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찰리 채플린 영화와 마이티 윌리처 오르간

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찰리 채플린 영화와 마이티 윌리처 오르간

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Charlie Balogh plays 'The Entertainer' on the Organ Stop Mighty Wurlitzer

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Rekhmire was an ancient Egyptian noble and official of the 18th Dynasty who served as "Governor of the Town" ( Thebes) and Vizier during the reigns of Thutmosis III and Amenhotep II, circa 1400 BCE. He was the nephew of Vizier User, who took office at the time of the fifth year of Queen Hatshepsut's reign.

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아단 ( 아랍어 : أَذَان [ʔaˈðaːn] ; 또한 athan , adhane ( 프랑스어 ), [1] ajan / ajaan , azan / azaan ( 남아시아 ), adzan ( 동남아시아 ), ezan ( 터키어 ⁾ 등됩니다. 모스크 에서 하루 중 정해진 시간 에 무에 진이 낭독하는 대중 기도 ( 살라 )이슬람 의 부름.

Adhan은 전통적으로 미나렛 에서 Eid al-Fitr 및 Eid al-Adha 의 종교 휴일 동안 하루 종일 하루에 5 번 모스크 에서 낭송됩니다 . 의무적( fard ) 기도( 살라 )를 위해 모스크에 들어가도록 무슬림을 소집하는 것은 처음이다 . 이카 마(iqamah) 로 알려진 두 번째 부름은 모스크 안에 있는 사람들을 소환하여 기도를 시작하기 위해 줄을 섭니다. 터키 에서만 Ezan은 서로 다른 시간에 다섯 가지 스타일로 목소리를 냅니다. 사바, 우샤크, 히카즈, 라스트, 세가

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Best Adhan in the world - Muslim Call to Prayer

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Jalikunda African Drums take the Montserrat African Music Festival by storm

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Jalikunda African Drums take the Montserrat African Music Festival by storm

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Jalikunda African Drums take the Montserrat African Music Festival by storm

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Bob Marley- Three Little Birds (With Lyrics!)

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벤자민 브리튼 : 청소년을 위한 관현악 입문

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벤자민 브리튼 : 청소년을 위한 관현악 입문

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영국의 오케스트라 지휘자이다. 리버풀에서 태어나 왕립음악원(RAM)에서 피아노와 지휘를 전공했으며, 옥스퍼드 대학교에서 영문학을 전공했다. 본머스 관현악단과 왕립 리버풀 필하모니 관현악단 부지휘자를 거쳐, 1980년 버밍엄 시립 교향악단 음악 감독으로 부임했다. 래틀은 버밍엄에서 뛰어난 실력을 발휘, 잘 알려지지 않았던 버밍엄 시립 교향악단을 영국의 대표적인 오케스트라로 발전시켰다. 특히 현대 음악과 ... 영국의 오케스트라 지휘자이다.

리버풀에서 태어나 왕립음악원(RAM)에서 피아노와 지휘를 전공했으며, 옥스퍼드 대학교에서 영문학을 전공했다. 본머스 관현악단과 왕립 리버풀 필하모니 관현악단 부지휘자를 거쳐, 1980년 버밍엄 시립 교향악단 음악 감독으로 부임했다.

래틀은 버밍엄에서 뛰어난 실력을 발휘, 잘 알려지지 않았던 버밍엄 시립 교향악단을 영국의 대표적인 오케스트라로 발전시켰다. 특히 현대 음악과 말러의 교향곡에 대한 독특한 해석으로 눈길을 끌었다.

2002년 클라우디오 아바도의 후임으로 세계 최고의 오케스트라로 꼽히는 베를린 필하모니 관현악단의 수석지휘자 임기를 시작하였으며, 2010년 투표를 통해 임기가 2018년까지 연장되었다. 현재 베를린 필 에서의 성공적인 임기를 마치고 런던 심포니 오케스트라의 음악감독로 활동 중이다. 2023년부터는 런던 심포니 오케스트라의 음악감독 임기를 마치고, 그 직후 5년간 바이에른 방송 교향악단의 수석지휘자로 부임할 예정이다.

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simon rattle 벤자민 브리튼 : 청소년을 위한 관현악 입문 (benjamin britten: young person's guide to the orchestra

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simon rattle|city of birmingham symphony orchestra

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Simon Rattle|City of Birmingham Symphony Orchestra

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Simon Rattle 벤자민 브리튼 : 청소년을 위한 관현악 입문 (Benjamin Britten: Young Person's Guide To The Orchestra, Op. 34) - YES24

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영국의 오케스트라 지휘자이다. 리버풀에서 태어나 왕립음악원(RAM)에서 피아노와 지휘를 전공했으며, 옥스퍼드 대학교에서 영문학을 전공했다. 본머스 관현악단과 왕립 리버풀 필하모니 관현악단 부지휘자를 거쳐, 1980년 버밍엄 시립 교향악단 음악 감독으로 부임했다. 래틀은 버밍엄에서 뛰어난 실력을 발휘, 잘 알려지지 않았던 버밍엄 시립 교향악단을 영국의 대표적인 오케스트라로 발전시켰다. 특히 현대 음악과 ... 영국의 오케스트라 지휘자이다.

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한국 방송에  출연한 몽골 전통가수

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한국 방송에  출연한 몽골 전통가수

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[스타킹] 사람이 어떻게 이런 소리를?!!! | STARKING EP.34 | AMAZING VOICE

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생상스-숲속의 뻐꾸기(동물의 사육제)

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생상스-숲속의 뻐꾸기(동물의 사육제)

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두 대의 피아노와 클라넷 연주
피아노의 단순한 화음이 어두운 숲의 적막함을 표현하고 클라리넷이 뻐꾸기 울음소리를 표현

1886년 오스트리아 잘츠부르크의 카니발에서 초연된 관현악 모음곡 중 하나.

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Camille Saint-Saëns - The Cuckoo in the Depths of the Woods

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Britten - The Young Person's Guide to the Orchestra | Jukka-Pekka Saraste | WDR Sinfonieorchester

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Olivier Messiaen - Catalogue d'Oiseaux, II

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Olivier Messiaen - Catalogue d'Oiseaux, II

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Olivier Messiaen - Catalogue d'Oiseaux, II

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베토벤 '뻐꾸기 소나타'

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베토벤 '뻐꾸기 소나타'

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베토벤(1770-1827)은 1809년 작은 피아노 소나타 25번을 작곡
G장조 소나타. 세 개의 독립적인 악장
악보에 반복되는 낙하 간격과 반복되는 음표 그룹의 특징 때문에 뻐꾸기 소리가 들린다고, '뻐구기'라는 별명이 붙여졌다.

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Daniel Barenboim (Ludwig van Beethoven) Piano Sonata No. 25 in G major, Op. 79

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Ventus Machina performs "Woodwings" by Emily Doolittle

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Ventus Machina performs "Woodwings" by Emily Doolittle

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Ventus Machina, Woodwings, mvt 2, Hermit Thrush (Emily Doolittle)

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차이콥스키 <백조의 호수>

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차이콥스키 <백조의 호수>

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Swan Lake – Act II corps de ballet (The Royal Ballet)

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Charlie Parker with Strings - Just Friends

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버드, 찰리파커의 생을 다룬 영화

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버드, 찰리파커의 생을 다룬 영화

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영화하나 음악하나 생각하나: [버드](1988) OST "now’s the time"

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'퍼스트 펭귄'이란 말은 

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'퍼스트 펭귄'이란 말은 '랜디 포 시라는
카네기 멜론 대학의 컴퓨터공학과 교수가 처음으로 사용
췌장암으로 6개월 시한부 선고후 "당신의 어릴 적 꿈을 실현하라."라는 주제로 강연
그 강의에서 실패할 줄 알면서도 위험을 감수하며 목표를 향해 나아가는 학생들에게 주었던 '퍼스트 펭귄 상'을 설명했다고 한다.
이 말의 의미는 실패를 두려워하지 않는 도전정신.
퍼스트 펭귄은 가장 먼저 용기를 보여 무리의 행동을 유발하는 행동가 실천가

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【TVPP】PSY - Bird, 싸이 - 새 @ PSY concert 'Happening'

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뚱보새♬ (신천희 작사/정재원 작곡) - 육예서 [누가 누가 잘하나] | KBS 211014 방송

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Palm cockatoo: Why a unique ‘drumming’ bird is in peril - BBC News

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Palm cockatoo: Why a unique ‘drumming’ bird is in peril - BBC News

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금조(거문고새)에 대해

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금조(거문고새)에 대해

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작가, 일러스트레이터 및 발행인입니다

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작가, 일러스트레이터 및 발행인입니다. 그녀는 작곡가 파트너인 David (Aubrey) Schweitzer, 4명의 자녀, 2마리의 고양이, 방대한 레고 컬렉션과 함께 런던에 살고 있습니다. Mary는 아동 도서의 저술 및 삽화뿐만 아니라 Hayward Gallery의 발행인이자 Tate Publishing의 커미셔닝 편집자로 일하면서 모든 Tate 갤러리의 아트북 및 카탈로그 작업을 했습니다.

Mary의 책 Splat! The Most Exciting Artists of All Time(Thames & Hudson)과 Modern Art Journal(Tate Publishing)은 전 세계에서 8개 언어로 판매되었습니다. 그녀는 또한 David Hockney의 베스트셀러 A History of Pictures For Children(Thames & Hudson)을 각색하고 편집했습니다. Mary의 최근 책 Take Me To Museums, Take Me On Holiday 및 Take Me To School은 6-12세 정도의 호기심 많고 모험적인 어린이를 위한 가이드 저널 시리즈의 첫 번째 책입니다. Agnes & Aubrey는 Instagram(@agnesandaubrey) 및 온라인(www.agnesandaubrey.com)에서 찾을 수 있습니다.

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David Schweitzer는 1975년 5월 3일 런던에서 태어났습니다. 그는 다큐멘터리(예: Moon Landing Live, Wonders of Life, Britain from Above), 애니메이션(Charlie & Lola 작업을 포함한 1,000개 이상의 에피소드, Angry Birds Toons 등)으로 유명합니다. , The Cat in the Hat 등), 그리고 Victoria, Vanity Fair, The White Princess, The Crown과 같은 드라마 작업에 대한 공로를 인정받았습니다.

