Yoko-Maria Tsukuda Vídeos
cantante de ópera
- soprano
- Japón
Última actualización
2024-05-02
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Danny Ocean - Fuera del mercado (Official Music Video) #DannyOcean #FueraDelMercado #dannocean Available on all digital platforms: (http•••)k/DannyOceandannoceanID Connect with Danny Ocean: - Instagram: (http•••) - Twitter: (http•••) - Facebook: (http•••) - TikTok: (http•••) - Triller: (http•••) Credits: Directed by: Rodrigo Rodríguez @rodrigofilms Actress: María del Mar Bonnelly - @MarBonnelly Lettering Artist: Ciro Zerpa - @Cirografia Animation Artist: Thomas Porras - @ThomPorras Lyrics Fuera del mercado: Cómo pretendes que en tu sueños no quieres que me vaya Que no me aleje mas de ti Si mi cora por ti siempre estalla Este fucking olor tuyo a playa Desde el 2010 quiero que este feeling se me vaya Pero ha sido muy difícil Muy muy muy difícil para mi Me arrepiento demasiado Por ese beso apresurado Eso nunca debió haber pasado No fuiste tú, fue el momento equivocado. Me arrepiento demasiado Baby el tiempo ya me ha moldeado Y ahora que estoy preparado Me entero baby que estás fuera del mercado. Y ahora que estoy preparado Me siento baby que estas fuera del mercado Ha sido muy muy muy muy difícil para mi Ha sido muy muy muy muy difícil para mi Porque te amo demasiado Te amo demasiado Todavía estoy aprendiendo Que tu felicidad va primero. Te amo demasiado Mami aun te amo demasiado Solo dame tiempo dame un momentico Tu sabes que yo soy guerrero. Mueve tu cuerpo Felicidad eterna Siente la electricidad subiendo por tus piernas Gritale al mundo que tu eres guerrero La vida es sangre, sudor y fuego Mueve tu cuerpo Y felicidad eterna Y si quieres mandar todo a la mierda Mandalo todo Mandalo todo La vida es sangre, sudor y fuego Te amo demasiado Te amo demasiado Y supongo que aun estoy aprendiendo Que mi felicidad va primero Subscribe: (http•••)
Callaghan Fiechter Edwards Macleod
The history of the Reconquista was a 781 year journey. It was the story of Christian Kingdoms fight against Islamic Spain. But it was a dynamic changing event that progressed through the centuries. We start with the History of the Kingdom of Asturias, the story of Pelayo, the battle of Covadonga, and the start of the war of Reconquest. DOWNLOAD THE ALL THE FREE PODCAST EPISODES: (http•••) FOR ANDEROID USERS: (http•••) CONSIDER CONTRIBUTING ON PATREON: (http•••) FOLLOW ON FACEBOOK: (http•••) VISIT ON TWITTER: (http•••) SOURCES A Vanished World - Chris Lowney Homage to Al-Andalus - Micheal Barry The Ornament of the World - Maria Rosa Menochal Reconquest and Crusade in Medieval Spain - Joesph O'Callaghan Kingdoms of Faith - Brain Catlas M U S I C DEREK & BRANDON FIECHTER (http•••) Werewolf PURPLE PLANET (http•••) Thunderstorm YOUTUBE ARCHIVE New Order FILMSTRO Nanshan JOSS EDWARDS MUSIC (http•••) Sand and Sunburn MUSOPEN (http•••) Asturias - Suite Espanola KEVIN MACLEOD (YouTube Archive) Cambodean Odessy Creative Commons Attribution license ((http•••) Source: (http•••) Artist: (http•••) Category Education License Standard YouTube License
Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
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- cronología: Cantantes líricos (Asia).
- Índices (por orden alfabético): T...