11 de janeiro de 2018

Bach - The Well-Tempered Clavier

Jordi Savall, Mare Nostrum, El Cant dels Aucells

Yo-Yo Ma : Song of the Birds

Pau Casals: Song of the Birds

Keith Emerson - Prelude to a Hope ( Piano & Canaries Version )

Genesis - Firth of Fifth Intro - ( Piano & Canary Birds )

Sounds from web

Intervenções Pós Incêndio - Regeneração Florestal

Volunteers motivation to work on PortugalTree Project´s

Making of Pedrógão Grande

PortugalTree working day on Goladinha

Limpar Tereno

PortugalTree Working day in Arrochela

Sounds from web

canário de canto

2 de janeiro de 2018

Sounds from web

Cantares de Alcáçovas -cante alentejano

World Show of Cage and Aviary Birds

Foto de Élevage YS84 FMO 170.

Canario Timbrado Español -Canario Timbrado Spanish Canary

Cantadores do Cabeço do Diabo - Cante Alentejano

Canário Malinois waterslager- 2005 - Croatia

1926 Ben Selvin - Valencia (Irving Kaufman, vocal)

30 de dezembro de 2017

Cantos de Trabalho e de Taberna no Alentejo - Ladrão do Sado

CLUB CULTORI DEL CANARINO DA CANTO MALINOIS WATERSLAGER DI COSENZA




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Cantos de Trabalho e de Taberna no Alentejo -Cante em Sete, em Safara e na Cuba + Arrufa




A Camera and a Backpack

Club Italiano dedicato al canarino Malinois Waterslager

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Cantos de Trabalho e de Taberna no Alentejo -Cante em Faro do Alentejo + Pedro Mestre

Malinois Waterslager canary - Pieter Joris

Cantos de Trabalho e de Taberna no Alentejo (Ep.6) Cante Alentejano em Cuba

Malinois Waterslager

Cantos de Trabalho e de Taberna no Alentejo Barragem do Alqueva cultivo de regadio

Belgian Waterslager canaries



Canaries have been selectively bred for their song and plumage for well over a hundred years, so there are many different strains of these songbirds. One strain, the Belgian Waterslager canary, has become particularly noted for its loud, low-pitched song.
A number of years ago, behavioral studies of hearing in this canary showed these birds have very poor hearing at high frequencies compared to other strains of canaries (figure).
Physiological and anatomical studies of the ear and auditory nerve in this species over the last decade have now shown that the high-frequency hearing loss in canaries of this strain is inherited and involves missing and damaged hair cells on the basilar papilla (the sensory surface of the bird hearing organ). This is remarkable because we know that birds, unlike mammals, have the ability to regenerate new auditory hair cells.
Current studies in the Belgian Waterslager canary show evidence of a low level of continuous supporting cell proliferation and hair cell differentiation that can be increased by killing existing hair cells with ototoxic drugs or high levels of noise. So far, neither this low level of proliferation, nor even the increased level of proliferation from noise exposure or ototoxic drug administration, results in complete repair of the basilar papilla and efforts are underway to understand some of the possible limiting factor

Cantos de Trabalho e de Taberna no Alentejo, Cante na Cuba + Antonio Caixeiro + Pedro Mestre

Belgian Waterslager canaries

Belgian Waterslager canaries have less sensitive hearing at high frequencies and produce songs with more energy at low frequencies than wild–type canaries. A backcross pedigree between Belgian Waterslager canaries and a domestic strain with wild–type song revealed inheritance patterns consistent with a factor of major effect located on the Z sex chromosome affecting both poor high–frequency hearing at 4 kHz and the relative energy in the spectra of the learned songs of males. Hearing thresholds at 4 kHz were significant predictors of the relative amount of song energy at 4 kHz for individual males. One hypothesis for the mechanistic basis of this correlation between hearing and song abnormalities is that a reduction in the ability to hear higher–frequency songs biases males towards learning lower–frequency songs.
Sex–linked inheritance of hearing and song in the Belgian Waterslager canary
Timothy F. Wright, Elizabeth F. Brittan–Powell, Robert J. Dooling, Paul C. Mundinger
Published 7 December 2004