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Rose Blake는 런던 운하 옆 철로 아치에 있는 스튜디오에서 자신의 작품을 제작하는 일러스트레이터입니다.

Royal College of Art를 졸업한 이후 Blake의 일러스트레이션은 The New Yorker, Google, The New York Times 및 The Sunday Times에서 의뢰되었습니다. Blake는 Andy Warhol, David Hockney, Peter Blake(공교롭게도 Rose의 아버지)의 경력과 예술적 기술에 대해 아이들이 배우도록 격려하는 일련의 미술 활동 책을 포함하여 많은 아동 도서의 삽화를 그렸습니다.

주로 편집과 광고 분야에서 일하지만 Blake의 첫 번째 개인전인 Now I'm An Artist와 실크에 수작업으로 수놓은 그녀의 컬렉션인 Sing Swim Okay Moon은 그녀를 예술계에서 흥미로운 재능으로 확고히 자리매김했습니다.

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세상의 모든 소리 복사기 큰거문고새

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세상의 모든 소리 복사기 큰거문고새

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(실제소리있음) 드릴소리, 경보기까지 다 따라하는 동물!! | 슈퍼파워 동물 3탄 | 큰거문고새

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박자 좀 아는 새들 (놀자샘)

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박자 좀 아는 새들 (놀자샘)

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I write soundtracks and songs for film, television and games. I love music. I love film and tv. And I love games. So, all in all, I'm very lucky.

Now I have a lovely studio full of beautiful instruments and clever gadgets, and I've written music for hundreds of hours of television. I like to think that at any given point there is someone in the world watching a show with my music on. I have no way of proving this is the case, but nor can it be proven to be untrue!

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I write soundtracks and songs for film, television and games. I love music. I love film and tv. And I love games. So, all in all, I'm very lucky. Now I have a lovely studio full of beautiful instruments and clever gadgets, and I've written music for hundreds of hours of television.

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DISCLOSURE: This post contains affiliate links. This means that I may earn a small commission (at no cost to you) if you make a purchase using my link.

For this month's Music Book Review, I am looking at a book aimed at slightly older children - A History of Music for Children by Mary Richards & David Schweitzer and illustrated by Rose Blake.

I really liked this book. As a topic for a children's book, "the history of music" could be a little daunting and maybe even off putting, but the authors have managed to write something very informative, engaging and in a fun way that is absolutely great for children. I also love the illustrations by Rose Blake and that she has put herself in every chapter of the book, I think on every double page spread at least once!

The book is very much a whistle stop tour of the topics covered, but I felt that that was the right approach considering its audience. This is a book aimed at fairly young children who are just starting to develop an interest in music, or who have been given the book to read (like my son!). It is in depth enough to give them some information, to tell them things they did not already know without overwhelming or boring them with too many technical or historical details.

The book starts off asking the question What Is Music? talking about who the first musicians possibly were and the difference between sound and music. The authors then move on to discussing what music has been made in different times and places looking back to how ancient Egyptians may have made music, making reference to how the Bible describes King David (of David and Goliath renown) playing the harp so sweetly he could ward off evil spirits with his music, and how this story features in the song Hallelujah by Leonard Cohen. They discuss the relationship between music and power in music history where Kings and Queens used music to display their wealth and power. There is a chapter all about how music is and has been made, what musical instruments are and have been used; how technology has changed music making, production and the listener's experience of and with music. There is even a chapter on Feeling Music.

Things I like about the book

I like the mix of music theory (how to make music, or the science of music making and what music is) with history (so what instruments people have used, how people developed ways to write music, how music was used and consumed etc)

I like that it did not focus just on Western Classical (with a big C referring to all music that is not jazz, rock or pop music) Music. When I was a girl, learning music history largely meant learning about the lives of the dead, white Classical composers, this book is so much more all encompassing, and so much less dry!

I like that music from many styles, eras and cultures was included. This is a very inclusive book.

I loved the Timeline Of Inventions towards the back of the book, a great pictoral and quick reference.

I liked that there was a bit of music theory, bringing practical music making back into the historical information provided.

I loved the cartoon at the start of each chapter introducing some of the people or concepts we were about to meet in the next few pages.

I loved that there was a chapter all about the relationship between art and music - all of the arts are very connected as far as I am concerned, and I loved seeing that represented here - and the encouragement for readers to have a go at drawing what they see when listening to music.

A 7 Year Old's Reaction To The Book

As he is absolutely in the suggested age range for reading this book, I got my son to have a read and let me know what he thought of it. The first think I noticed was that when he got to the part of the book where it talked about how musician Dave Grohl learned to play drums using pillows, he got quite excited, and started using the arms on our settee arms as a drum, having a go himself.

My son said he liked the book. He is a definite non-fiction book fan, so the fact that the book told you lots of different facts was a hit with him. He loved the invention timeline at the end of the book, loved that his current favourite musical, the Wizard of Oz, (he was in this at school at the time) was featured, and when asked about his favourite part he read out to me one of the sections about the gramophone that Captain Scott took on his Antarctic Expedition and that when found many years later the gramophone still worked despite having been frozen in ice. I had asked my son to read both this book and the Lift-the-flap Questions and Answers about Music book that I have previously reviewed, and he preferred this book saying it was better for his age, and that the other book was for children younger than him.

Looking at the reading age range suggested for this book on Amazon, it suggests 6-8 which I am surprised with given that a book I have previously reviewed here, Usborne Books' Lift-the-flap Questions and Answers About Music, has a suggested reading age of 6-9. I did enjoy the Questions and Answers About Music book, but I would consider this book to be more in depth, and aimed at an older age child so would disagree with Amazon on this one. I would say that this book is suitable for 7 or 8 year olds and older, and I would think that any child who is gaining an interest in music up until maybe they start senior school would enjoy it and get something out of it. So my suggested reading age would be 7-11.

I really liked this book, thought it was a breath of fresh air, especially for a book on a subject that could get quite dull, and for a subject that I remember as being a little dry from my childhood learning about music history. There is something of interest in there for any music fan. So I would highly recommend it, and I'll certainly be on the lookout for any more books by these authors.

Come back next week, when I will write more about Beethoven's use of technology - well the technology of the time. And the following week I will post a suggested list of works by Beethoven to listen to, to introduce his music to anyone who has not listened to any Beethoven before.

If you have enjoyed reading my blog post, thank you. I am always looking for ideas for the blog, so would love to hear from you with suggestions for topics you would like me to cover in the future. Also, if you would be interested in supporting me to keep this blog running, buying the books to review here, and supplies to make the DIY instruments, for example, I would be absolutely delighted if you would consider buying me a coffee using the following link: Buy Me A Coffee Thank you!!

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This #MusicBookReview looks at a brilliant book for children about the history of music. Full of engaging and informative facts about all sorts of music throughout the ages, the authors have written a great, fun book that any music loving child will really enjoy.

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현)성남 안말초 교사좋그연(좋

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현)성남 안말초 교사
좋그연(좋아서 하는 그림책 연구회) 운영진(6기))
초그신(초등교사 그림책 신작 읽기 모임) 대표
놀이위키 운영진
실천교사 운영진 (연수팀장)

저서)) <잘 익은 교과서 그림책> 공저/봄개울
<작가와 함께 하는 그림책 토론> 공저
동화 <계획 있는 어린이> 출간예정

*번역 <잠들기 전 5분 잠 이야기>한솔수북
<일곱 마리 개>다비드 칼리, 알리체피아지오/책빛
<더더더 먹고 싶은 고양이> 봄개울
<어린이를 위한 음악의 역사> 첫번째펭귄

인스타그램 @noljassem

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어린이를 위한 음악의 역사 북토크 (12분)-018

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어린이를 위한 음악의 역사 북토크 (12분)-017

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Beethoven: Grosse Fuge in B-Flat Major, Op. 133

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Beethoven: Grosse Fuge in B-Flat Major, Op. 133

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Beethoven: Grosse Fuge in B-Flat Major, Op. 133

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베토벤의 대푸가에 대한 평

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베토벤의 대푸가에 대한 평

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fi***:

음.. ^^; 보충하자면, 저의 듣기에서는, 대푸가의 악기들이 서로를 대응하는 격렬하고 공격적이면서도 정돈된 긴장감이, 한 사람의 마음 속에서 이는 다성악의 흐름보다는, 전혀 다른 네 사람이 같은 주제를 두고 벌이는 열띤 토론으로 들렸던 것이죠. 그리고, 그렇다면 사자처럼 으르렁거리면서도 종달새처럼 미소지으며, 그러면서도 토론의 조리를 잃지 않는 이들의 삶은 과연 어떤 것일까를 생각하게 되었고, 자연스럽게 니체의 '건강'의 개념을 떠올리게 되었던 것입니다. 삶에 대한 근본적인 신뢰, 니체가 말하는 '긍정'의 파토스 를 가슴 깊이 간직한 이들의 공동체가 아니라면 이런 대화는 불가능할 것이라 생각했던 것이죠.
물론 전혀 다른 듣기도 가능할 것이라 생각합니다. 대푸가를 여럿의 대화가 아닌, 한 사람의 다성악적인 목소리로 듣는다면.. 그렇다면 이것은 인간의 목소리라기 보다는 지적인 '괴수'의 노래에 가깝지 않을런지.^^ 물론 저처럼 번잡한 비유를 들지 않는 이론적인 해석을 비롯한, 많은 듣기의 가능성이 여전히 남아 있겠지요. 고견 부탁드립니다.

ki***:

대푸가가 "영원히 현대적"이란 말엔 깊이 공감이 가네요. 대푸가 들을 때마다 종종 바르톡의 현악사중주가 어렴풋이 머릿속에 떠오르지 않나요...

후기 현악사중주 외에도 베토벤 후기 음악에선 놀랄만큼 진보적인 화성이 보이는 경우가 종종 있습니다. 함머클라비어 4악장의 푸가는 바흐와 쇤베르크 사이의 공백을 이어주는 듯한 과감한 화성이 보이고, 디아벨리 변주곡이나 바가텔도 비슷한 예가 될 수 있겠죠. 지난 5월 Aimard가 독주회에서 베토벤 바가텔 op 119-10과 슈톡하우젠 피아노소품 VIII을 연달아 연주했는데 두 곡이 너무나 닮아있어 신선한 충격을 받았던 기억이 있습니다.

