Mp3 music: Solitudes

Artist: Solitudes: mp3 download    Genre(s):  New Age     Solitudes's discography:      Harmony    Year: 2001    Tracks: 11 The ongoing Solitudes serial of environmental recordings was the brainchild of natural level-headed archivist Dan Gibson, wHO low became taken with of the outdoors write a juvenility outgo his summers tenting in Ontario. In 1946, he founded Dan Gibson Productions Ltd. to make nature films and television specials, doing pioneering work in recording the sounds of the natural world and on occasion releasing LPs of the results. After quaternary decades in film production, at old age 59, Gibson turned to cathartic environmental soundscape albums full-time with the 1981 launch of Solitudes. In 1986 he was linked by parole Gordon, and together they began adding melodic passages to the recordings, promoting their work on non only for its saving of wildlife sounds, just alike as a therapeutic dick for direction alleviation and meditation.

Biota Holdings Limited (ASX:BTA) Commences Human Rhinovirus Phase IIa Clinical Trial

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Mp3 music: Joey Calderazzo

Artist: Joey Calderazzo: mp3 download    Genre(s):  Jazz     Joey Calderazzo's discography:      Amanecer    Year: 2007    Tracks: 9      In the Door    Year: 1991    Tracks: 8 A potentially substantial pianissimo player playing in the mod mainstream, Joey Calderazzo's career got cancelled to a strong start with a serial of ok Blue Note albums. He studied hellenic piano from age dustbin School, ascertained jazz a few geezerhood afterward, and hit the full-grown time when he joined Michael Brecker's

Gunter Schickert << mp3 music

Kraton Surakarta

   
Artist: Kraton Surakarta

   Genre(s): 
Ethnic
   

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Discography:


   
 Court Music Of Kraton Surakarta

   Year:    
Tracks: 1

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Venezuelan 'System' brings musical classics to the barrios

SAN SEBASTIAN DE LOS REYES, Venezuela - A violin case slung over her shoulder, 10-year-old Daniela Fagundez trudges home along a row of muddy yards where chickens scratch among banana trees and laundry hangs drying on wire fences.

She's an unlikely classical musician, the daughter of a construction worker father who dropped out of high school and a mother who has cleaned houses to help the family get by. But Daniela has found a new world in music, and her eyes light up as she talks about the violin she was given through a unique program that has changed her life.

"This is the most beautiful gift I've ever had," she says proudly. "In the future, I'd really like to conduct the orchestra."

She is a participant in one of the most widely praised teaching systems in classical music today, a countrywide network of orchestras that has made Venezuela a powerhouse for producing talented musicians.

It is known as "El Sistema" - the National System of Youth and Children's Orchestras of Venezuela - and it's becoming a model internationally for getting children excited about classical music.

Daniela's orchestra of six-to-12-year-olds spends afternoons rehearsing Beethoven's Symphony No. 7 and Merle J. Isaac's "Gypsy" Overture in the shade of a mango tree that towers over a colonial-era courtyard.

Many students come from humble families who otherwise couldn't afford instruments or formal training. A cement plant and chicken farms are the biggest employers in this small town, but music is giving the children a new direction.

The System was begun in 1975 and has been financed by successive governments since then. It was born as the dream of a visionary economist, musician and former congressman, Jose Antonio Abreu, who was driven by a conviction that all children should have access to a quality musical education.

Today there are some 150 youth orchestras and 70 children's orchestras in Venezuela. The System involves more than 250,000 pupils, extraordinary for a country of about 27 million people.

Its star graduate, charismatic conductor Gustavo Dudamel, has risen to fame performing in concert halls from New York to Berlin. The 27-year-old, with long, curly hair that bounces as he leaps into the air while conducting, takes over as music director of the Los Angeles Philharmonic in September 2009.

"'El Sistema' has given me everything. It gave me the possibility of having a path in life with music," Dudamel said during a recording session in Caracas, motioning to his Simon Bolivar Youth Symphony Orchestra. "Every one of those guys is 'El Sistema,' and they've been transformed by music."

He and the orchestra received long, thunderous ovations in November in two sold-out concerts at New York's Carnegie Hall.

Clive Gillinson, Carnegie's executive director, said the performers exuded "the sheer joy of music," at times dancing with their instruments.

When the orchestra performs at home, admiring children often fill the front rows.

This musical revolution began with 11 young musicians under Abreu's tutelage. Rehearsals were first held in a classroom, a parking garage and loaned space in other buildings.