Cantos de Trabalho e de Taberna no Alentejo

Malinois Waterslager canary - rafael mateos

malinois waterslager

Cantos de Trabalho e de Taberna no Alentejo -Cante Alentejano + Chocalhos

Detection and discrimination of simple and complex sounds by hearing-impaired Belgian Waterslager canaries

Belgian Waterslager canaries (BWC) are bred to produce a distinctive low-pitched song with energy restricted to a lower range of frequencies than in other types of canaries. Previous studies have shown a high frequency hearing loss primarily above 2000Hz2000Hz that is related to hair cell abnormalities in BWC, but little is known about auditory perception in these birds. Here, frequency, duration, and intensity discrimination, temporal integration, gap detection, and discrimination of temporally reversed harmonic complexes in BWC were measured and compared to normal-hearing non-BWC. BWC had excellent frequency discrimination ability at 1000Hz1000Hz, but showed poor frequency discrimination compared to non-BWC at frequencies in the region of hearing loss. Duration and intensity discrimination were not adversely affected in BWC. Temporal integration was reduced in BWC, except at 2000Hz2000Hz. Gap detectionand discrimination of temporally reversed stimuli were somewhat better in BWC than in non-BWC.
Those tests that relied primarily on temporal processing were less affected by the cochlear damage in BWC than tests that probably relied more on audibility and spectral analysis. Thus, despite significant high frequency hearing loss and extensive damage along the basilar papilla, BWC retain relatively good hearing abilities under many conditions.

Cantos de Trabalho e de Taberna no Alentejo -Cante Alentejano + Celina da Piedade

After Samsun Malinua Contest 2012 -2

After Samsun Malinua Contest 2012 -1

Samsun Malinua Contest - Kemal Oncel Show

Waterslager Song Analysis 3

Waterslager Song Analysis2

Waterslager Song

1η θέση στα μονά - Hellas Waterslagers OEM - Δεκέμβριος 2017

2η θέση στις τετράδες - Hellas Waterslagers OEM - Δεκέμβριος 2017

Malinois Waterslager canary bird

Malinois Waterslager canary bird

Malinois Waterslager canary bird

Sounds from web

26 de dezembro de 2017

Michael Praetorius



Michael Praetorius
(provavelmente 15 de fevereiro de 1571 – 15 de fevereiro de 1621) foi um compositor alemão, organista e escritor sobre música. Foi um dos mais versáteis compositores de sua época, sendo particularmente importante no desenvolvimento de formas musicais baseadas nos hinos protestantes.
Ao nascer, foi registrado como Michael Schultze, o caçula de um pastor luterano, em Creuzburg, na Alemanha. 
Após freqüentar a escola em Torgau e Zerbst, estudou divindade na Universidade de Frankfurt. Praetorius serviu como organista na Marienkirche em Frankfurt antes de trabalhar na corte em Wolfenbütte como organista e (desde 1604) como mestre-de-capela. De 1613 a 1616, trabalhou na corte da Saxônia, em Dresden, onde teve contato com a música italiana mais atual, inclusive as obras policorais da Escola Veneziana. 
Seu desenvolvimento subseqüente da forma do "concerto coral", especialmente a variedade policoral, resultou diretamente de sua familiaridade com a música de venezianos como Giovanni Gabrieli. Michael Praetorius foi sepultado numa cripta sob o órgão da Igreja de Santa Maria em Wolfenbütten, Alemanha.