각설하고, 대푸가에서처럼 대담하고 때론 괴이하기까지 한 화성이 아니라면 이토록 처절한 내면의 절규를 음악에 담아낼 수 있었을까요? 어차피 전공자가 아니라면 음악을 느끼는 것으로 충분하지 않을까 생각합니다. 평소에 생각하던 바가 있어 적어봤는데 괜히 알맹이 없는 횡설수설이 되었네요.

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fi***: 음.. ^^; 보충하자면, 저의 듣기에서는, 대푸가의 악기들이 서로를 대응하는 격렬하고 공격적이면서도 정돈된 긴장감이, 한 사람의 마음 속에서 이는 다성악의 흐름보다는, 전혀 다른 네 사람이 같은 주제를 두고 벌이는 열띤 토론으로 들렸던 것이죠. 그리고, 그렇다면 사자처럼 으르렁거리면서도 종달새처럼 미소지으며, 그러면서도 토론의 조리를 잃지 않는 이들의 삶은 과연 어떤 것일까를 생각하게 되었고, 자연스럽게 니체의 '건강'의 개념을 떠올리게 되었던 것입니다.

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A vulture-bone flute discovered in a European cave is likely the world's oldest recognizable musical instrument and pushes back humanity's musical roots, a new study says.

Found with fragments of mammoth-ivory flutes, the 40,000-year-old artifact also adds to evidence that music may have given the first European modern humans a strategic advantage over Neanderthals, researchers say.

The bone-flute pieces were found in 2008 at Hohle Fels, a Stone Age cave in southern Germany, according to the study, led by archaeologist Nicholas Conard of the University of Tübingen in Germany.

With five finger holes and a V-shaped mouthpiece, the almost complete bird-bone flute-made from the naturally hollow wing bone of a griffon vulture-is just 0.3 inch (8 millimeters) wide and was originally about 13 inches (34 centimeters) long.

Flute fragments found earlier at the nearby site of Geissenklösterle have been dated to around 35,000 years ago.

The newfound flutes, though, "date to the very period of settlement in the region by modern humans ... about 40,000 years ago," Conard said.

The mammoth-ivory flutes would have been especially challenging to make, the team said.

Using only stone tools, the flute maker would have had to split a section of curved ivory along its natural grain. The two halves would then have been hollowed out, carved, and fitted together with an airtight seal.

(Also see "Stone Age Art Caves May Have Been Concert Halls.")

Music as a Weapon?

Music may have been one of the cultural accomplishments that gave the first European modern-human (Homo sapiens) settlers an advantage over their now extinct Neanderthal-human (Homo neanderthalis) cousins, according to the team.

The ancient flutes are evidence for an early musical tradition that likely helped modern humans communicate and form tighter social bonds, the researchers argue.

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Bone Flute Is Oldest Instrument, Study Says

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A vulture-bone flute discovered in a European cave is likely the world's oldest recognizable musical instrument and pushes back humanity's musical roots, a new study says. Found with fragments of mammoth-ivory flutes, the 40,000-year-old artifact also adds to evidence that music may have given the first European modern humans a strategic advantage over Neanderthals, researchers say.

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미국의 전위 음악가. 케이지는 작곡이라고 여겨지는 것, 혹은 예술이라고 여겨지는 것의 기본관념을 송두리째 흔들어 놓은 사람이다. 케이지의 예술관을 한 마디로 얘기하자면 '부정의 정신'이다. 그의 음악은 모든 것을 부정하는 것에 출발한다. 그의 음악이 '작곡가에 의해 잘 다듬어진 아름다운 소리'라는 전제를 부정하고, 인간이 예측할 수 없는 임의적인 요소를 음악에 끌어들인 이른바 우연성의 음악을 선보였다.

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[BY 진회숙] 존 케이지(John Cage)는 미국의 전위 음악가이다. 케이지는 작곡이라고 여겨지는 것, 혹은…

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레너드 코언의 <할레루야>

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레너드 코언의 <할레루야>

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Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you dont really care for music, do you?
It goes like this, the fourth, the fifth
The minor falls, the major lifts
The baffled king composing Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew her
She tied you to a kitchen chair
She broke your throne, and she cut your hair
And from your lips she drew the Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Well, maybe there's a God above
As for me all I've ever learned from love
Is how to shoot somebody who outdrew you
But it's not a crime that you're hear tonight
It's not some pilgrim who claims to have seen the Light
No, it's a cold and it's a very broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah
Instrumental

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Well people I've been here before
I know this room and I've walked this floor
You see I used to live alone before I knew ya
And I've seen your flag on the marble arch
But listen love, love is not some kind of victory march, no
It's a cold and it's a broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

There was a time you let me know
What's really going on below
But now you never show it to me, do you?
And I remember when I moved in you
And the holy dove she was moving too
And every single breath we drew was Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Now I've done my best, I know it wasn't much
I couldn't feel, so I tried to touch
I've told the truth, I didnt come here to London just to fool you
And even though it all went wrong
I'll stand right here before the Lord of song
With nothing, nothing on my tongue but Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah

Hallelujah

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Leonard Cohen - Hallelujah (Official Live in London 2008)

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어린이를 위한 음악의 역사 북토크 (12분)-010

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고대부터 오늘날까지 세상 모든 음악의 역사를 한눈에!

TV를 볼 때도, 길거리와 쇼핑몰을 걸어갈 때도, 게임을 할 때도 오늘날 우리는 거의 24시간 내내 음악을 들으며 살고 있어요! 우리가 생활하는 모든 곳에서 음악은 빠질 수 없답니다.

그렇다면 이처럼 필수적인 음악이 언제부터 시작되었고, 어떻게 지금까지 이어져 왔을까요? 이 책에서 우리는 고대 시대 최초의 음악인 새소리와 사람의 목소리에서부터 시작해 오늘날 첨단 기술과 인공 지능 작곡가의 음악에 이르기까지 수천 년 동안 눈부시게 발전해 온 음악의 역사를 한눈에 만날 수 있어요!

종교, 나라, 축제 등을 위해 만들어진 ‘여러 목적을 가진 음악’과 타악기, 관악기, 현악기 등 다양한 ‘악기가 발전해 온 역사’도 들여다봐요. 바흐와 모차르트부터 빌리 아일리시와 BTS까지 꼭 알아야 할 ‘전 세계의 음악가’들도 한 명씩 만나고요. 오페라, 뮤지컬, 음악 축제 등 긴 세월 동안 이어져 온 ‘음악 공연의 역사’도 한눈에 파악할 수 있어요. 에디슨이 발명한 녹음기에서 카세트테이프와 CD를 거쳐 인터넷 스트리밍 서비스에 이르기까지 ‘음악을 듣는 방식과 기술의 발전사’도 알아볼 수 있답니다.

그야말로 음악과 관련된 거의 모든 것의 역사를 다루고 있어요! 길고 방대한 음악의 역사를 꼭 알아야 할 핵심만 정리해서 쉽고 친절하게 가르쳐 줄게요. 역사 속 재미있는 장면과 인물들을 그림, 사진으로 함께 만나며 즐거운 여행을 떠나 봐요.

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교양 있는 어린이를 위한, 꼭 알아야 할 음악 상식

음악의 역사 속으로 여행하다 보면 어린이가 교양으로 꼭 알아 두면 좋은 음악 상식을 많이 익힐 수 있어요. 우선 바흐와 모차르트 등 과거부터 현재에 이르는, 우리가 꼭 알아야 할 유명한 음악가들을 만날 수 있어요. 차이콥스키의 [백조의 호수]나 베토벤의 [대푸가] 등 저명한 작곡가들의 대표 작품에 어떤 이야기가 깃들어 있는지도 살펴보고요. 작곡가와 작품에 얽힌 숨은 이야기를 읽는 재미가 쏠쏠하답니다.

악기를 한두 가지씩 배우기 시작하는 어린이들을 위한 기본 음악 이론도 담겨 있어요. 악보가 처음 만들어지게 된 유래와 악보의 구성, 악보를 읽는 법 등은 실용적인 정보로 큰 도움이 될 거예요. 다양한 악기와 오케스트라의 구성 등 클래식 음악의 기본도 다루고 있어서 가족과 함께, 또 어른이 되어서 음악회에 가거나 음악을 감상할 때에도 단단한 기초 지식을 갖게 해 줍니다.

책에서는 서양 악기뿐만 아니라 디저리두, 탄푸라, 우드 등 전 세계의 전통 악기를 비롯해 텔하모늄, 테레민 같은 첨단 기술의 전자 악기도 만날 수 있어요. 음악에 대한 호기심을 자극하고 음악이나 악기와 더 친해지는 계기가 될 거예요. 나아가 왈츠, 재즈, 팝, 삼바 같은 음악 장르를 아우름으로써 동요나 케이 팝에만 익숙했던 어린이들이 더욱 다양한 음악의 세계를 만나고 시야를 확 넓힐 수 있게 도와줍니다.
편안하고 즐거운 삶을 위한 음악 감상 배우기
이 책에서 중요하게 다룬 음악가의 곡들은 인터넷으로 직접 그 일부를 들어 볼 수 있도록 책 92쪽에 QR 코드를 실어 두었어요. 책의 작가인 메리 리처즈와 데이비드 슈바이처는 이처럼 공부한 음악을 어린이들이 직접 들어 보고 경험할 수 있게 신경을 많이 썼답니다.

우리 몸속에서 이곳저곳으로 중요한 메시지를 전달하는 세포를 '뉴런'이라고 하는데, 음악 소리는 이 뉴런을 자극하면서 우리를 즐겁게 하거나 편안하게 해 줘요. 어릴 때부터 다양한 음악 소리와 친해지고, 좋아하는 음악을 늘 가까이하는 게 중요한 이유예요. 어린이가 자라면서 자신의 삶을 더 즐겁고 풍요롭게 만드는 데 음악은 큰 두움이 된답니다.

