Dēmētrios Lebidēs Video
compositore greco
- musica classica
- Grecia, Francia
- compositore
Ultimo aggiornamento
2024-04-27
Aggiorna
Dimitrios Levidis 1935 1963 1990 1991
Ο Δημήτριος Λεβίδης ήταν αυλάρχης στα ανάκτορα του Τατοϊου, απόστρατος αντισυνταγματάρχης και είχε διατελέσει για κάποιο χρονικό διάστημα πρόεδρος της Ελληνικής Βουλής. Ο Κωνσταντίνος Σακελάριος χτίζει τη βίλα το 1935 για την οικογένεια του Λεβίδη η οποία εγκαθίστανται εκεί μια χρονιά αργότερα. Ο Λεβίδης πεθαίνει το 1963 με τα οικονομικά προβλήματα να "πνίγουν" τη βίλα και τη σύζυγό του, Τούλα Μπότση. Τότε ο χώρος ξεκίνησε να μισθώνεται σε εταιρείες παραγωγής κινηματογραφικών ταινιών ως στούντιο γυρισμάτων προκειμένου να καλυφθούν τα βασικά έξοδα της οικογένειας. Γνωστή είναι η ταινία " Η Αρχόντισσα και ο αλήτης" με την Αλίκη Βουγιουκλάκη. Το 1990 πεθαίνει η σύζυγος του και κληρονόμος είναι ο γιος του. Το 1991 προχωρά σε πώληση της βίλας σε Έλληνες επιχειρηματίες όπου και μετά εγκαταλήφθηκε. Dimitrios Levidis was a slurry at Tatoi Palace. Konstantinos Sakellarios builds the villa in 1935 for the Levidi family that settles there a year later. Levidis dies in 1963 with the economic problems to "drown" the villa and his wife, Tula Votsi. Then the site began to hire cinematographic companies as a filming studio (such as moves with the famous actress Aliki Vougiouklakis), in order to cover the basic family expenses. In 1990 his wife dies and heir is his son. In 1991 it proceeds to a sale of the villa in Greek entrepreneurs where it was then abandoned. #abandoned #abandonedplaces #abandonedgreece #abandonedaddiction #abandonedhouse #buildings #urbanexploring #exploration #εγκαταλελειμένα_κτίρια
Theremin Hammond Moog Ferruccio Busoni Francesco Balilla Pratella Luigi Russolo Martenot Joseph Schillinger Charles Ives Dimitrios Levidis Olivier Messiaen Edgard Varèse Percy Grainger 1907 1913 1948 1953 2021
#DrumNBass #EDMMusic #TechnoMusic @HOBBYPH VLOG HOBBY PH Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means (electroacoustic music). Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups, power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and the electric guitar. The first electronic musical devices were developed at the end of the 19th century. During the 1920s and 1930s, some electronic instruments were introduced and the first compositions featuring them were written. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was also created in Japan and the United States beginning in the 1950s and Algorithmic composition with computers was first demonstrated in the same decade. During the 1960s, digital computer music was pioneered, innovation in live electronics took place, and Japanese electronic musical instruments began to influence the music industry. In the early 1970s, Moog synthesizers and Japanese drum machines helped popularize synthesized electronic music. The 1970s also saw electronic music begin to have a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines and turntables, through the emergence of genres such as disco, krautrock, new wave, synth-pop, hip hop and EDM. In the early 1980s mass-produced digital synthesizers, such as the Yamaha DX7, became popular, and MIDI (Musical Instrument Digital Interface) was developed. In the same decade, with a greater reliance on synthesizers and the adoption of programmable drum machines, electronic popular music came to the fore. During the 1990s, with the proliferation of increasingly affordable music technology, electronic music production became an established part of popular culture. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream than preceding forms which were popular in niche markets. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of several orchestral instruments with reasonable precision. It achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music (1907). Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises (1913). Developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them. They were typically used within orchestras, and most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes. The instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation entirely...
Dimitrios Levidis Hayes 1885 1951 1995
Dimitrios Levidis +••.••(...)) - Music & Lyrics "Homage" Martha Arapis, soprano Dimitris Yakas, piano Recorded live for the 3rd Program of Hellenic Radio Dafni Monastery - Athens, September 5, 1995 / Quand mon âme d'enfant caressa dans un rêve de vivre le bonheur dans sa source infinite l'astre du jour te créa ô fleur inconnue pour éclairer ma route. Mais quand, ma Danaé, avides de ton âme mes lêvres ont gouté la plus pure caresse, puissant l'inspiration dans Ta chaste tendresse une Ode à genoux j'adressais au Soleil reflétant Ta Beauté. / Translated to English by H. Grantham-Hayes Years now dead when, a child, in my dreams I oft dreamed of the love that men always in their hearts ever aspire to, then were you born unknown flower, born of God's light, the sun to perfume my life. But when, oh Danae, I am longing for thy, soul when Danae I tasted thy caress so chast and found inspiration in thy embrace so pure an ode, on my knees, I addressed to the Sun reflecting Thy beauty. / Δημήτριος Λεβίδης +••.••(...)), Μουσική & Ποίηση "Homage" Μάρθα Αράπη, σοπράνο Δημήτρης Γιάκας, πιάνο Ζωντανή ηχογράφηση για το 3ο Πρόγραμμα της Ελληνικής Ραδιοφωνίας Μονή Δαφνίου - Αθήνα, 5 Σεπτεμβρίου 1995
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- cronologia: Compositori (Europa). Interpreti (Europa).
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