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jonphaedrus · 2 years

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fic talk 1: i guess i’ll talk about c/c/c

i really want to talk about roleswap but a) we arent posting it yet!!!! and b) in order to talk about roleswap i legit have to talk about c/c/c because so much of roleswap is informed by c/c/c. so i guess im gonna do that.

anyway: what the fuck is c/c/c and why is the goddam title “i could command you, be cruel to you, compel you”? also why is my folder for it titled “stickbugged”?

we’re going to talk about all of that.

but first: we’re going to talk about opera. then, we’re going to talk about more opera. then we’re going to talk about opera libretto. and then, because this is me, we’re going to finally talk about perfectworldshipping. you must be this high on opera to ride. which is how high i am on opera, at all times.

there is an opera. it’s called “die entführung aus dem serail” and you’ve almost certainly never heard of it, becuse it is a weird and not frequently-performed part of the mozart opera repertoire for two reasons, and both of them are succinctly summarized by this one paragraph from the wikipedia page:

The music includes some of the composer's most spectacular and difficult arias. Osmin's act 3 aria "O, wie will ich triumphieren" includes characteristic 18th century coloratura passage work, and twice goes down to a low D (D2), one of the lowest notes demanded of any voice in opera.[18] Perhaps the most famous aria in the opera is the long and elaborate "Martern aller Arten" ("Tortures of all kinds") for Konstanze, an outstanding challenge for sopranos. Konstanze sings in a kind of sinfonia concertante with four solo players from the orchestra; the strikingly long orchestral introduction, without stage action, also poses problems for stage directors.[19]

so, first of all, it’s fucking goddam really hard to cast. you need to have an impeccable soprano, and you need to have a bass who is the best of the best. the recording i linked above has kurt moll as osmin and he is. like. literally the best. ever. i love that recording. but then, in addition to that, “die entführung” has two other extremely unusual aspects to its narrative construction: first, one of the MOST MAJOR ROLES, that of pasha selim, is entirely spoken-word. selim has no sung portion. none. the second is a unique aspect of mozart’s operas—he was obsessed with opera ending “happily” and was fully willing to rewrite the ending to make this happen (see: don giovanni’s....odd. concluding chorus) except, of course, for “die entführung.”

not, however, in the way you would expect. the opera ends with a chorus of janissaries singing the pasha’s graces—

Long live Pasha Selim! Let him be honoured! Let his exalted brow be wreathed With rejoicing and renown.

now, please remember—pasha selim is the villain of “die entführung.” the protagonist is fighting to rescue the love of his life from the pasha! he has kidnapped two free women and put them in his harem!

except.........

not really.

to understand c/c/c (as in my fic) as a whole, you need to understand “die entführung” because it is, in many ways, directly responding to this opera. in some odd and sideways fashions.

so: first of all, what is so weird about the ending of “die entführung aus dem serail”?

one of mozart’s later operas, “cosi fan tutti” almost perfectly exemplifies mozart’s narrative structure when it came to his preferred libretti. boy loves girl. boy has to prove girl loves him. (this is also a product of all of the opera of this time; it became so stock that rossini eventually parodied it in “la pietra del paragone” which is absolutely fucking hysterical PLEASE WATCH THIS OPERA). as a part of the process of “proving” the girl loves him, the boy will have her prove her fidelity via some kind of bait and switch exercise, pretending to be someone else, putting her into a situation where she has to say yes to someone else, etc.

music in opera has many purposes—arias, for example usually represent some kind of interiority for the character. when they’re meant to be diegetic, they’re usually coded as such; konstanze’s famous aria, mentioned above, is one of those. speaking is unusual, although not so much in mozart’s work, because he intentionally wrote singspiel, where spoken word is interspersed (often accompanied by a harpsichord) between the music. remember when i mentioned that there’s a character who never sings?

that’s the pasha. the one trying to “woo” konstanze—who only ever speaks to her, never sings, only ever in the “real” world, the one that the audience recognizes as the mirror to their existence.