이 책을 쓰고 그린 작가들도 지금까지 악기를 직접 연주하고, 오케스트라를 운영하거나 합창단 활동을 하고 있어요. 이처럼 음악 감상과 음악 활동의 긍정적이고 유용한 면을 어린이들에게 보여 주기 위해 책 92쪽에서는 인터넷을 통해 마음에 드는 음악과 음악가를 찾고, 유튜브 등으로 음악을 감상하는 방법도 직접 가르쳐 주지요.
이 책을 통해 어린이들이 음악과 더욱 가까워지고, 또 좋아하는 음악을 들으며 자라나는 어린이들의 삶이 더욱 멋지고 풍요로워지길 바라요.
책의 구성과 그림의 특징
이 책은 총 7장으로 나누어서 길고 긴 음악의 역사 속 각 부분을 일목요연하게 정리해 소개하고 있어요. 제1장에서는 음악이란 무엇인지 정확한 정의를 밝혀요. 제2장에서는 종교나 나라를 위해서 등 음악을 만들게 된 목적을 말해요. 제3장에서는 세계의 다양한 악기를, 제4장과 제5장에서는 사람들이 널리 음악을 즐기고 기록하는 방법을 소개해요. 제6장에서는 다양한 음악 공연을, 마지막으로 제7장에서는 미래의 첨단 기술로 구현된 음악을 보여 준답니다.

그림 작가 로즈 블레이크는 책에서 어린이 캐릭터로 등장해 매 페이지를 돌아다니며 유명한 음악가를 만나고, 음악의 역사 속 현장에서 궁금한 점을 묻고 친절하게 대답해 줘요. 책을 읽는 어린이가 실제로 공감할 수 있도록 말이에요. 페이지마다 나오는 어린이 로즈와, 로즈가 건네는 질문이 이 책을 이해하고 즐기는 데 많은 도움을 줄 거예요.

그 밖에도 책에 나오는 그림은 긴 역사 속 상황과 사람들의 복장, 건물 형태 등을 철저하게 고증해서 표현했어요. 주요 음악가의 이름 옆에는 원어 이름과 태어나고 죽은 연도를 표시했어요. 이들에 대해 더 알아보고 싶은 내용이 있을 때 정확하게 찾아볼 수 있도록 말이에요.

고대 이집트의 음악가들이 그려진 유명한 벽화나 드뷔시 음악에서 영감을 얻어 그린 명작 그림 등 음악의 역사에서 큰 가치를 지닌 것들은 사진으로 보여 주어 그 가치를 제대로 이해하도록 했어요. 음악과 회화, 신화, 건축, 복식 등을 넘나들며 음악을 통해 예술사의 큰 흐름도 살펴볼 수 있답니다. 책 맨 뒤에는 음악 속 발명품의 역사를 실어서 약 4만 년 전의 악기부터 오늘날의 악기와 음악 기술까지 한눈에 알아볼 수 있도록 했어요. 긴 역사 속 방대한 정보를 다루면서도 알록달록 귀여운 그림과 간결하고 일목요연한 글로 지루하지 않고 즐겁게 페이지를 끝까지 넘길 수 있습니다.

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어린이를 위한 음악의 역사

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강수진|메리 리처즈|데이비드 슈바이처|로즈 블레이크

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강수진|메리 리처즈|데이비드 슈바이처|로즈 블레이크

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교양 있는 어린이를 위한, 꼭 알아야 할 음악 상식 음악의 역사 속으로 여행하다 보면 어린이가 교양으로 꼭 알아 두면 좋은 음악 상식을 많이 익힐 수 있어요. 우선 바흐와 모차르트 등 과거부터 현재에 이르는, 우리가 꼭 알아야 할 유명한 음악가들을 만날 수 있어요. 차이콥스키의 [백조의 호수]나 베토벤의 [대푸가] 등 저명한 작곡가들의 대표 작품에 어떤 이야기가 깃들어 있는지도 살펴보고요.

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음악의 역사 - 마들렌플러스

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중국 고대음악의 창시자-양륜

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중국 고대음악의 창시자-양륜

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Ling Lun ( 중국어 :伶倫또는泠倫, Linglun )은 고대 중국 음악 의 전설적인 창시자입니다 . [1] 중국 신화 에서 Lüshi Chunqiu ( 중국어 :吕氏春秋) 에 설명된 대로 Ling Lun은 신화에 나오는 봉황 을 포함하여 많은 새의 소리를 내는 대나무 피리를 만들었다고 합니다 . "이렇게 Ling Lun은 고대 중국의 5음계 의 5음을 발명했습니다.(gong, shang, jiao, zhi, yu, 음표 로 1, 2, 3, 5, 6에 해당하거나 서양 solfeggio에서 do, re, mi, sol, la에 해당) 8개의 악기로. [2] " 황제 "(Huangdi)는 그 피리에 맞춰 종을 주조하라고 명령했다고 합니다.

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아폴로의 음악 경연 대회

게시자: Andrew Griffiths 작성일: 2013년 11월 19일 화요일 아래: 그리스 명성 신화

Apollo – Simon Vouet의 Parnassus 또는 Apollo and the Muses ( c .1640)에서 발췌
(출처 – Wikipedia )

무엇보다도 올림픽의 Apollo는 거문고 연주에 특별한 재능을 가진 음악의 신이었습니다. 제우스와 레토의 아들인 아폴론은 자신의 소를 훔쳐간 이복형제 헤르메스에게서 악기를 얻었습니다. 그러나 그의 행적은 밝혀지지 않았고, 아폴로가 소를 찾으러 갔을 때 우연히 그의 형이 노는 소리를 조금 들었습니다. 그는 악기에 대한 대가로 헤르메스가 부당하게 얻은 이득을 유지하도록 허용한 소리에 너무 사로잡혔습니다. 그는 인간이나 신이 들어 본 것 중 가장 아름다운 음악을 연주하는 법을 배웠습니다.
아폴로와 팬의 음악 경연양치기와 자연의 신인 Pan은 Pan Pipes를 발명하고 연주한 위대한 음악가이기도 했습니다. 그는 자신의 재능에 대해 너무 오만해서 아폴로에게 음악적 결투를 신청했습니다. 그들은 대회의 승자를 결정하기 위해 Tmolus 산을 선택했습니다. 두 사람은 언덕만큼 늙고 현명한 사람이 없다는 데 동의했습니다.

두 신의 추종자들은 Midas라는 특히 독실한 Pan의 추종자를 포함하여 대회를 목격했습니다. Pan은 콘테스트를 진행했고 그가 만든 음악은 너무 사랑스러워서 새들이 나무 꼭대기에서 가까이 다가가기 위해 날아가고 다람쥐가 구멍을 떠났고 나무 자체가 소리에 춤추는 것처럼 흔들렸습니다.

다음은 아폴로의 차례였는데, 그가 황금 거문고를 만졌을 때 그가 만들어낸 음악은 그 어느 때보다 훌륭했습니다. 주변 지역의 모든 것, 들짐승, 졸졸 흐르는 개울, 식물, 심지어 공기까지 움직임을 멈추고 그들이 목격한 천상의 음악을 놓칠까 봐 소리를 내고 싶지 않았습니다. 음악이 마침내 구부러졌을 때 모든 청취자들은 마치 마치 그들의 어머니 아버지에게 영원히 작별인사를 한 것처럼 슬픔을 느꼈습니다.

Jacob Jordaens의 Apollo와 Pan(C. 1677) 간의 경쟁(C. 1677)(출처 – Wikipedia )

Tmolus는 즉시 Apollo를 승자로 선언했고 참석한 모든 사람은 Pan에 대한 충성심이 너무 강해서 인정할 수 없었던 Midas를 제외한 모든 사람이 그의 발 아래 쓰러졌습니다. 그는 대회에서 졌다. 이에 아폴론은 어리둥절해하며 그에게 말했다.당신의 귀가 너무 무디면 귀에 가장 잘 맞는 모양을 취할 것입니다 .” 그는 Midas를 만졌고 그의 귀는 나귀 귀로 변했습니다.
아폴로와 마르시아스의 음악 경연Marsyas는 사람의 얼굴과 몸, 염소의 다리, 귀, 꼬리를 가진 숲의 신인 사티로스였습니다. 어느 날 그는 산책을 하다가 악기 연주를 싫어하는 여신 아테나가 뺨을 붓고 붉게 만들어 버린 플루트를 발견했습니다. 플루트가 그토록 강력한 여신의 입술에 닿았을 때, 마르시아스는 그것을 연주할 때 그가 들어본 것 중 가장 아름다운 음악을 낼 수 있다는 것을 알게 되었습니다.

그가 만든 소리가 너무 좋아서 그는 위대한 음악가 아폴로를 능가할 수 있다고 믿었기 때문에 우월한 신에게 즉시 음악 대회에 도전했습니다. 아폴론은 그런 하찮은 신이 자신에게 도전하는 뻔뻔스러움에 분노하여 대회에 동의했고 승자는 패자를 위해 원하는 몰수를 선택할 수 있다고 선언했습니다. 또한 음악, 노래, 춤의 여신인 뮤즈(Muses)가 그들의 지식과 공정한 사고방식이 잘 알려져 있기 때문에 대회 최고의 심사위원이 되기로 결정되었습니다.

경쟁은 승자를 결정하는 것이 불가능할 정도로 음악을 너무 아름답게 만드는 두 라운드로 여러 차례 지속되었습니다. 결국 Apollo는 승리하는 전술을 생각해냈고 그의 천상의 멜로디에 그의 감미로운 노랫소리를 더했습니다. 그가 플루트를 연주하기 위해 그의 입이 필요했기 때문에 Satyr는 이것을 맞출 수 없었고 그래서 Muses는 승리가 Apollo의 것이라고 선언했습니다.

Giulio Carpioni의 Apollo and Marsyas(17세기)(출처 – Wikipedia )

그의 상대가 대담하게 그에게 도전한 것에 여전히 불만이 있는 아폴로는 그를 위해 끔찍한 몰수를 내놓았고 사티로스를 산채로 가죽을 벗겼습니다. 그의 동료들은 불행한 음악가를 너무나 사랑했기 때문에 그의 끔찍한 운명을 목격하고 그들의 눈물이 합쳐져 오늘날까지 그의 이름인 Marsyas로 알려진 강을 형성했습니다.
참조주교, D. [인터넷]. 2013. 팬과 아폴로의 뮤지컬 결투 . Panflutejedi.com. 이용 가능: http://www.panflutejedi.com/pan-apollo.html [2013년 11월 19일 액세스].