"It grew very quickly. Already that first year we were able to have an orchestra with 100 kids," Abreu recalled.

He then founded orchestra after orchestra across Venezuela.

The teaching philosophy is straightforward. All are welcome, children as young as 3 begin with singing, xylophone playing and other exercises. An instrument is chosen according to each child's inclination and abilities - provided free for the majority who otherwise couldn't afford one.

The students learn largely by practise while theory is introduced along the way. Many of their teachers were trained in the same system, forming a regenerating bottom-up cycle as knowledge is passed along. By age 10, some standout students are already helping to coach their peers.

There are similarities with the Suzuki method, created by the late Shinichi Suzuki, which emphasizes getting a child to enjoy music by hearing it in a family atmosphere and playing it as early as possible.

But teachers here say their intensive program has developed its own characteristics and emphasizes collective advancement. Love of music and hard work are guiding principles - encapsulated in a slogan engraved on medals for orchestra members: "Tocar y Luchar," or "Play and Struggle."

The program has produced various world-class graduates. Bassist Edicson Ruiz, now 23, started playing in the prestigious Berlin Philharmonic at just 17.

Not all students are expected to become professional musicians. Abreu sees the program as "an oasis" that changes lives by giving kids an outlet away from the barrios and keeping them out of trouble. He calls it building "spiritual richness."

Teachers say many students go on to successful nonmusical careers as doctors, engineers and other professionals. In Venezuela's prisons, inmates now play in similar orchestras set up in hopes that a connection to music will aid their rehabilitation.

International recognition of the youth program has been widespread. The System won its latest honour, Spain's Prince of Asturias Arts Prize, in May.

Its musicians have teamed up to share their methods with orchestras across Latin America. Programs modeled after the System have sprung up in places from Scotland to California.

The Los Angeles Philharmonic has created Youth Orchestra LA, aiming to establish several orchestras in inner-city communities. The first is the Expo Center Youth Orchestra, which has enrolled 150 children.

"Classical music has a power, a power to change human beings," Dudamel said. "And that's exportable to the entire world."

The youth orchestra foundation headed by Abreu has been financially supported by government after government in Venezuela, most recently by President Hugo Chavez. The 69-year-old maestro estimates the annual cost at some $60 million, mostly paid by the state.

And Chavez's government has latched on to the System as a symbol of national success. Members of the Simon Bolivar Orchestra are featured on state television wearing the yellow, blue and red of Venezuela's flag. One segment calls them "the vanguard of the new fatherland."

In the town of San Sebastian de Los Reyes, the children don't have to look far for role models. Johnny Cubides, a 40-year-old who leads the music school, started in the System at 10. He stands in the courtyard helping tune children's instruments.

On a wall is a mural of Beethoven and a slogan: "With music, we achieve all desired goals."

Daniela, like many others here, has taken the discipline to heart.

After nearly a year studying, her fingers have grown calloused from gripping the violin. And she sometimes holds an imaginary violin in the air while walking to class, gazing into the distance while her fingers dance over the strings.

Afternoon rehearsals last three hours. Later, Daniela often practices at home until her parents insist it's time to sleep.

She admires the teenagers in the youth orchestra, and after class she and two friends slip into a room where the older group is rehearsing. Daniela smiles with excitement. Asked what she likes about their music, she says: "the energy."

"I want to make it to the youth orchestra to play songs like they play. They have a lot of strength when they play - yes, a lot of joy."

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Dave Simpson meets Panic at the Disco

In the calm of a Boston dressing room, Panic at the Disco preview their imminent Glastonbury appearance by bringing up their most notable performance at a British festival: at their Reading appearance in 2006, frontman Brendon Urie was knocked out by a bottle. "It hit me right on the temple and I just kinda blacked out," he says, recalling how he recovered to find his entourage fearing that he was dead. "I just said to the band, 'This is weird. Keep playing!'"

They did, the boos turned to cheers and the young band won over the crowd. All of which seems par for the course in Panic at the Disco's career: Kerrang! magazine once voted them best and worst band of the same year; NME dubbed them the worst band of 2007 but now likes them enough to put them on its cover.