(side note: i have synesthesia and mozart tastes delicious to me. ive been obsessed with mozart since i was a child; my grandmother believed she was spiritually connected to him, she was born on the 175th anniversary of his birth and died on the 215th anniversary of his death. she and i listened to all of his operas together when i was a child and i have her synesthete paintings of the magic flute overture that i need to frame.)

i’ve been meaning to write a fic based off of “die entführung” since about 2017, and initially intended to do a bnha/erasermight opera au—i failed at writing it five (lol,) times and finally shelved it permanently in 2020. but ive thought about this entire opera. a lot. and one of the things ive thought about most is the exchanges between the pasha and konstanze, and one in particular, where selim says:

Still so despondent, beloved Konstanze? Still in tears? Look, what a lovely evening, what charming surroundings, what enchanting music, my tender love for you? Tell me, can none of these calm you at last and move your heart? Consider: I could command you, I could be cruel to you, I could compel you. But no, Konstanze, I want to have your love because you, you yourself, gave it to me.

in dialogue, selim explicitly says that he will not use force against konstanze; he will not demand she love him if she does not, herself, love him. he refuses to demand that love of her, and loves her with all his heart and soul despite it being unrequited.

and, at the end of the opera...he lets her go. he lets her walk away, no questions asked, without any threat of recrimination for rejecting his love, and they have the following exchange:

KONSTANZE Lord, forgive me! Until now I valued your noble soul, but now I admire … SELIM Enough! I hope that, in return for the deceit that you practiced upon me, you should never regret that you rejected my love.

the opera ends on konstanze, instead of being fulfilled by the return of her truest love and her return to her status quo—a loss of the freedom and fulfillment of her time in the pasha’s harem, where she was treated as a fully self-actualized human being in ways that her lover never treats her, where she was free to come and go essentially as she pleased, with only the hope she might one day return the pasha’s love and even if she didn’t, he would never touch her—suddenly finds herself regretting. as they sail away, escaping the seraglio, the chorus sings a paen to the pasha, and konstanze...wonders.

this is, to put it lightly, both an incredibly subversive message for an otherwise oriental and racist operatic structure and form, as well as for mozart, in general, who tends to treat women as objects without true interiority, and love as “true” always when found.

to quote myself, in roleswap, the reason it is my favorite is thus:

“‘Lord, forgive me. Until now I admired your noble soul, but now I admire…’” Augustine sighed. “What does she admire? What does Konstanze leave unspoken at the end of the opera?” Lysandre raised his eyebrows even though the other man couldn’t see, waiting for him to continue. “Regret,” he finished. “It is my favorite opera because the characters are allowed to make a choice, for good or for ill, and regret that choice.”

so then, what the fuck does this have to do with this fanfic?

great question!

here’s the answer: i couldn’t sleep. i remembered prfr existed. i went and read rather a lot of fic. i decided that i didn’t like most of it. inspired by @ryttu3k‘s “yesterday upon the stairs” and my own innate desire to write lysandre pokemonxy getting stepped on, i decided i was going to be the change i wished to see in the world. i got a grand total of 0 minutes of sleep, woke up with the overture to this random opera stuck in my head so i turned it on, sat down, and wrote “as i treated him, so shall i treat you” in one single sitting and posted it and intended to be done with it and go back to my previously scheduled eldershipping fanfic.

and the i felt bad that i’d given lysandre emotional catharsis but didnt get to actually have good bdsm sex so i wrote “all too fond of eating stolen fruits” and my sister found @insecateur on twitter (HILARIOUSLY WE WERE NOT INTRODUCED BY OUR MUTUAL FRIEND) and then i got fucking stickbugged, lol. five months later, im still here. still stickbugged.

so: what does all that infodumping about opera have to do with anything else? well, what began as two (lol,) fics has now expanded into 16 fics and over 170k and my journey to not so much...fix. pokemonxy. but to make lysandre pokemonxy and augustine sycamore slightly less fucked up people.

i could command you, be cruel to you, compel you (IMAGINE IF I HAD PICKED A NORMAL NAME, FOR SOMETHING I MEANT TO BE ONE FIC, AND IS NOW SEVERAL NOVELS AND STILL GROWING, SO THIS IS WHY WE CALL IT C/C/C) is several things, but above all else, it is a meditation on the question of who is at fault when horrible things are done, and what reconstructive and reparative justice look like in the closed system of a jrpg—it asks of the narrative given in pokemonxy “what went wrong to get lysandre to where he ended up?” and then, more fundamentally, asks “and how do you fix that?” via the vehicle of kink, queer culture, found family, trauma recovery, equity, and solving problems on purpose.

it is, most simply, a reflection of the final chorus of “die entführung”:

Nothing is as loathsome as revenge; But to be humane and kind And to forgive without self-interest? Only a great soul is capable of that. Anyone who can forget such graciousness Deserves to be looked upon with scorn.

as for the rest of it (like say the actual fics in the series or anything about it or authors notes) idk im gonna do that later because frankly this is a lot of words about opera.

