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Sinfonia Concertante in Eb major K.297 (3) Wolfgang Amadeus Mozart Download 'Sinfonia Concertante in Eb major K.297 (3)' on iTunes

"I was guided by no system whatever in Le Sacre du Printemps," wrote Igor Stravinsky in 1961. "I had only my ear to help me; I heard and I wrote what I heard. I am the vessel through which Le Sacre passed."

Stravinsky's ballet score is an epochal landmark in music. Its French and Russian (Vesna svyashchennaya) titles translate literally as The Coronation Of Spring. Its English title, The Rite Of Spring, lends a suitably chilling dimension, for the scenario is a pagan ritual in which a sacrificial virgin dances herself to death. The work is subtitled Pictures From Pagan Russia.

The idea for the work came to Stravinsky in 1910 when he was composing The Firebird for the impresario Diaghilev and the Ballets Russes. The composer put the project to one side for a year while writing Petrushka, his second successful score for Diaghilev, before immersing himself in The Rite in the summer of 1911. The archaeologist and folklorist Nikolai Roerich was an integral part of the creative process, providing Stravinsky with drawings from scenes of historical rites.

The score was written in a rented house in Clarens, Switzerland, in a tiny room with just enough space for an upright piano, a table and two chairs. Stravinsky completed the composition, two parts of roughly equal length (Adoration Of The Earth and The Sacrifice), by the beginning of 1912 and finished the instrumentation by late spring.

Its premiere, at the Théâtre de Champs-Elysées on May 29, 1913, conducted by Pierre Monteux, caused a scandal. The work was such a violent wrench from every musical tradition that had gone before that, to many people, it seemed like the work of a madman. There is no space here to illustrate the many complex technical innovations in this primordial, elemental score, but, contrary to popular belief, it was not just the shock of hearing the music, nor Nijinsky's exotic choreography, nor Roerich's bizarre settings that prompted the riot that ensued in the theatre. There were anti-Russian, anti-Diaghilev and anti-Nijinsky factions at work in Paris, determined to disrupt proceedings before a note of music had been heard.

A year later, a concert performance was given in the Casino de Paris, conducted again by Monteux. Stravinsky was carried from the hall shoulder-high in triumph. Nothing he wrote subsequently had the same shattering impact on the musical world.

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"I was guided by no system whatever in Le Sacre du Printemps," wrote Igor Stravinsky in 1961. "I had only my ear to help me; I heard and I wrote what I heard. I am the vessel through which Le Sacre passed."

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Southeast Asian arts , the literary, performing, and visual arts of Southeast Asia . Although the cultural development of the area was once dominated by Indian influence, a number of cohesive traits predate the Indian influence. Wet-rice (or padi) agriculture, metallurgy, navigation, ancestor cults, and worship associated with mountains were both indigenous and widespread, and certain art forms not derived from India-for example, batik textiles, gamelan orchestras, and the wayang puppet theatre-remain popular.

The term Southeast Asia refers to the huge peninsula of Indochina and the extensive archipelago of what is sometimes called the East Indies . The region can be subdivided into mainland Southeast Asia and insular Southeast Asia. The political units contained in this region are Myanmar (Burma), Thailand, Laos, Cambodia, Vietnam, Malaysia, Singapore, Indonesia , and the Philippines . The Philippines originally was not included, because Philippine history has not followed the general historical pattern of Southeast Asia, but, because of its geographic position and the close affinities of its cultures with the cultures of Southeast Asia, it is now usually regarded as the eastern fringe of Southeast Asia.

A common geographic and climatic pattern prevails over all of Southeast Asia and has resulted in a particular pattern of settlement and cultural development. Mountain people generally have a different culture than that of the valley dwellers.