Panic's latest challenge is to win over their own audience. Their debut album, A Fever You Can't Sweat Out, sold 2.2m copies following its 2005 release, establishing the Las Vegas quartet as the rising stars of emo. But the follow up, Pretty. Odd., has seen Panic take a curious career swerve into classic 60s rock. Though it entered the charts at No 2, and has sold 600,000 copies, it has sold more slowly than its predecessor on both sides of the Atlantic, suggesting that a youth subculture associated with self-harm and teenage alienation is struggling to come to terms with songs that owe more to the Beach Boys and the Beatles than to My Chemical Romance.

After initial confusion, perhaps the fans are coming round. Panic's recent British dates saw blue-haired teens plastered on alcopops rocking gently to their unlikely but effective cover of the Band's 1968 song, The Weight, while after we talk in Boston they will play to a crowd of 5,000 screaming girls. Still, although Pretty. Odd. sounds like it would be better appreciated by an older audience, Panic hope their fans - who guitarist Ryan Ross says "are impressionable, but open to things ... they really don't hate everything" - will follow their own trajectory. When the band made their debut, they were punky teenagers; now aged 21, they listen to "classic rock'n'roll".

"You don't realise how long three years is until you go away and write an album," ponders Ross, the reflective yin to Urie's livewire yang. Initially, faced with the pressure of following enormous success, they holed up in a Nevada cabin, ditched their guitars and drums and proceeded to make songs Urie describes as "orchestral", which sounds very like the scene in This Is Spinal Tap in which bassist Derek Smalls declares "hope you enjoy our new direction" as the band unveil Jazz Odyssey. Like the Tap, Panic decided to "come back to Earth before we lost it all".

The seeds of their musical shift were sown in 2006, when they began playing the Beatles' Eleanor Rigby in their live set. For Ross - Panic's main songwriter - discovering the Fab Four was a "mesmerising" moment, which led him to his current listening: the Beach Boys, Dylan, the Stones, the Who. Brendon Urie had a similar road-to-Damascus moment listening to his parents' records. "When you're in junior high school and into punk rock and skateboarding, you rebel," he says. "But then you hear those albums and it's, 'Fuck, this is really good.'"

It's debatable whether Panic were ever really "emo" in the first place. Modern emo fans, the stereotype holds, wear black and look depressed; Panic's early gigs featured vaudeville showgirls and people being fired from cannons. The emo tag stems from their association with Fall Out Boy's Pete Wentz, the impresario of emo, who discovered the band and signed them to his Decaydance label, and whose own fans provided Panic's initial audience. Nevertheless, the front pair of Panic have backgrounds that sound straight out of emo central casting. Like Brandon Flowers of the Killers, Urie grew up in a Mormon family in Las Vegas. He describes his childhood as a "suburban American life", but at the age of 12 he was diagnosed with attention deficit hyperactivity disorder and put on prescription drugs, which rendered him "a vegetable" for the best part of two years. He was also bullied at school. "I had a lot of fun talking to people," he shrugs, visibly uncomfortable. "I guess a lot of people don't like talking." Ross is more upfront, describing high school life as "vicious". Though the pair went to different schools, they were both picked on for being lower-middle class in schools where most of the children came from wealthier families.

Mormonism didn't set Urie apart from other kids - 70% of his schoolmates subscribed to the religion - but at 15 he drifted somewhat from the faith. He started smoking weed and listening to jazz and punk, and formed Panic with Ross and drummer Spencer Smith. When the band first started, Urie would have to skip rehearsals to go to church, but as he became more rebellious, he started rowing with his parents and staying away from home. However, the vivid anti-religious imagery of A Fever You Can't Sweat Out doesn't stem from Urie's life: it was Ross who wrote the lyrics, drawing on his experience in a Catholic high school. "They were trying to outsmart 17-year-old kids," he says. "I'd say, 'What about eastern religion? Are they going to hell?'"

Ross's parents split up when he was young - so young, in fact, that he can't remember them ever being together. His mother was "a free spirit, she moved around a lot", and he was brought up by his father, an ex-marine. "Sometimes I'm not as open to loving," he muses. "When my dad got mad, my mum wasn't there to say, 'You're OK, don't worry about him.'"

In Ross's teens, his father became an alcoholic, which the guitarist puts down to boredom and loneliness after leaving the military. His condition worsened when his son started going away touring. But though Ross admits he felt guilty about abandoning his father, he says his parents had told him not to stop his own life in order to fix theirs; by the time his father died in 2006, he and Ross had been reconciled. The experience brought the band closer together, too. They realised they didn't want to be a magnet for the gloom-laden their whole career, and chose a different approach to life: "enjoy it while we can". That shift is most apparent in Pretty. Odd.'s almost straightforwardly love-oriented lyrics - something of a turnaround following the first album's litany of apparently very bad women.