Michael Schultze (Praetorius étant la version latine de son nom) à Creuzburg an der Werra, en Thuringe, dans le centre de l'Allemagne, le 15 février 1571. Son père est pasteur luthérien. Il suit des études en théologie et en philosophie à l'université de Francfort-sur-l'Oder et apprend à parler couramment plusieurs langues. Après des études en musique, il devient organiste à Francfort en 1587. Après avoir été maître de chapelle (Kapellmeister) à Lunebourg, il devient, en 1592 ou 1593, secrétaire du duc Henri-Jules de Brunswick-Wolfenbüttel à la cour de Wolfenbüttel, où il est aussi organiste, puis nommé Kapellmeisteren 1604. À partir de 1613, il est également au service de Jean-Georges , prince-électeur de Saxe, à la cour de Dresde, où il est responsable de la musique des festivités.
Praetorius est considéré comme l'un des meilleurs compositeurs luthériens, et il a laissé une œuvre considérable. Pour la seule musique religieuse, il compose plus de mille pièces vocales et instrumentales1. De plus, Praetorius transcrit de nombreuses œuvres dites « populaires » issues depuis des siècles du folklore allemand. Il a également publié Terpsichore musarum (1612), un imposant recueil de 300 compositions associées à la danse qui constitue son plus important legs de musique profane.
Ses compositions sacrées sont largement inspirées par la musique italienne, plus particulièrement par l'école vénitienne, mais également par son jeune contemporain allemand Heinrich Schütz avec qui il collabore à la cour de Dresde. Il emprunte à l'école vénitienne la forme du grand motet à double chœur avec accompagnement de cuivres qu'il emploie régulièrement pendant sa carrière. Ses premières compositions, écrites vers 1602, sont suivies de ses Musæ Sioniæ (1605-1610) et, en 1611, d'un recueil de chants liturgiques contenant des messes, des hymnes et des magnificats. En 1609, il signe l'arrangement de Dans une étable obscure (Es ist ein Ros entsprungen), un chant de Noël traditionnel allemand du xvie siècle qui est aujourd'hui sa composition la plus universellement connue. L'ensemble de son œuvre et son style unique se sont transmis grâce aux centaines d'élèves qu'il forme à l'orgue et au chant au cours de sa vie.
Il est également célèbre pour avoir écrit une remarquable encyclopédie, le Syntagma musicum (1619), un traité de musique qui étudie très précisément les divers genres musicaux utilisés depuis l'Antiquité, ainsi que des instruments de musique, une somme quasi exhaustive qui est encore aujourd'hui d'un intérêt considérable.
Michael Praetorius s'éteint à Wolfenbüttel, à l'âge exact de 50 ans, le 15 février de l'année 1621

17 de dezembro de 2017

Lisboa ao Entardecer | Viola da Terra

Timbrado-Espanol-Classico-Intermedio-Sänger

timbrado canary intermedio

Timbrado joven EL CASCABEL ( INTERMEDIO )

Timbrado Intermediate in Sunshine - Greece

TIMBRADO FLOREADO

TIMBRADO INTERMEDIATE FLOREO

Timbrado intermediate floreo

TIMBRADO INTERMEDIATE FLOREO BLANCO - ATHENS

Canario Timbrado de floreo

15 de dezembro de 2017

São Gonçalo | Viola da Terra

Discontinuos

Canario de Canto Español Discontinuo

Canario discontinuo

Canario discontinuo

Canarios de canto español discontinuo 2017

Canarios de canto español discontinuo 2017

Moda: "DÁ-ME UMA GOTINHA DE ÁGUA" (GC "Vozes do Campo Branco em Cascais")

Dá-me uma gotinha de água

António Zambujo e Uxía - dá-me uma gotinha d'água

Gota de Água




GOTA DE ÁGUA Fui à fonte beber água, Achei um raminho verde; Quem o perdeu tinha amores, Quem o achou tinha sede. Dá-me uma gotinha de água, Dessa que eu oiço correr! Entre pedras e pedrinhas Alguma gota há-de haver. Alguma gota há-de haver, Quero molhar a garganta; Quero cantar como a rola, Como a rola ninguém canta. A água da fonte corre Limpa, clara, fresca e pura: Assim correm os meus olhos Para a tua formosura. Dá-me uma gotinha de água, Dessa que eu oiço correr! Entre pedras e pedrinhas Alguma gota há-de haver. Alguma gota há-de haver, Quero molhar a garganta; Quero cantar como a rola, Como a rola ninguém canta.

Moda: "DÁ-ME UMA GOTINHA DE ÁGUA" (GC "Vozes Campo Branco Cascais") + Ba...

Vozes d` Água - Encontro Cante Alentejano em Almada - 22 10 2017

1928 version: Paul Whiteman - Whispering