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Video integrale con tanto di azione Teatrale…Andrea Tofanelli vi invita ala prossima edizione dell' ItalianBrass Week.Firenze 22-29 luglio 2018#italianbrassweek2028#trumpet#trompeta Andrea TofanelliTrumpetsItalian Brass Week
The Italian Brass Week is an international festival born 19 years ago under the artistic direction of Luca Benucci, the first horn of the Maggio Musicale Fiorentino. During these years, the festival and the Association have dealt with the formation of thousands of young artists from all over the world, with the aim of consolidating a reality that too often goes unnoticed and give the opportunity to emerging musicians to participate at a primary visibility event for the world of brass and music.
The mission is the enhancement of great Italian and foreign talents, through promotion and cultural exchange. The festival gives the opportunity to young students, new professionals and professionals to take part in an event of international importance, to play and learn from the most important musicians in the world of brass, being part of the greatest orchestras, conservatories and universities.
The high level of training and the quality of the event were rewarded with the bronze medal of the President of the Republic and with many other awards, obtained for the importance of the event and for involving generations of young musicians, who were trained and they have become excellent interpreters.
The Italian Brass Week has moved to various locations in Tuscany, Santa Fiora, Vinci, to land last year in Florence, because Florence is an important reference for cultural growth. It is a city devoted to hospitality and already culturally renowned as a meeting point between present and past.
During these years the artistic quality of the festival has always been guaranteed by the presence of virtuosos and soloists from all over the world, Italian, European and international teachers, jazz bands and brass ensembles who participate, compare and play together in an important moment for the professional growth of all the young people taking part in the festival.
You have got to check out Tamara Bubble! Tamara is a rapper, singer songwriter and commentator on the human condition. Bubble on Deck is a brilliant and hilarious podcast where Tamara will discuss any topic from airport security to Pringles. You can also check out Tamara’s EP release below.
On this EP release, Tamara doesn’t shy away from the stigma of being labeled a “female rapper” as long as you know she’s your favorite rapper PERIOD. Tamara Bubble is primarily known for her singing in many genres, but she’s back with 100% bars this time because her fans asked for it! Within 7 tracks, Tamara will turn you on, make you dance, think, and lyrically turn you out! Topics include domestic violence, gambling vs. saving, investing,
Born in a notebook and shared with the world. Eva & The Perrin Fontanas are an uplifting mix of soul, singer songwriter and funk deeply rooted in lyricism. Designed to make you feel good and engage your mind.
The state of popular music in the United States is arguably determined by a diverse set of subgroups of individuals with similar backgrounds and life experience, to which that popular music holds appeal.
The very idea of popular music is inherently tied and determined by the tastes of groups within the population, so the evolution and characteristics of popular music are more intimately connected with the groups with which it is associated. On a broader scale, large political and cultural events relevant to one period of time also represent an axis upon which this set of tastes in the population might vary.
For instance, recalling the periods of historically popular music, it may be observed that some political or cultural trends inform the popularity of certain genres: the counter culture of the 1960s along with the advancements in civil rights liberties for minorities, the appearance of rock and roll in the 1970s and 1980s, and so forth. The temporal aspect of popular music often can be used to characterize the events and moments of that generation of individuals because of this influence of historical political events on popular music.
Though the music industry has largely desegregated today in light of changes in legal practices surrounding civil rights, the populations that listen and engender popular music in the United States are still similarly divided, as indicated by the drastically different forms and messages that appeal to different groups, some which document a history of marginalization.
Upon reflection of the types of popular music present in contemporary times, one often imagines the upbeat, idealistic tunes of popular music or popular music related to social trends. Such types of popular music today may represent a degree of escapism in society, but they are more often indicative of the current feelings of a specific group. Notably, the relative peace of the 21st century has allowed for music commenting on inconsequential social idiosyncrasies to emerge and become popular.
However, this feeling of peace that has manifested for majority groups in the United States often shuns more serious and pressing social issues also present in the nation, and in this way, a population’s indulgence in peace may be considered a sort of escapism from the harsher social realities of marginalized groups. For instance, consider the set of popular songs such as “#SEFLIE” by the Chainsmokers, “How Deep Is Your Love?” by Calvin Harris, “Blank Space” by Taylor Swift, or “What Do You Mean?” by Justin Bieber.