"One bad woman," corrects Ross, pointedly. He admits he hasn't had the greatest female role models, given his absent mother and his growing up around Sin City's showgirls. And the woman who inspired the likes of Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off was his girlfriend from home, who had cheated on him, ending their three-year relationship. "At the time it felt like the world had ended," he says. "I hated everything. It affected that whole album. I guess it's good that I wrote it down. I might have stabbed somebody."

The anger towards women in a lot of emo songs has led to accusations of misogyny. Fall Out Boy's Pete Wentz responded: "We don't hate girls. We hate everybody." However, Andy Greenwald's book Nothing Feels Good: Punk Rock, Teenagers, and Emo notes that in emo songs females are never given names; their whole existence revolves around the impact they have on the guys singing the songs.

Urie ponders this for an age before conceding that Panic's older songs "are demeaning, in a way". "But only to one person," counters Ross. "It was meant to make her feel bad."

Panic's predominantly female audience seem to understand the difference. However, three years on, Ross is in a different mental place. He is in love - as are most of Panic (only Urie remains single, insisting he is "too busy being 21"). Meanwhile, outside the dressing room, a poster reminds Ross: "Don't forget to call your mother today. She loves you despite ... " After two decades of hurt, he recently buried the hatchet with his mother.

"We've all got more mature, because we had to," suggests Ross. "Otherwise we'd have broken up." "We had fights," says Urie. "Not fist fights, but verbal. Viciously verbal." He swears that this has changed, though he is grinning as he adds: "We're well behaved and get on really well with our parents. We're well-adjusted guys."

· The single That Green Gentleman (Things Have Changed) is out now on Decaydance. Panic at the Disco headline Glastonbury's Other Stage on June 27

'Hope you enjoy our new direction'

Panic at the Disco aren't the only band to have performed a volte-face ...

T Rex

Before Winsome folk duo, beloved of hippy-era John Peel, who achieved minor chart success under the name Tyrannosaurus Rex with albums such as My People Were Fair and Had Sky in Their Hair ... But Now They're Content to Wear Stars on Their Brows. Prone to sitting cross-legged on stage.

After The 1970 album T.Rex saw Marc Bolan shortening his band's name and taking a hard right turn into electric glam. The single Ride a White Swan was the start of a run of eight singles that all reached No 1 or No 2.

Sheena Easton

Before Easton, pictured, was a Scottish drama teacher when she got her break thanks to Esther Rantzen's TV programme The Big Time. She was a classic pop "girl next door", singing songs about waiting all day for her husband to come home from work.

After Four soft-pop albums into her career, Easton started recording with Prince, and became a sex-obsessed R&B siren. The song Sugar Walls was a hymn to vaginas, and was banned by many US broadcasters for being explicit. Esther Rantzen never predicted that.

Primal Scream

Before Indie ne'er-do-wells casting about for a direction. Their first album essayed wimpy Byrds-isms, their second was an unconvincing attempt to become MC5, and few thought there would even be a third.

After DJ Andrew Weatherall loved a ballad from that second album, and remixed it into international indie-dance smash Loaded. Primal Scream saw an opportunity and roped in a load of hot dance producers to work on their next album. Screamadelica captured the acid house comedown and won the Mercury music prize.

Japan

Before A moderate glam band, inspired by Bowie and the New York Dolls, who managed hits in the Netherlands and Canada, though they were largely ignored in the UK.

After One of the most revered experimental pop groups of the late 70s and early 80s. Their third album, Quiet Life, saw a change of emphasis, away from glam guitars towards electronics. By the time of their final album, Tin Drum, they were merging eastern and western sounds to create stark minimal pop.

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Dido

   
Artist: Dido

   Genre(s): 
Alternative
   Pop
   Other
   Rock
   Pop: Pop-Rock
   Blues
   ROck: Alternative
   House
   

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Discography:


   
 Live at Live London

   Year: 2005   
Tracks: 3


   
 Live At Brixton Academy

   Year: 2005   
Tracks: 12


   
 Yes Roots (Limited Edition)

   Year: 2004   
Tracks: 8


   
 V-Festival 2004

   Year: 2004   
Tracks: 4


   
 The Music of Dido Performed

   Year: 2004   
Tracks: 12


   
 See You When Your`e 40 (Live and Remixes)