Goldberger, K. [인터넷]. 2011. 피버스-아폴로 . 로체스터 공과 대학. 이용 가능: http://people.rit.edu/asg1478/iweb/turbo/apollo.html [2013년 11월 19일 액세스].

컨, D. [인터넷]. 2013. 아폴로의 간략한 역사 . 펜 주립 대학. 이용 가능: http://www.personal.psu.edu/djk189/apollo.htm [2013년 11월 19일 액세스].

에서 : 그리스 명성 신화

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레너드 코헌의 할레루야 가사 해석

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레너드 코헌의 할레루야 가사 해석

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내가 사랑에서 배운 거라곤
나보다 먼저 유리한 곳을 점한 경쟁자를
어떻게 죽일 것인가 하는 것이 전부였어요.

당신이 오늘 밤 듣는 이것은 고발이 아니에요.
그리고 나는 물론, 어떤 빛을 본 순례자 같은 것도 아니죠.
이건 그저 차갑고 외로운, 그리고 부서진 할렐루야 같은 거예요.

...다윗이 연주해서 신을 기쁘시게 했다는...

그리고 그녀는 마침내 당신의 입술에서 신을 찾는 소리가 나오도록 만들었죠.

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가사 출처는 이곳 Now I've heard there was a secret chord That David played, and it pleased the Lord 어딘가에 비밀스런 화음이 있다고 들었어요. 그 옛날 다윗이 연주해서 신을 기쁘시게 했다는. But you don't really care for music, do you? 하지만 당신은 음악에 그리 큰 관심은 없죠. 그렇지 않은가요?

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아레사 플렝크린의 <오 해피데이>

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아레사 플렝크린의 <오 해피데이>

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https://www.youtube.com/watch?v=wb7D-W-QW-8

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영화 <시스터 액트>에서 

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영화 <시스터 액트>에서 

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티나 터너가 부른 찬송가

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티나 터너가 부른 찬송가

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Ike and Tina Turner Sing's Gospel Full Album

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샤 ( / ʃ ɑː / ; 페르시아어 : شاه , Šâh [ʃɒːh] , 켜져 있습니다. '왕')은 역사적으로 이란 군주제  의 주요 인사들이 사용했던 왕실 칭호입니다. [1] 그것은 또한 오스만 제국 , 카자흐 칸국 , 부하라 칸국, 부하라 토후국 , 무굴 제국 , 벵골술탄국 , 역사적인 아프간 왕조 , 그리고 구르카와 같은 다양한 페르시아 사회 에서 사용되었습니다 . [2] 자신을 단순히 동시대 왕조(즉, 유럽식 군주제) 의 왕으로 여기기보다는), 각 이란 통치자는 원래 페르시아 제국 의 연속이라는 의미에서 자신을 Shahanshah ( شاهنشاه , Šâhanšâh , lit.  ' King of Kings ') 또는 Padishah ( پادشاه , Pâdešâh , lit. 'Master King')로 간주했습니다 .

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런던 시내 최초의 교통체증과 헨델

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런던 시내 최초의 교통체증과 헨델

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런던 시내 최초의 교통체증, 바로 이 작곡가 때문이라고?

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[BY 사회평론] 템스강의 도시, 영국 런던!런던 최초의 교통체증이 정확하게 기록되어 있다는 사실, 알고…

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Handel Water Music 듣기

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왕실 불꽃놀이를 위한 음악

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왕실 불꽃놀이를 위한 음악

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Handel - Music for the Royal Fireworks 듣기

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The texts of troubadour songs deal mainly with themes of chivalry and courtly love. Most were metaphysical, intellectual, and formulaic. Many were humorous or vulgar satires. Works can be grouped into three styles: the (light), (rich), and trobar clus (closed).

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Senegalese Wolof griot, 1890

A Hausa Griot performs at Diffa, Niger, playing a komsa (Xalam).

The griot is a repository of oral tradition and is often seen as a leader due to their position as an advisor to members of the royal family. As a result of the former of these two functions, they are sometimes called bards. They also act as mediators in disputes.

Many griots today live in many parts of West Africa and are present among the Mande peoples ( Mandinka or Malinké, Bambara, Soninke etc.), Fulɓe ( Fula), Hausa, Songhai, Tukulóor, Wolof, Serer, Mossi, Dagomba, Mauritanian Arabs[citation needed ], and many other smaller groups. There are other griots who have left their home country for another such as the United States or France and still maintain their role as a griot.

The word may derive from the French transliteration "guiriot" of the Portuguese word "criado", or the masculine singular term for "servant." Griots are more predominant in the northern portions of West Africa.

Terms: "griot" and "jali"

The Manding term jeliya (meaning "musicianhood") sometimes refers to the knowledge of griots, indicating the hereditary nature of the class. Jali comes from the root word jali or djali (blood). This is also the title given to griots in regions within the former Mali Empire. Though the term "griot" is more common in English, some, such as poet Bakari Sumano, prefer the term jeli.[citation needed ]

Historically, Griots form an endogamous professionally specialised group or caste, meaning that most of them only marry fellow griots, and pass on the storytelling tradition down the family line. In the past, a family of griots would accompany a family of kings or emperors, who were superior in status to the griots. All kings had griots, and all griots had kings, and most villages also had their own griot. A village griot would relate stories of topics including births, deaths, marriages, battles, and hunts.

Griots have the main responsibility for keeping stories of the individual tribes and families alive in the oral tradition, with the narrative accompanied by a musical instrument. They are an essential part of many West African events such as weddings, where they sing and share family history of the bride and groom. It is also their role to settle disputes and act as mediator in case of conflicts. Respect for and familiarity with the griot meant that they could approach both parties without being attacked, and initiate peace negotiations between the hostile parties.

Francis Bebey writes about the griot in African Music, A People's Art:

The West African griot is a troubadour, the counterpart of the medieval European minstrel... The griot knows everything that is going on... He is a living archive of the people's traditions... The virtuoso talents of the griots command universal admiration. This virtuosity is the culmination of long years of study and hard work under the tuition of a teacher who is often a father or uncle. The profession is by no means a male prerogative. There are many women griots whose talents as singers and musicians are equally remarkable.

Griots of Sambala, king of Médina (Fula people, Mali), 1890

The Mali Empire ( Malinke Empire), at its height in the middle of the 14th century, extended from central Africa (today's Chad and Niger) to West Africa (today's Mali and Senegal). The empire was founded by Sundiata Keita, whose exploits remain celebrated in Mali today. In the Epic of Sundiata, Naré Maghann Konaté offered his son Sundiata Keita a griot, Balla Fasséké, to advise him in his reign. Balla Fasséké is considered the founder of the Kouyaté line of griots that exists to this day.

Each aristocratic family of griots accompanied a higher-ranked family of warrior-kings or emperors, called jatigi. In traditional culture, no griot can be without a jatigi, and no jatigi can be without a griot. However, the jatigi can loan his griot to another jatigi.

Most villages also had their own griot, who told tales of births, deaths, marriages, battles, hunts, affairs, and other life events.

In many Mande societies, the jeli was a historian, advisor, arbitrator, praise singer (patronage), and storyteller. They essentially served as history books, preserving ancient stories and traditions through song. Their tradition was passed down through generations. The name jeli means "blood" in Manika language. They were believed to have deep connections to spiritual, social, or political powers. Speech was believed to have power in its capacity to recreate history and relationships.

Despite the authority of griots and the perceived power of their songs, griots are not treated as positively in West Africa as may be assumed. Thomas A. Hale wrote, "Another [reason for ambivalence towards griots] is an ancient tradition that marks them as a separate people categorized all too simplistically as members of a 'caste', a term that has come under increasing attack as a distortion of the social structure in the region. In the worst case, that difference meant burial for griots in trees rather than in the ground in order to avoid polluting the earth (Conrad and Frank 1995:4-7). Although these traditions are changing, griots and people of griot heritage still find it difficult to marry outside of their social group." This discrimination is now deemed illegal.[by whom? ]

In addition to being singers and social commentators, griots are often skilled instrumentalists. Their instruments include stringed instruments like the kora, the khalam (or xalam), the ngoni, the kontigi, and the goje (or n'ko in the Mandinka language). Other instruments include the balafon, and the junjung.

The kora is a long-necked lute-like instrument with 21 strings. The xalam is a variation of the kora, and usually consists of fewer than five strings. Both have gourd bodies that act as resonator. The ngoni is also similar to these two instruments, with five or six strings. The balafon is a wooden xylophone, while the goje is a stringed instrument played with a bow, much like a fiddle.

According to the Encyclopædia Britannica: "West African plucked lutes such as the konting, khalam, and the nkoni (which was noted by Ibn Baṭṭūṭah in 1353) may have originated in ancient Egypt. The khalam is claimed to be the ancestor of the banjo. Another long-necked lute is the ramkie of South Africa."

Griots also wrote stories that children enjoyed listening to. These stories were passed down to their children.

Today, performing is one of the most common functions of a griot. Their range of exposure has widened, and many griots now travel internationally to sing and play the kora or other instruments.

Bakari Sumano, head of the Association of Bamako Griots in Mali from 1994 to 2003, was an internationally known advocate for the significance of the griot in West African society.

Pape Demba "Paco" Samb, a Senegalese griot of Wolof ancestry, is based in Delaware and performs in the United States. Circa 2013, he performed in charity concerts for SOS Children's Villages in Chicago. As of 2023, Paco leads McDaniel College's Student African Drum Ensemble. His own band is titled the Super Ngewel Emsemble. Concerning the goals of modern-day griot, Paco has stated:

If you are griot, you have to flow your history and your family, because we have such a long history. You have to be traditional and share your culture. Any country you go to, you share your family with them.