These songs either mock current social trends or behaviors, or they expound on a certain set of feelings, often related to the transience of romance. The appearance of popular music that satirizes a specific set of popular social behaviors should indicate the presence of a sort of flippancy or superficiality in that social paradigm. This call to attention to such flippant behaviors (taking a superfluous amount of selfies at social events) is enhanced when the actual behavior is constituted by conspicuous and repeated performative acts made with an attention-seeking goal.
Moreover, the other songs listed above all demonstrate the existence of such a superficial social paradigm in relation to romance. Calvin Harris’ video for “How Deep Is Your Love?” consists of a repetitive set of party scenes that include a multitude of time skips, to illustrate the briefness of these social and romantic encounters.
The question that is repeated in the video itself “How deep is you love?” almost seeks to escape from this endless cycle of brief and meaningless encounters, longing for profundity and depth in relationships.
Taylor Swift’s “Blank Space” more explicitly refers to this idea of brief romantic encounters that are torn apart by their unstable foundation and beginnings. Consider how: “I can make the bad guys good for a weekend”, one of the verses of “Blank Space”, illustrates this dynamic relationship between male commitment and female sexuality that stands as the motivation for the briefness of romance in modern contexts.
“What Do You Mean?” by Justin Bieber once again describes a similar model of romance, referring to the insecurities and uncertainties of young love. Though love songs have always persisted in popular music in some form, popular music today documents a very real degeneration germane to romance.
The songs that receive hundreds of millions of views and the songs that are at the forefront of the public consciousness deal with the collective inability of individuals to reconcile romantic desire, sexual interest, and long-term commitment.
Music, in this case, presents a cathartic quality to all the individuals who find themselves in the unpredictable and unreliable landscape of romance today, and the popularity of such music represents a collective acknowledgment of these issues.
The cathartic quality offers individuals a sort of escape from their own dissatisfaction with failed romantic endeavors (i.e. Taylor Swift and Jake Gyllenhaal resulting in the “I Knew You Were Trouble” single). However, the popularity of such musical forms also detracts from the more darker aspects of society ignored by the majority as they engaged in their self-absorbed escapist fantasies through the performativity of music.
What are these darker aspects of society, spurned and ostensibly shoved under the rug by the majority in favor of this escapist romantic narrative? The very continuation of social inequality and abuse of the civil rights of minorities is documented in music.
The American music industry may have formally desegregated, but its population is still very much unequal and cordoned off into groups, roughly by race and socioeconomic class. Consider Kendrick Lamar’s recent single “Alright”, where he deals with the moral considerations and consequences of rampant materialism, as well as the struggle of the African American people in a society with power structures that continue to marginalize them.
In regard to materialism, Lamar reflects on his own experiences subsequent to his fame: “Painkillers only put me in the twilight / Where pretty pussy and Benjamin is the highlight”. Here, Lamar describes how opiates and similar classes of drugs only temporarily absolved him of life’s hardships by allowing him to indulgence in material pleasures and women.
Throughout the song, he also makes frequent reference to the troubled history of African Americans in the United States and their current struggles: “When you know, we been hurt, been down before, nigga / When my pride was low, lookin’ at the world like, ‘where do we go, nigga?’ / And we hate Popo, wanna kill us dead in the street for sure, nigga / I’m at the preacher’s door/ My knees gettin’ weak…” Lamar paints a vivid narrative of a beaten down and broken race of individuals struggling to survive in spite of the continual frustrations and dangers that beleaguer them.
When we compare this narrative, which has received only a five million views, to the hundred of millions of views given to the romantic troubles of Taylor Swift, it should inform our perspective regarding the disproportionate representation of social issues in the United States.
Ultimately, though peace has predominated in the 21st century and though segregation is outlawed, civil inequality is still incredibly blatant. The trends in popular music pertaining to superficial romances illustrate a collective ignorance and solipsism to more serious and pressing social issues in the United States.