   Year: 2004   
Tracks: 1


   
 Sand In My Shoes - Live and Remixes

   Year: 2004   
Tracks: 16


   
 Sand In My Shoes

   Year: 2004   
Tracks: 4


   
 Live In Frankfurt

   Year: 2004   
Tracks: 3


   
 Live In Brixton (DVD-RIP)

   Year: 2004   
Tracks: 17


   
 Live In Brixton

   Year: 2004   
Tracks: 16


   
 Life For Rent (The Complete Version)

   Year: 2004   
Tracks: 12


   
 Don't Leave Home

   Year: 2004   
Tracks: 2


   
 Andre Herman

   Year: 2004   
Tracks: 11


   
 Marys In India (Live and Remixes)

   Year: 2003   
Tracks: 4


   
 Life for Rent

   Year: 2003   
Tracks: 16


   
 Interviews

   Year: 2003   
Tracks: 18


   
 Worthless

   Year: 2001   
Tracks: 16


   
 One Step Too Far

   Year: 2001   
Tracks: 15


   
 Maximum Dido

   Year: 2001   
Tracks: 10


   
 Live In Saint Paul

   Year: 2001   
Tracks: 15


   
 Live In London

   Year: 2001   
Tracks: 14


   
 Live In Irvine Ca 2001

   Year: 2001   
Tracks: 16


   
 Live In Dublin

   Year: 2001   
Tracks: 13


   
 Live In Chicago

   Year: 2001   
Tracks: 15


   
 Live In Buffalo

   Year: 2001   
Tracks: 15


   
 Duets and Airplays

   Year: 2001   
Tracks: 6


   
 BBQ Concert

   Year: 2001   
Tracks: 6


   
 Very Rare Dido Songs

   Year: 2000   
Tracks: 15


   
 Take My Hand

   Year: 2000   
Tracks: 10


   
 Live In Sacramento

   Year: 2000   
Tracks: 12


   
 Live In Met Cafe - Providence

   Year: 2000   
Tracks: 11


   
 Live In Boston 2000

   Year: 2000   
Tracks: 12


   
 No Angel

   Year: 1999   
Tracks: 12


   
 Honestly Ok (Live and Remixes)

   Year: 1999   
Tracks: 3


   
 Don`t Think Of Me

   Year: 1999   
Tracks: 3


   
 Odd&Ends

   Year: 1995   
Tracks: 11


   
 Who Makes Your Feel

   Year:    
Tracks: 1


   
 White Flag

   Year:    
Tracks: 43


   
 Thank you - Live and Remixes

   Year:    
Tracks: 33


   
 Stoned - Live and Remixes

   Year:    
Tracks: 8


   
 My Love's Gone - Live and Remixes

   Year:    
Tracks: 4


   
 My Life(Live and Remixes)

   Year:    
Tracks: 1


   
 Lives and Remixes Hits

   Year:    
Tracks: 20


   
 Life For Rent - Live and Remixes

   Year:    
Tracks: 13


   
 Karaoke

   Year:    
Tracks: 15


   
 Here With Me (live and remixes)

   Year:    
Tracks: 19


   
 Don`t Leave Home(live)

   Year:    
Tracks: 13


   
 All Dido

   Year:    
Tracks: 7

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Electronic protrude chanteuse Dido entered London's Guildhall School of Music at eld hexad, and by the time she reached her teens had already mastered piano, violin, and vertical flute. After touring with a British graeco-Roman corps de ballet, she recognized a publishing job, in the in the meantime tattle in a serial of local groups in front connection the trip-hop getup Faithless -- helmed by her older pal, the noted DJ and producer Rollo -- in 1995. As the group's 1996 debut, Reverence, went on to sell some five trillion copies world-wide, Dido began working on solo material, developing a lushly aery sound combination elements of acoustic pop up and electronica; signing with Arista, she released her debut LP, No Angel, in mid-1999, and toured with the Lilith Fair that summertime. Her biggest go, however, came the following year, when rap champion Eminem sampled the No Angel track "Thank You" for the greek chorus of his hit individual "Stan," to surprisingly touching effect. Demand for the Dido original escalated quickly, and "Thank You" became a Top Five crush in early 2001, as did the album, which topped gross revenue of 12 trillion copes world-wide by the time Dido returned to the spotlight two days later. In September 2003, Dido released her long-awaited followup, entitled Life for Rent. This soph effort was layered with personal hardship and heartbreak, marking some of Dido's more than honest material yet.