Malian novelist Massa Makan Diabaté was a descendant and critic of the griot tradition. Though Diabaté argued that griots "no longer exist" in the classic sense, he believed the tradition could be salvaged through literature. His fiction and plays blend traditional Mandinka storytelling and idiom with Western literary forms.

Mandinka Griot Al-Haji Papa Susso performing songs from the oral tradition of the Gambia on the kora

This ancient baobab tree in the Réserve de Bandia, Sénégal, forms a living mausoleum for the remains of famed local griots.

Côte d'Ivoire

1. ^ Faya Ismael Tolno (September 2011). "Les Recherches linguistiques de l'école N'ko" (PDF). Dalou Kende (in French). No. 19. Kanjamadi. p. 7.

2. ^ Unesco. Regional Office for Education in Africa, Educafrica, Numéro 11, (ed. Unesco, Regional Office for Education in Africa, 1984), p. 110

3. ^ Hale, Thomas Albert, Griots and Griottes: Masters of Words and Music, Indiana University Press (1998), p. 176, ISBN 9780253334589

4. ^ Jablow, Alta (1984). "Gassire's Lute: A Reconstruction of Soninke Bardic Art". Research in African Literatures. 15 (4): 519-29. JSTOR 3819348.

5. ^ Panzacchi, Cornelia (1994). "The Livelihoods of Traditional Griots in Modern Senegal". Africa: Journal of the International African Institute. Cambridge University Press, International African Institute. 64 (2): 190-210. doi:10.2307/1160979. ISSN 0001-9720. JSTOR 1160979. S2CID 146707617.

6. Bebey, Francis (1969, 1975). ^ African Music, A People's Art. Brooklyn: Lawrence Hill Books.

7. ^ Hale, Thomas A. (1997). "From the Griot of Roots to the Roots of Griot: A New Look at the Origins of a Controversial African Term for Bard" (PDF). Oral Tradition. 12 (2): 249-278. Archived from the original (PDF) on 2 December 2017.

8. ^ Robotham, Donald; Kubik, Gerhard (27 January 2012). "African Music". Encyclopedia Britannica.

9. ^ Diabaté, Massa Makan (1985). L'assemblée des djinns (in French). Paris: Éditions Présence Africaine.

10. Sonko-Godwin, Patience, ^ Trade in the Senegambia Region: From the 12th to the Early 20th Century, Sunrise Publishers, 2004, ISBN 9789983990041

Brown, Diana (March 2003). "Griots at War: Conflict, Conciliation, and Caste in Mande". American Anthropologist. 105 (1): 192-193. doi:10.1525/aa.2003.105.1.192.

Charry, Eric S. (2000). Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa. Chicago Studies in Ethnomusicology; includes audio CD. Chicago: University of Chicago Press.

Hale, Thomas A. (1998). Griots and Griottes: Masters of Words and Music. Bloomington, Indiana: Indiana University Press.

Hoffman, Barbara G. (2001). Griots at War: Conflict, Conciliation and Caste in Mande. Bloomington, Indiana: Indiana University Press.

Leymarie, Isabelle (1999). Les griots wolofs du Sénégal. Paris: Maisonneuve et Larose. ISBN 2706813571.

Suso, Foday Musa, Philip Glass, Pharoah Sanders, Matthew Kopka, Iris Brooks (1996). Jali Kunda: Griots of West Africa and Beyond. Ellipsis Arts.

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The griot is a repository of oral tradition and is often seen as a leader due to their position as an advisor to members of the royal family. As a result of the former of these two functions, they are sometimes called bards. They also act as mediators in disputes.

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관련 읽을 자료
찐팬을 몰고 다녔던 핵인싸
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리스트가 연주하면 여성팬들 쓰러져…그가 쇼팽과 다른점은?
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프란츠 리스트_사랑의 꿈(조성진 연주 버전)

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프란츠 리스트_사랑의 꿈(조성진 연주 버전)

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Within You Without You (Remastered 2009)

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he old man with straggly hair, long wispy grey beard and wraparound sunglasses sits at the back of the grandstand overlooking the verdant expanse of Alberton Oval - the traditional base, if no longer the home ground, of the historic Port Adelaide football club.

He is Djalu Gurruwiwi: a Yolngu elder and lawman from north-east Arnhem Land, a songster, healer, virtuoso and master craftsman of the yidaki (didgeridoo), as well as the instrument's spiritual keeper. From up here he surveys his Australian Rules team, smiles and nods in approval as his players go through their pre-season paces, calling for the ball and kicking and marking, on this humid morning.

In other Aboriginal nations and among non-Indigenous people, the instrument is known as the "didgeridoo" or "didjeridu" - variants of the same word that probably has its etymology in English spoken by a European Australian. Yidaki is the Yolngu word and Djalu, the keeper of the instrument in north-east Arnhem Land, is widely regarded across Indigenous Australia as its custodian more broadly.

Djalu, who is aged somewhere in his 80s ("I'm 86 going on 96"), usually rocks a Hawaiian shirt, or something similarly bright and elaborately patterned. But today he's wearing a "Port Power" hoody that signals a mutual adoption between him and the team.

Djalu likes their brand of footy all right. But his attraction to Port stems more simply from the lightning bolt on the team crest.

"It's the lightning. The team is lightning and lightning is us," Djalu says enigmatically, as is his way.

His reference to "baywara" - Yolngu for the "power of lightning" - is itself an allusion to the atmospheric energy and wind enshrined in the yidaki, an instrument with its genesis in tens of thousands of years of north-east Arnhem Land history. In the hands of Djalu, and more recently his sons Larry and Vernon, the yidaki both tells and is the story of their land.

It summons the ancestral spirits and the stories of creationist animals that fashioned the earth, the sea and the sky and all the creatures, human and otherwise, stretching back some 60,000 years. It holds the histories of the clans, not the least the Galpu (Djalu) and Yunipingu (of his wife, Dhopiya) which remain central to thriving Yolngu culture.

And today they have come to Alberton to present yidaki to nine Indigenous Port Adelaide players and several club officials - a testimony to Djalu's determination, in his life's twilight, to build bridges with other Aboriginal and Balanda (white, western) worlds.

Djalu Gurruwiwi (right) with his son Larry, who will eventually assume responsibility for taking the yidaki (didgeridoo) to the world. Photograph: Alex Robertson/South Australian Museum

Djalu is well known to audiences in the United States, Britain, continental Europe and Taiwan, where he has played to sold-out auditoriums. People from all over come to his modest house at Wallaby Beach, near the Northern Territory mining town of Nhulunbuy, to sit at his feet and sample his family's hospitality, always in the hope of being touched with his wisdom and insight.

"If I shut my eyes I can see inside you, what you feel," he says.

Yet he is scarcely known in broader Australia. Which is why the South Australian Museum is now staging an exhibition, Yidaki - Didjeridu and the Sound of Australia, in his honour.

The exhibition, which runs until 16 July, honours the immense cultural significance of the yidaki, the instrument of the Yolngu that has been adopted by First Peoples across Australia. Together with the clapsticks and the Indigenous voice in traditional song, it's a haunting, distinctive, meditative sound that has not only come to characterise Australia's Indigenous people but perhaps the continent itself.

The exhibition is testimony to Djalu's skill as an ambassador between Yolngu, other Aboriginal and Torres Strait Islander peoples and the western Balanda.

Stephen Goldsmith, an elder of the Kaurna custodians of the Adelaide plains, says: "For Aboriginal people, not just Yolngu, Djalu is our diplomat, our ambassador. We all talk about the Dalai Lama; his role is to embrace all people, to lead with generosity, to enrich our shared understanding of ourselves and each other. Djalu is like that - he is a spiritual leader. Yidaki is his voice."

Goldsmith says that as a boy and a young man the sound of the yidaki awoke in him a yearning that bordered on an inadequacy for his inability to play an instrument that was not, traditionally, part of Kaurna culture. He started on a vacuum cleaner pipe, then on bamboo and graduated to the real deal.

"It [learning to play yidaki] was a key to finding myself becoming a bit stronger as an Aboriginal man," he says.

'I'm 86 going on 96,' says Djalu Gurruwiwi. Photograph: Alex Robertson/South Australian Museum

While Dhopiya paints the names of Port's nine Indigenous players - more than any other AFL club - on the yidakis to be gifted to the club, another Kaurna man, Karl Winda Telfer, arrives at Alberton with an old, old instrument covered in cloth.

He gingerly unwraps the yidaki and gives it to Djalu. The old man runs his hands over its smooth exterior, and pats it, as if it were human. It's the yidaki that Djalu's brother, who died a few years back, left in Kaurna country with Telfer, who he taught to play.

Telfer explains: "I've just been looking after this yidaki. Now I'm giving it back, so that it will go back home where it came from, to north-east Arnhem Land, you know ... old man [Djalu's brother] teaches me. He gave me permission to play. It shows an ongoing connection between us and the Yolngu ... It closes the circle. I'm happy now. I'm relieved."

Due to their relative isolation, the Yolngu were among the last Indigenous people of the continent to be harmed by invasion and colonisation as the pastoral and mining frontier spread north and west. But they were always outward-looking, establishing commercial and familial ties with the Macassan trepang fishermen of Sulawesi long before first British contact.

After first contact, in the early 20th century, the Yolngu were feared as warriors who fiercely protected their ancestral lands from invaders - not least the Japanese who came in, uninvited, to take the trepang after the Macassan traders were effectively outlawed by government. Djalu's father, the warrior Monyu, first fought the Japanese fishermen (some of whom were also covertly mapping the northern Australian coast), and he later joined the Northern Territory special reconnaissance unit during the Pacific war.

The story of the Japanese before and after the war - when Djalu met in peace with fishermen and pearlers from Japan - are all in the Yolngu songlines that cross the rich, red earth of Arnhem Land and go out into the sea, beyond the island, Milingimbi, where Djalu was born and another, Raragala, now deserted, where he grew up.

'If I shut my eyes I can see inside you, what you feel.' Photograph: Alex Robertson/South Australian Museum

As he ages Djalu becomes more difficult to understand, due in part to an old facial injury and, perhaps, a spell cast by an enemy due to his one-time role as a tribal enforcer (the stories about Djalu seem as endless as the songlines). Sorting the real from the mythical - or imagined - is not easy for Balanda.

