova
Seamus Heaney e Dario Fo são dois dos mais de 150 escritores de 20 países que, entre 01 e 20 de Abril, participam em Córdova na quinta edição do festival de poesia Cosmopoética, noticiou El Pais.
Fo representará a sua obra «Rosa Fresca Aulentissima» durante o Festival, o mais importante do género em Espanha. Além de Heaney e Fo, ambos galardoados com o Nobel da Literatura, já confirmaram a sua presença o peruano Carlos Germán Belli, a norte-americana Jorie Graham, a escocesa Anna Crowe, o espanhol Antonio Gala, a cubana Reina María Rodríguez e a venezuelana Yolanda Pantin.
Constam também da lista de participantes o galego Manuel Rivas e o peruano Alfredo Bryce Echenique.
Fo representará a sua obra «Rosa Fresca Aulentissima» durante o Festival, o mais importante do género em Espanha. Além de Heaney e Fo, ambos galardoados com o Nobel da Literatura, já confirmaram a sua presença o peruano Carlos Germán Belli, a norte-americana Jorie Graham, a escocesa Anna Crowe, o espanhol Antonio Gala, a cubana Reina María Rodríguez e a venezuelana Yolanda Pantin.
Constam também da lista de participantes o galego Manuel Rivas e o peruano Alfredo Bryce Echenique.
É igualmente esperada a presença de escritores do Iraque, Palestina e Marrocos.
Segundo o jornal madrileno, a intenção da Câmara municipal de Córdova é converter o mês de Abril «no mês da poesia» - da poesia escrita e da poesia cantada.
Segundo o jornal madrileno, a intenção da Câmara municipal de Córdova é converter o mês de Abril «no mês da poesia» - da poesia escrita e da poesia cantada.
No capítulo musical, terá lugar destacado Paco Ibáñez, que dará um recital, «Nos queda la palabra». A organização conta ainda com a participação de Luis Eduardo Aute e de Jota de Los planetas.
3 de fevereiro de 2008
New Generation Artists
Described by The Times as "God’s Gift to the flute", Sharon Bezaly was chosen as ‘Instrumentalist of the Year’ by the prestigious Klassik Echo in Germany in 2002 and ‘Young Artist of the Year’ at the Cannes Classical Awards in 2003. Classics Today has hailed her as "a flutist virtually without peer in the world today" and International Record Review wrote "Her recordings and concert appearances are typically more than simply triumphs: they are defining artistic events".Having started to play the flute at the age of 11, Sharon Bezaly gave her début concert as a soloist with the Israel Philharmonic Orchestra conducted by Zubin Mehta when she was 14.
On the advice of Jean-Pierre Rampal she continued her studies at the Conservatoire National Supérieur de Musique in Paris under Alain Marion, Raymond Guiot and Maurice Bourgue, winning the Academy’s first prizes for flute and chamber music. She was subsequently invited by Sándor Végh to play as principal flautist in his Camerata Academica Salzburg, a position she held until his death in 1997.
Since then, Sharon Bezaly has concentrated on expanding her solo career and is one of the very rare full-time, international flute soloists. She has performed with orchestras such as the Minnesota Symphony Orchestra, Tokyo and Osaka Philharmonics, and São Paulo Symphony Orchestras. As a Radio 3 New Generation Artist, Sharon has performed with all of the BBC Orchestras.
She has also played as soloist with the Royal Scottish National, and the Royal Philharmonic Orchestra at the prestigious last night of the Welsh proms, with the Stockholm and the Helsinki philharmonic orchestras, the SWR and Belgian National Orchestra, appearing in prestigious venues such as the Vienna Musikverein, Cologne Philharmonie, Tokyo Suntory Hall, the Rudolfinum in Prague, Palais des Beaux Arts in Brussels and both the Châtelet and Salle Gaveau in Paris.Without neglecting the standard repertoire, Sharon Bezaly is committed to the music of our time and has inspired renowned composers as far-ranging as Sofia Gubaidulina, Kalevi Aho and Sally Beamish to write for her.
To date Sharon has ten dedicated concertos which she performs around the world – she has played Aho’s concerto more than a dozen times on four continents. Sharon has commented: "In recent years my sights have been turning towards a wider horizon and I hope that, by inspiring challenging composers to create new works, it could propel the flute further into the spotlight as well as provide standard repertoire for generations to come".Sharon Bezaly is the first wind player to be chosen as artist in residence 07/08 for the Residetie orchestra den Haag, Chief conductor Neeme Järvi, she will appear with the Orchestra is numerous projects thought the season Other highlights for season 07/08 are recitals at the Wigmore hall in London and the Concertgebouw, performances with the Radio Symphony Orchestra Holland, Bergen Phil Orch./Litton Tonkünstler Orchestra at the Musikverein in Vienna as well as tours to Japan/Vänska, Brazil/Neschling Taiwan, Singapore and SpainSharon Bezaly has an exclusive contract with the Swedish label BIS and her wide-ranging recordings - 20 CDs to date - have won her the highest accolade, including the Diapason d’or (Diapason), Choc du Monde de la Musique (Monde de la Musique), Editor’s Choice (Gramophone), CD of the Month (BBC Music Magazine), Stern des Monats (FonoForum), Recommandé (Répertoire) and Recomendado (CD Compact).Sharon plays on a 24-carat gold flute, especially built for her by the Muramatsu team, Japan. Her perfect control of circular breathing (taught by Aurèle Nicolet) liberates her from the limitations of the flute as a wind instrument, enabling her to reach new peaks of musical interpretation, presenting an extended spectrum of colours and emotions. The Frankfurter Allgemeine Zeitung has compared her to David Oistrakh and Vladimir Horowitz.
19 de janeiro de 2008
NBA
The Hawk is the mascot for Saint Joseph’s University. The Hawk represents the University’s motto, “The Hawk Will Never Die” by flapping its wings non-stop (even during halftime) throughout every basketball game. The Hawk, who has been flapping his wings since 1956, travels with the basketball team to all of its away games. The role of mascot is annually awarded to student, who is given a full scholarship for serving as the Hawk.
28 de dezembro de 2007
Castanholas-Castañuelas
+ El triunfo de las castañuelas o Mi viaje a Crotalópolis
Juan Fernández de Rojas
+Construcción de instrumentos musicales
+ flauta de pico
Fotos de Jose Mª Gómez Collado.
Club Timbradista Virgen de Consolación
+1.9. Castañuelas.
Las Castañuelas son un giro de ritmo semicontinuo, timbre o sonoridad hueca y texto fonético limitado compuesto por las consonantes "C", "L", y "K", nunca "CH", y la vocal "A" (ej.: clakclakclak...). La estructura de esta variación coincide con la de los cloqueos, si bien las castañuelas se emiten con ritmo semicontinuo, de cadencia, por lo general, más rápida que los cloqueos y en su texto fonético interviene la vocal "A" en lugar de la "O" o la "U". Como en el caso de otros giros que toman el nombre por la semejanza de su sonido con el de algún instrumento musical, el sonido de las castañuelas debe hacernos rememorar el del típico y tradicional instrumento del folclore español.
26 de dezembro de 2007
Jean Mouton
Jean Mouton (c. 1450 - 1522) belonged to one of the most extraordinary generations
of composers the Western world has ever produced. But to ears attuned to the
important shifts in musical style that occurred between the late-medieval sound-world
of Palestrina, Mouton's music stands out from that of his contemporaries as the most
'advanced' - more even than Josquin, and much more than the others, Mouton paved
the way for the classic vocal polyphony of the sixteenth century.
21 de dezembro de 2007
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