When one observes the music most popular and relevant to different groups in the United States, one begins to realize the alarming nature of “popular music” in relation to the culture and society of this time, where the public prioritizes and gives more notice to casual sex and romance over the plight of an entire race.
ENTERFIRE was created by NIKI B (Nicholas Nikoloudis) in 2017. It is a project which talks mostly about the time that is passing without mercy and the world which is changing continuously. The songs crafted meticulously combined with powerful lyrics have resulted in melodic metal with trash influence. The vocals can change from clean to brutal, scream and distorted depending on the feel of the song.
The videoclip for the band’s new single ‘Slave of time’ was shot at the ancient theatre of Thassos island in Greece. Many thanks to Thomas Doukinitsas who directed and shot the music video.
The leader of the band, Niki B, was born in Wales, UK, but he was raised on a greek island. From a youngster he grew up in a musical environment thanks to the rock bar owned by his family. He was deeply inspired by all the metal gods he was listening to and it did not take long until he started to feel the attraction of guitars. During his teenage years he played lead guitar and vocals in different bands, performed in live shows and recorded albums.
He knew where his dreams would lead him from a young teenager and in 2014 he decided to move to London to study music in a professional environment. From the time he started to master the guitar professionally he had to learn different styles and genres of music which took his techniques to a different level. On gaining new skills he explored innovative ways to produce new material.
Always wanting to evolve as an artist, Niki B became interested in the field of music production. From the moment he produced his first song he gained knowledge and he developed himself, until nowadays he is composing, recording and mastering his own music in his music studio.
Kunal, the bassist of ENTERFIRE, remembers when his love for music began “back to 1994, when my dad popped in Aerosmith’s – ‘Get A Grip’ into the car cassette player I was mesmerised by the gorgeous tones of a guitar through a Marshall Amplifier”. He started playing guitar in 2007 and followed a Pro Guitar course and a production and sound engineering course. He played bass for different bands, but also served as a producer and vocalist. “My preferred genres are, Punk, Classic Rock and Heavy Metal. My influences include Black Sabbath, Led Zepplin, AC/DC, Deep Purple, Motorhead, Anthrax, Kiss, Aerosmith, Guns N Roses, Pantera, Ozzy Osbourne, Blink 182, Sum 41.”
The rhythm guitarist, Ioakeim is the youngest member of the band and he discovered heavy metal, metalcore, thrash metal and death metal at the age of 12. By the age of 15 he was already playing in melodic death metal bands as a lead guitarist and bassist. In 2016 he moved to London to study guitar at the British Institute of Modern Music. He finds his inspiration in bands such as Pantera, Avenged Sevenfold, Death, Sodom, Venom, Rotting Christ, Amon Amarth, Lamb of God, Slayer, Megadeth and Judas Priest.
Nick started playing drums at the age of 8 and during high school he was rocking the bars with his band. He decided to move in the UK at 18 and joined a BA creative musicianship course at Bimm London. “Through my time there I studied some interesting modules such as instrument technique , creative technology application and the basics of using Ableton and Logic software to create and record music.” His inspiration is coming from drummers such as John Bonham (Led Zeppelin) , Nicko Mcbrain (Iron Maiden), Mike Portnoy (ex Dream Theater).
As I sit here in my office on a cold and damp March evening in London, what a joy it is to introduce you to the living embodiment of sunshine, the radiant Karly Moreno. Karly hails from Orange County California and is living proof that music can transport you to a different place and time. Karly’s music is a fascinating blend of the new and the 60’s summer of love and is guaranteed to bring the sunshine into your day.
Hi everyone! My name is Karly Moreno and I am a 22-yr-old singer/songwriter from Orange County California. My dream is to be able to touch and inspire people with my music the way music has touched me! I believe that music does something to the soul and I want to take part in giving people that experience.
Growing up, I watched my mom sing in a band and was influenced in many ways. Music quickly became my passion as I started singing at the age of 5 and writing and playing guitar at age 11. Music is just a big part of me, and something I am always going to continue to pursue.