Which is why it has taken years for the young London-based Australian film-maker, Ben Strunin, to make a biopic of Djalu. Titled Westwind (that which Djalu's yidaki harnesses) and backed by Film Victoria, Screen Territory and Screen Australia, the movie is due for release later this year.

Strunin, who has toured Europe with Djalu, says the old man "deserves all the recognition of our most celebrated music stars - his work is helping to heal the divide in this country and beyond. He transforms people wherever he goes. It's a blessing to be in his presence".

Three thousand people jammed into the South Australian Museum forecourt on North Terrace to watch Djalu and the Barra Band - featuring sons Larry and Vernon - play. Djalu was unwell before the performance. Larry placed the yidaki against his head and chest, and sounded it. (It's party of a healing ceremony Djalu has shared with countless Balanda, including myself, over the years.)

Djalu performed. But he was later briefly admitted to hospital.

He is becoming frail; his sons and his grandson, Kevin will eventually assume his legacy and assume responsibility, themselves, for taking the yidaki to the world.

"Yidaki - it's been my whole life," Djalu says. "A good life."

Yidaki - Didjeridu and the Sound of Australia is open at South Australian Museum until 16 July

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'Didgeridoo is his voice': how Djalu Gurruwiwi embodies the sound of a continent

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Djalu Gurruwiwi making the best ever yidaki!

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3분 50초부터 보세요

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Anoushka Shankar (born 9 June 1981) is a British Indian sitar player and composer. She is the daughter of Pandit Ravi Shankar and Sukanya Rajan, and the half-sister of Norah Jones.

Shankar was born in London and her childhood was divided between London and Delhi. She is the daughter of Sukanya Shankar and Indian sitar maestro Ravi Shankar, who was 61 when she was born. Through her father, she is also the half-sister of American singer Norah Jones (born Geetali Norah Shankar), and Shubhendra "Shubho" Shankar, who died in 1992.

As a teenager, Shankar lived in Encinitas, California, and attended San Dieguito High School Academy. A 1999 honors graduate and Homecoming Queen, Anoushka decided to pursue a career in music rather than attend college.

Shankar began training on the sitar with her father Ravi Shankar at the age of seven. As part of her training, she began accompanying him on the tanpura at his performances from the age of ten, soaking up the music and becoming acclimated to the stage. She gave her first public sitar performance on 27 February 1995 at the age of 13, at Siri Fort in New Delhi as part of her father's 75th birthday celebration concert. For this solo debut, she was accompanied by tabla maestro Zakir Hussain. Her first experience in the recording studio came that same year when Angel Records released a special four-CD box set called In Celebration, to mark her father's birthday. By the age of fourteen, she was accompanying her father at concerts around the world. At fifteen, she assisted her father on the landmark album Chants of India, produced by George Harrison. Under both their guidance, she was in charge of notation and eventually of conducting the performers who took part in the record. After this experience, the heads of Angel Records came to her parents' home to ask to sign her, and Shankar signed her first exclusive recording contract with Angel/ EMI when she was sixteen.

She released her first album, , in 1998, followed by in 2000. In 1999 Shankar graduated from high school with honors, but decided against university in favour of beginning to tour as a solo artist. Both Shankar and her half-sister Norah Jones were nominated for Grammy awards in 2003 when Anoushka became the youngest nominee in the World Music category for her third album, Live at Carnegie Hall.

Having released three albums of Indian classical music, Shankar took several years away from recording and focused her energy on establishing herself as a solo concert performer outside of her father's ensemble. In that time, she toured worldwide, playing an average of 50-60 concerts per year. 2005 brought the release of her fourth album , her first self-produced, self-composed, non-classical album, earning her another Grammy nomination in the Best Contemporary World Music category. In February 2006 she became the first Indian to play at the Grammy Awards, playing material from RISE.

Shankar, in collaboration with Karsh Kale, released Breathing Under Water on 28 August 2007. It is a mix of classical sitar and electronica beats and melodies. Notable guest vocals included her paternal half-sister Norah Jones, Sting, and her father, who performed a sitar duet with her.

In 2011 Shankar signed with record label Deutsche Grammophon as an exclusive artist. This marked the beginning of a prolific recording and creative period for Shankar, during which time she continued to refine the sitar sound and musical ideas she had become known for. She earned a third Grammy Award nomination in 2013 for , an exploration of the shared history between flamenco and Indian classical music, which was produced by Javier Limón and featured artists such as Buika, Pepe Habichuela and Duquende. As Shankar had begun to do with Rise, she created a specially handpicked ensemble of musicians with whom to perform this cross-genre music, and played over a hundred concerts worldwide in support of Traveller. In 2013 she released a personal album called Traces of You, which was released several months after the passing of her father Ravi Shankar. Produced by Nitin Sawhney, and featuring her half-sister Norah Jones as the sole vocal performer, Traces of You earned Shankar a fourth Grammy nomination in the World Music category. In July 2015 Shankar released Home, her first purely classical album of Indian Ragas. Self-composed and produced, Home was recorded over a week in October 2014 in Shankar's new, purpose-built home-studio.

Shankar has made many guest appearances on recordings by other artists, among them Sting, Lenny Kravitz, Thievery Corporation and Nitin Sawhney. Recently, Shankar has collaborated with Herbie Hancock on his latest record The Imagine Project, and with Rodrigo y Gabriela on their album .

Duets with artists such as violinist Joshua Bell, in a sitar-cello duet with Mstislav Rostropovich, and with flautist Jean-Pierre Rampal, playing both sitar and piano, Shankar has championed her father's compositions. Shankar is also the sole performer of Ravi Shankar's 1st and 2nd Concertos for Sitar and Orchestra, performing multiple times under legendary conductors such as Zubin Mehta. In January 2009 she was the sitar soloist alongside the Orpheus Chamber Orchestra premiering her father's 3rd Concerto for Sitar and Orchestra, and in July 2010 she premiered Ravi Shankar's first symphony for sitar and orchestra with the London Philharmonic Orchestra at London's Royal Festival Hall.

In April 2016, Shankar performed with violinist Patricia Kopatchinskaja during a concert in Konzerthaus Berlin, Germany. The was originally composed, performed and recorded by Ravi Shankar as a duet with Yehudi Menuhin on the album West Meets East, Volume 2 in 1968.

'Love Letters' marks a different direction for the internationally celebrated artist; it offers a shift in intimacy and content and comes at a pivotal time in her career as she signs to her new record label, Mercury KX. A host of trail-blazing women feature on 'Love Letters' including singer and co-producer Alev Lenz, twin sister vocal duo Ibeyi, singer and cellist Ayanna Witter-Johnson, renowned Indian singer Shilpa Rao, Brooklyn-based mastering engineer Heba Kadry ( Björk, Slowdive) and British audio mastering engineer Mandy Parnell ( Aphex Twin, The XX).

On 13 November 2020, Shankar was featured on " Stop Crying Your Heart Out" as part of the BBC Radio 2's Allstars' Children in Need charity single. The single debuted at number 7 on the Official UK Singles Chart and number 1 on both the Official UK Singles Sales Chart and the Official UK Singles Download Chart.

Shankar has also ventured into acting (Dance Like a Man, 2004) and writing. She wrote a biography of her father, Bapi: The Love of My Life, in 2002 and has contributed to various books. As a columnist she wrote monthly columns for India's First City Magazine for three years, and spent one year as a weekly columnist for India's second largest newspaper, the Hindustan Times.

On 29 November 2002, Shankar was the featured performer of the "Indian" half of the Concert for George, a posthumous tribute to the life and music of George Harrison, held at the Royal Albert Hall in London. She opened the show by playing a solo sitar instrumental titled "Your Eyes". Also on the sitar, she performed George Harrison's " The Inner Light" with Jeff Lynne. Lastly, she conducted a new composition, Arpan, written by her father. The composition featured Eric Clapton playing acoustic guitar, and a full orchestra of Indian and Western musicians. The concert was modelled after Ravi Shankar's benefit concert with Harrison, the 1971 Concert for Bangladesh.

Shankar was invited by Richard Gere and Philip Glass to perform in a concert at Avery Fisher Hall in 2003 in aid of the Healing the Divide: A Concert for Peace and Reconciliation. Shankar and Jethro Tull postponed a concert scheduled for 29 November 2008 in Mumbai after the 2008 Mumbai attacks. They reorganised the performance as A Billion Hands Concert, a benefit performance for victims of the attacks, and held it on 5 December 2008. Shankar commented on this decision stating that: "As a musician, this is how I speak, how I express the anger within me [...] our entire tour has been changed by these events and even though the structure of the concert may remain the same, emotionally perhaps we are saying a lot more."

British House of Commons Shield, 1998

Woman of the Year awarded on International Women's Day 2003 in India

Named as one of 20 Asian Heroes by the Asia edition of Time in 2004

Nominated for a Grammy award in 2003 in the World Music category for her third-album, Live at Carnegie Hall. She was the youngest-ever nominee in this category.

In 2005 she was nominated for another Grammy, in the Best Contemporary World Music category for her fourth album RISE.

In 2013 she was nominated for her third Grammy, in the Best World Music category for her album Traveller.

In 2014 she was nominated for a fourth Grammy in the Best World Music category for her album Traces of You.

In 2015 she was nominated for a fifth Grammy in the Best World Music Category for her album "Home".

In 2016 she was nominated for a sixth Grammy in the Best World Music Category for her album "Land of Gold".

In 2012 she won Best Artist in the Songlines Music Award for her album Traveller.

In 2017 she won the Eastern Eye Arts, Culture & Theatre Awards (ACTA) Award for Music for outstanding achievements in the Indian classical and progressive world music scenes.

Asteroid 292872 Anoushankar, discovered by Italian amateur astronomer Silvano Casulli, was named in her honour. The official naming citation was published by the Minor Planet Center on 12 January 2017 ().

Shankar is a supporter of animal rights. She and her father appeared in a thirty-second public-service announcement against animal suffering for People for the Ethical Treatment of Animals (PETA). She is also the spokesperson for the United Nations World Food Programme in India.