The cultural setting of Southeast Asian arts

Southeast Asia has been the crossroads of many peoples who have been contending against each other for centuries. The first to come were the Austronesians (Malayo-Polynesians), sometimes described as Proto-Malays and Deutero-Malays. At one time they occupied the eastern half of mainland Southeast Asia, but later they were pushed toward the south and the islands by the Austroasiatics. At present, peoples of Austronesian origin occupy Malaysia, Indonesia, and the Philippines. There were three main Austroasiatic groups, the Mon , the Khmer , and the Viet-Muong. The Mon were at one time dominant, but they lost their ethnic identity in the 18th century and became absorbed by the Burmese and the Tai; only a few thousand Mon are now found living near the Myanmar-Thailand border. The Khmer from the 9th century to the 15th built a great empire, but much of its territory was lost to its neighbours so that only the small kingdom of Cambodia remains today. The Viet-Muong now occupy Vietnam. A Tibeto-Burmese tribe, the Pyu , founded an empire of city-kingdoms in the Irrawaddy Valley in the early centuries of the Common Era, but the Pyu disappeared, and the Burmese, taking the leadership, founded their kingdom of Pagan and have occupied Burma (now Myanmar) up to the present day. In the 13th century the Tai-Shan lost their kingdom of Nanchao in Yunnan, China, and entered the Mae Nam Chao Phraya Valley to found kingdoms that gradually evolved into the kingdoms of Siam ( Thailand ) and Laos.

External influences

In Southeast Asia, winds of change often came as storms. Indian commerce expanded into Southeast Asia in the early centuries of the Common Era and, in spite of its peaceful nature, caused revolutionary changes in the life and culture of the peoples of the region. The Indians would sojourn in the region in small numbers for two or three monsoons only. The success of their commercial venture and the safety of their persons depended entirely on the goodwill of the inhabitants. The Indians brought new ideas and new art traditions. Since these ideas had some affinity with indigenous ideas and art forms, the natives accepted them but were not overwhelmed by an influx of new traditions. The Hindu and Buddhist cultures of the Indians made a tremendous impact and came to form the second layer of culture in Southeast Asia, but the first layer of native ideas and traditions has remained strong to the present day.

Changes often came to Southeast Asia, usually because it possessed a commodity that was in great demand by the rest of the world. The Indians came because they were looking for fresh sources of gold after the Roman imperial source had run dry. In the 15th, 16th, and the 17th centuries, insular Southeast Asia attracted Islamic merchants from India and farther west and later the Portuguese and the Dutch as a rich source of spices. As with the Hindu and Buddhist merchants of the past, the Islamic traders came not as missionaries, though they did spread their religion in the region. The Portuguese came as conquerors and as militant missionaries of their Roman Catholic form of Christianity, and, for those reasons, their cultural traditions were unacceptable to the natives. In the 17th century the Dutch came as conquerors and colonists for whom the attraction was first spices and then coffee, rubber, and petroleum. Since mainland Southeast Asia produced no spices for export, it was less vulnerable to the navies of Portugal and The Netherlands, so the region was not greatly affected by the Muslims, Portuguese, and Dutch. In the 19th century, Britain and France became interested in mainland Southeast Asia as the back door to China and sought to possess it as a colony. By the end of the 19th century, Burma had fallen to Britain, Siam was allowed to retain its independence only with the tacit permission of the two powers, and the rest had fallen to France. When in the mid-20th century the whole of Southeast Asia became free again, European culture and European art forms clearly had made little impact.

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Southeast Asian arts , the literary, performing, and visual arts of Southeast Asia . Although the cultural development of the area was once dominated by Indian influence, a number of cohesive traits predate the Indian influence.

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A secondary school revision resource for GCSE Music about world music and gamelan music

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This article was most recently revised and updated by

gamelan, also spelled gamelang or gamelin, the indigenous orchestra type of the islands of Java and Bali, in Indonesia, consisting largely of several varieties of gongs and various sets of tuned metal instruments that are struck with mallets. The gongs are either suspended vertically or, as with the knobbed-centre, kettle-shaped gongs of the , placed flat. Percussive melodic instruments include the bonang, the xylophone ( gambang kayu), and various metallophones (instruments with a series of tuned metal plates, either suspended over a resonance trough or on resonance tubes). A sustained melody is played either by the bamboo flute ( suling) or by a bowed stringed instrument () or is sung-the last especially when, as often occurs, the gamelan is used to accompany theatrical performances, or . The voice is then part of the orchestral texture. Dominating these two groups of instruments is the drum ( kendang), which unites them and acts as leader. Javanese gamelans frequently include singers, while most Balinese gamelans consist exclusively of percussion instruments. Many types of gamelans, of different sizes and for a variety of purposes, may be distinguished.