I was musically influenced by many artists, while my own style started to evolve and my “ unique tone and soulful heart”, as people have said, brought me the Indie/Singer-songwriter sound I have today.
I have played shows throughout OC and LA and continue to do so and love it! Some of these places include; House of Blues, Plaza Stage at the Greek Theater opening up for Americas Got Talent and many local restaurants and hangouts.
Through out my journey, I have been fortunate enough to meet some amazing people, including CEO of We Rock the Spectrum Kids Gym, and through that relationship, I was able to play at The Rose Bowl and the Angels stadium for Autism Speaks Walk, a great cause!
Currently, I am in the studio working on my first E.P! It should be done within the next few months and I am so excited for all of you to hear! Stay tuned☺
Many young girls dream of becoming singers and pop stars. They emulate their idols, singing along into the hairbrush handle with the mirror as an appreciative audience. I speak as a brother to two sisters and a father of two daughters!
However, very few young women have the courage and talent to go out, stand up and perform in front of a real live audience. Kacey Hacquoil is one of those rare young women who not only writes her own songs but possess the confidence and personality, as a performer, to put it out there for the world to enjoy.
A little bit of Kelly Clarkson at the Horse and Hound this evening with Acoustic Jersey 😄
In the mid 90s I was browsing in the bookstore at Berklee College of Music in Boston. I was looking for Slonimsky’s Thesaurus of Scales and Melodic Patterns, a book of algorithmically-generated scales which had a following among jazz musicians, most notably John Coltrane.
As a frontispiece he had included two surprising images.
What were these? A small note at the bottom of the acknowledgements said:
Geometric Drawings: By John Coltrane, 1960. Gifts to Yusef from John.
Over time I became fascinated by the Coltrane drawings and set about decoding them using a protractor, compass and tracing paper.
First I made a clean schematic of Coltrane’s marked-up diagram.
In thinking about it I realized it could be simplified from two rings to one without losing any of the intrinsic relationships.
Of course, from a musician’s perspective this had the surprising result of converting from a whole-tone scale in Coltrane’s original to a chromatic scale in my single-ring version. Then I realized there could be a three-ring version as well, with the intervals on each ring describing diminished triads.
This new three-ring version was visually strange and beautiful, and had a feature that wasn’t evident in either the one-ring or two ring versions: a winding pattern.
Pick a section starting with C and walk to the next C, one semitone at a time. The first four notes of the series would be C, C#, D, Eb. In the one and two ring versions D and Eb are adjacent, but in the three-ring version Eb is on the far ring.
That got me to thinking of the series as a winding banner.
And from there a 3D pattern, not a flat one.
I made a clean final version of this sketch.
From there it was natural to go on to versions with four, five and six rings.
When I had finished my six-ring version, I was sorry that I couldn’t go any further, because each set of rings shows a symmetric interval, and there are no symmetric intervals larger than this.
My drawings were complete, so I made a little title page for the collection.
Not long after I went to a Yusef Lateef concert. It was at Lincoln Center in New York City. He was a stellar player and the show was unforgettable.
After the performance I made my way to the crowd of people chatting by the stage door with the musicians, introduced myself, and asked him to sign my copy of his book.
We talked about the Coltrane diagrams. I showed him a version of my work. He told me that Coltrane had been drawing the original diagrams between sets on a gig they did together, and had given them to him. Lateef said this wasn’t the first time. “He was always doing that,” Lateef said.
That was probably during a period when Coltrane was studying Slonimsky and thinking about generative patterns for melodies. The year was 1960. He was growing from the modernist formalisms of bebop harmony — all bright lines and strict causality — to the ecstatic spirituality of free jazz. The connection between his post-bop and free jazz was numerology, a belief that divine or mystical phenomena can arise from quantitative thinking.
1960 was arguably his peak year. He founded his landmark band with McCoy Tyner and Elvin Jones and recorded his signature hit, “My Favorite Things.” Whatever the diagrams meant to him, they were connected with his best art.
Lateef was warm and generous with his time. I promised to send my own schematics, and later that year I did, along with a cover letter.