In 2013, responding to the horrific gang-rape of a young girl in Delhi, whom the Indian media referred to as Nirbhaya, Shankar threw her weight behind an online campaign One Billion Rising on Change.org, demanding an end to crime against women. As part of the campaign, she released a video in which she revealed she had been sexually abused for many years as a child.

Shankar grew up in the US, the UK, and India. In 2010 she married British director Joe Wright. They had two sons and then divorced in 2019. She lives in London with her two sons.

"Adarini" - In Celebration composed by Ravi Shankar, 1995

Chants Of India - Ravi Shankar; George Harrison, featuring Anoushka as Conductor & Assistant, 1997

8 classical ragas performed on ShankaRagamala composed by Ravi Shankar, 2005

"Rebirth" - Co-written by Gaurav Raina, Tapan Raj and Anoushka Shankar. Midival Punditz - MIDIval Times, 2005

"Beloved" - by Anoushka Shankar remixed by Thievery Corporation - , 2006

"Mandala" - Featuring Anoushka Shankar on sitar. Co-written by Hilton Garza, Radio Retaliation, 2008

"Charu Keshi Rain" - Co-written by Nitin Sawhney and Anoushka Shankar, London Undersound, 2008

"Variant Moods - Duet For Sitar & Violin" (abridged version) Written by Ravi Shankar, At Home With Friends by Joshua Bell, 2009

"Ixtapa" - Rodrigo y Gabriela & C.U.B.A. featuring Anoushka Shankar on sitar, , 2012

"Lucy In The Sky With Diamonds" - Miloš Karadaglić featuring Anoushka Shankar, on the album Blackbird: The Beatles Album, 2016

"Stop Crying Your Heart Out", Children in Need charity single, 2020

Sinnott, Susan (2003). Extraordinary Asian American and Pacific Islander. New York: Children's Press.

Cole, Joni B; Joffrey, Rebecca; Rakhra, B K (2003). This day:diaries from American women. Hillsboro, Oregon: Beyond Words.

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Anoushka Shankar (born 9 June 1981) is a British Indian sitar player and composer. She is the daughter of Pandit Ravi Shankar and Sukanya Rajan, and the half-sister of Norah Jones. Shankar was born in London and her childhood was divided between London and Delhi.

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지금까지 발견된 가장 오래된 노래는 지난 1950년 발견된 3,400년 전 찬송가다. 이 찬송가 악보는 수메르어로 작성된 것으로 1972년 해독됐다. 이 노래를 실제로 연주해보면 3,400년이라는 시간을 느끼지 않을 만큼 팝송 같은 멜로디를 감상할 수 있다.

지난 1950년대 초반 시리아에 위치한 고대도시 우가리트(Ugarit)에서 고고학자들이 기원 전 14세기경 만들어진 석판을 발견했다. 이 석판에는 쐐기 모양을 한 문자가 쓰여 있었고 여기에서 찬송가 같은 악보가 적혀 있는 걸 함께 발견하게 된 것.

찬송가가 해독된 건 앞서 설명했듯 지난 1972년이다. 캘리포니아대학에서 아사리아를 연구한 앤 드라프콘 킬머(Anne Draffkorn Kilmer) 교수가 석판에 쓰인 노래에서 도레미에 해당하는 음계가 존재하고 있다는 사실을 발견한 것이다. 그는 석판에 있는 문자를 현재 악보 기호와 맞출 수 있다면서 해독을 진행했다. 고대 음악 연구자는 이제껏 음계의 온음계는 2,000년 전 고대 그리스에서 발명했다는 견해가 많았지만 이 연구는 이를 부정하는 것이다.

이들은 석판에서 서양 음악의 기원을 찾아냈다면서 석판에 기록된 악보를 바탕으로 만든 세계에서 가장 오래된 노래를 공개했다. 다만 곡의 리듬은 상상력을 더해 만들어진 것이다. 관련 내용 원문은 이곳 에서 확인할 수 있다.

최필식 기자 chois4u@techholic.co.kr

<저작권자 © 테크홀릭, 무단 전재 및 재배포 금지>

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3천년전 멜로디 들어보실래요? - 테크홀릭

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지금까지 발견된 가장 오래된 노래는 지난 1950년 발견된 3,400년 전 찬송가다. 이 찬송가 악보는 수메르어로 작성된 것으로 1972년 해독됐다. 이 노래를 실제로 연주해보면 3,400년이라는 시간을 느끼지 않을 만큼 팝송 같은 멜로디를 감상할 수 있다. 지난 1950년대 초반 시리아에 위치한 고대도시 우가리트(Ugarit)에서 고고학자들이 기원 전 14세기경 만들어진 석판을 발견했다.

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오랫동안 잊혀졌던 악보

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오랫동안 잊혀졌던 악보

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A forgotten work by the pioneering composer Florence Price has been rediscovered and performed for the first time in nearly 80 years.

Price made history in 1933 when she became the first African-American woman to have a symphony performed by a major US orchestra, in Chicago.

But her work faded into obscurity after her death in 1953.

Much of it was thought to be lost, until a cache of music was found in her former summer house in Chicago in 2009.

Musicologist Samantha Ege has spent the past two years trawling through those archives to reconstruct her solo piano pieces. Among them was Fantasie Nègre No 3 in F Minor, which was long presumed to be incomplete.

'Gathering dust'

"The music just ended after two pages really abruptly," Ege told the BBC. She made it her mission to find the missing pieces in Price's archive, which is now held in the University of Arkansas.

The problem was that, while the piece starts in F minor, the second page ends in a different key - A♭ major.

Using Price's previous compositions as a template, Ege assumed the Fantasie would return to the original key in its closing passages.

"I tried to imagine where the music could go," she said. "But I didn't have a piano [in the archives] so I was really just trying to work it all out in my head."

The eureka moment came when Ege realised Price "had more to say" in the second key of A♭ major.

She quickly found pages of manuscript that seemed match the first two sheets of Fantasie Nègre No 3 just "gathering dust" in a box on a shelf.

She wasn't convinced of her breakthrough until she went home and tried the piece out on her piano.

"When I was playing through the music and it was under my fingers it just felt magical. It felt that history was coming to life," she told BBC arts correspondent Rebecca Jones.

"I sort of had chills thinking about the fact that I am hearing this music for the first time in this century."

Ege subsequently recorded the piece - the first time it has been committed to tape - for a new CD, Fantasie Nègre - The Piano Music of Florence Price.

It was released on Monday, International Women's Day, alongside recordings of Price's other Fantasies and various "sketches and snapshots" that Ege found in the archive.

"Each one takes various ideas from a black folkloric musical tradition and blends [them] with the late 19th Century Romantic tradition," she said. "The first Fantasy Nègre is based on a spiritual, Please Don't Let This Harvest Pass... and I think of each one as different chapters in a very elaborate novel.

"Even though they were never published during her lifetime, she wrote them down and noted that they were some of her most worthy compositions, and so it's really moving to be able to bring that together and perform them together."

Composer's story

Ege's work is the latest chapter in the rediscovery and reappraisal of Price's work.

She was born Florence Smith in 1887 in Little Rock, Arkansas, to a dentist father and piano teacher mother, who encouraged her to take up the instrument.

She went on to study at the New England Conservatory of Music, one of the few music schools to accept black students at the time, and earned two diplomas in piano and organ. By 1910, she was head of the music department at Clark Atlanta University in Atlanta, Georgia.

In 1912, she married Thomas J Price and they moved back to her home town - but racial tensions were on the rise and, after a public lynching in 1927, the family moved to Chicago.

When her husband struggled to find work, the couple divorced, but Price retained her married name and made ends meet by teaching piano, playing the organ for silent film screenings and writing advertising jingles under the name Vee Jay.

At the same time, she started entering composing competitions, winning several prizes. Her big break came in 1932, when her First Symphony won the orchestral category in the Wanamaker Music Composition Contest. That caught the attention of conductor Frederick Stock, who premiered the symphony with the Chicago Symphony Orchestra the following year.

Despite that success, she often struggled to get her music played in a more sexist and segregated era. It was a problem she acknowledged in a 1943 letter to the music director of the Boston Symphony Orchestra, Serge Koussevitzky, asking him to consider performing her music.

"I have two handicaps," she wrote. "I am a woman and I have some Negro blood in my veins."

She continued to write, and her music was performed in concert halls in Detroit, Michigan, and Brooklyn, New York.

The contralto Marian Anderson also sang Price's arrangement of My Soul's Been Anchored in De Lord as the closing song of her historic concert at the Lincoln Memorial in Washington DC in 1939.

After her death in 1953, Price's music was largely overlooked by the classical music establishment, but her reputation was preserved by black musicians and newspapers, which championed her legacy.

The discovery of her archive in 2009 helped bring her music to wider audiences again, with BBC Radio 3 dedicating a five-part documentary to her story last year.

Ege said there were many more works in Price's repertoire that remain to be recorded and publicised - and with the first festival dedicated to the composer due to take place later this year, she hopes her place in the classical music canon will be maintained.

"These pieces now need to be performed, and we need to hear them, so that we can we can appreciate Florence Price today, not just in terms of her history, but in terms of the works and the artistry that she created," she said.

Follow us on Facebook, or on Twitter @BBCNewsEnts. If you have a story suggestion email entertainment.news@bbc.co.uk.

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Florence Price: Forgotten work by pioneering composer rediscovered

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A forgotten work by the pioneering composer Florence Price has been rediscovered and performed for the first time in nearly 80 years. Price made history in 1933 when she became the first African-American woman to have a symphony performed by a major US orchestra, in Chicago.

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그림이 음악가에게 음악가에게 그림이

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그림이 음악가에게 음악가에게 그림이

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자동등록방지를 위해 보안절차를 거치고 있습니다.

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외계인의 등장, 지구를 바꿔놓다 - 데이비드 보위 (David Bowie) 이야기 -2-

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OK Go - I Won't Let You Down - Official Video

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이 세 분 ^^ 저에게 문자 부탁합니다. 커피 쏩니다

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이 세 분 ^^ 저에게 문자 부탁합니다. 커피 쏩니다

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010-4557-4065로 문자 주소서

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아래에 후기 써 주시면 감사하겠습니다.

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아래에 후기 써 주시면 감사하겠습니다.