No two gamelans are tuned precisely alike; rather, each instrument is tuned to match the ensemble for which it is intended rather than to an external standard of pitch. A gamelan may be tuned to the scale of (in which the octave is divided into five tones roughly equidistant) or to (a scale consisting of seven notes of varying intervals of which five are given principal stress). The so-called double gamelans of Java consist of both a slendro and a pelog set of instruments, which typically share one or two common pitches. The modes () of Javanese gamelan music are determined in part by the relative placement on either scale of the basic note ( dong) and its fifth above and fifth below. (A fifth is an interval more or less the size of that formed by five adjacent white keys on a piano.)

The highly developed polyphony (multipart music) or heterophony (music in which one part varies a melody played simultaneously in another part) of the gamelan has a rhythmic origin. A nuclear theme typically extends over a number of four-beat "bars," against which other instruments play a related countermelody. Another group plays rhythmic paraphrases of this theme, and a fourth group fills out the texture with delicate rhythmic patterns. Highly important are the punctuating, or colotomic, instruments that divide the musical sentence, marking, as it were, the commas, semicolons, and periods. This last-named function is done with the big gong. Over this shimmering, variegated pattern of hammered sound floats the uninterrupted melodic line of the voice, the flute, or the rebab.

Virginia Gorlinski.

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Gamelan | Indonesian Orchestra, Traditional Instruments & Javanese Culture

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Gamelan, the indigenous orchestra type of the islands of Java and Bali, in Indonesia, consisting largely of several varieties of gongs and various sets of tuned metal instruments that are struck with mallets. The gongs are either suspended vertically or, as with the knobbed-centre, kettle-shaped

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John Cage Prepared Piano YouTube Works for John Cage Prepared Piano John Cage and His Wife John Cage Musical Score Notations John Cage John Cage Paintings First John Cage Composition John Cage Sonatas and Interludes Prepared Piano Strings Who Invented the Prepared Piano Sonatas and Interludes Sonata II John at a Piano Piano Musical History and Performance

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In 1922, American composer Henry Cowell (1897-1965) pioneered a technique he dubbed "string piano", which involved having the pianist reach inside the piano and pluck, sweep, scrape, thump, and otherwise manipulate the strings directly, rather than using the keyboard. He developed these techniques in pieces such as Aeolian Harp (1923) and The Banshee (1925).

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Eleanor Rigby

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The Beatles - The Beatles - Eleanor Rigby (From "Yellow Submarine") [Official Music Video]

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Kate Bush - Inspiring future pop singers - 'Florence and the Machine' 

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Kate Bush - Inspiring future pop singers - 'Florence and the Machine' 

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What the Water Gave me

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Florence + The Machine - What The Water Gave Me

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Hounds Of Love= 15:00

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1985 Kate Bush Interview, recorded inside her own studio. ( without the promotional videos, which are easy to find here )

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music video

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Kate Bush - And Dream of Sheep (Live) - Official Video

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This is a special piece of film to accompany the release of the live single 'And Dream Of Sheep'. The vocal was performed live while filming Kate lying in the huge water tank at Pinewood Studios. This was to create a sense of realism, as the character in the song is lost at sea.

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Kate Bush - The story behind 'Cloudbusting'

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Kate Bush - The story behind 'Cloudbusting'

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Skip to 2:03

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kate bush whistle test cloudbusting interview

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Kate Bush Whistle Test Cloud Busting and interview 1985

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Kate Bush Whistle Test Cloud Busting and interview from October 8 1985. This vid contains an attempt at hiss reduction using the Audacity software. Also the interview is complete as the end of it is not cut off as in other uploaded versions.

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Gladiator

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Schindlers List

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Best Soundtracks Of All Time - Track 35 - Schindler's List Theme

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extended techniques (soprano sax) and reggae influence

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Courtney Pine - Liamuiga (Cook Up) - Later... with Jools Holland - BBC Two

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Opening of 'Batman Returns'

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Batman Returns (1992): Birth Of The Penguin/Official Main Titles - [REMASTERED] - [HD]

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Lady Day and (John Coltrane), Live on Jools Holland

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Courtney Pine & Lynden David Hall - Lady Day (& John Coltrane) (Live on Later with Jools Holland)

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Become a fan of LYNDEN on FACEBOOK: http://www.facebook.com/LyndenDavidHallTribute Lynden performs "Lady Day (& John Coltrane)" with Courtney Pine live on "Later with Jools Holland" on November 4th, 2000. Pre-re-upload views: 5,719. keywords: blak twang feat.