#ccc #this is a stable writing tag

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tinyshe · 2 years

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Classical Music for Reading

Tracklist: 01 Saint-Saens - The Carnival of the Animals: XIII, The Swan 00:00 02 Debussy - 2 Arabesques: No. 1, Andantino con moto 02:38 03 Satie - Trois Gymnopédies: No. 1, Lent et douloureux 06:44 04 Chopin - Nocturnes, Op. 9: No. 2 in E-flat major 09:32 05 Debussy - Suite Bergamasque, L. 75: III. Clair de Lune 13:51 06 Faulkner - Daydreaming 18:34 07 Yiruma - River Flows in You 21:30 08 Einaudi - Le Onde 24:32 09 Chopin - Douze Etudes, Op. 25: No. 1 "Aeolian Harp" 27:39 10 Liszt - Consolations, S. 172: No. 3, Lento placido 30:07 11 Debussy - Rêverie, L. 68 34:09 12 Tchaikovsky - The Seasons, Op. 37a: No. 5, May. White Nights 38:22 13 Tchaikovsky - The Seasons, Op. 37a: No. 6, June. Barcarolle 42:59 14 Tchaikovsky - The Seasons, Op. 37a: No. 12, December. Christmas 48:14 15 Mozart - Rondò in D major, K. 485 (Live Recording) 52:43 16 Galuppi - Piano Sonata No. 5 in C Major: I. Andante (Live Recording) 59:24 17 Costantini - Elegia 1:04:36 18 Sakamoto - Energy Flow 1:06:52 19 Sakamoto - Aqua 1:10:27 20 Einaudi - Nefeli 1:13:57 21 Faulkner - Ballade 1:17:43 22 Faulkner - Springtime 1:20:36 23 Corelli - Concerto Grosso No. 1 in D Major, Op. 6: I. Largo 1:23:40 24 Corelli - Concerto Grosso No. 9 in F Major, Op. 6: I. Preludio 1:26:35 25 Corelli - Concerto Grosso No. 9 in F Major, Op. 6: III. Corrente 1:28:42 26 Telemann - Viola Concerto in G Major, TWV 51:G9: I. Largo 1:30:36 27 Barrière - 6 Cello Sonatas: No. 4 in G Major: I. Andante 1:34:10 28 Telemann - Viola Concerto in G Major, TWV 51:G9: IV. Presto 1:38:55 29 Stamitz - Sinfonia Concertante in D Major: II. Romanza 1:42:01 30 Trad. - Greensleves (with variations) [Arr. for Cello and Violin] 1:48:34 31 Einaudi - Nuvole Bianche (Arr. for Two Cellos) 1:52:02 32 Faulkner - New Beginning 1:58:33 33 Mozart/Liszt - Ave Verum Corpus, S. 44 2:02:38 34 Mozart - Piano Sonata No. 16 in C Major, K. 545 "For Beginners": II. Andante 2:04:58 35 Mozart - Piano Sonata No. 17 in B-Flat Major, K. 570: II. Adagio 2:08:43 36 Liszt - Liebesträume, S. 541: No. 3 in A-Flat Major 2:15:50 37 Schumann - Kinderszenen, Op. 15: No. 7, Träumerei 2:21:36 38 Debussy - Préludes, Premier livre, L. 117: No. 8, La fille aux cheveux de lin 2:24:53

Track 1 performed by Sarah Joy (cello) & Kathy Hohstadt (piano) Tracks 2, 4-7, 10, 11, 21, 22 & 32 performed by Luke Faulkner Tracks 3, 8, 17-20, 33-35 performed by Carlo Balzaretti (solo piano) Tracks 9 & 36-38 performed by Giovanni Umberto Battel (solo piano) Tracks 12-16 performed by Vadim Chaimovich (solo piano) Tracks 23-25 performed by Kiev Chamber Orchestra, Liviu Buiuc Tracks 26, 28 & 29 performed by Giovanni Antonioni (viola), Warmia Symphony Orchestra, Silvano Frontalini Tracks 27 & 31 performed by Mr & Mrs Cello Track 30 performed by Duo.Hansen

#classical music #music #music for reading #relaxing music

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elcitigre2021 · 2 years

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Êxtase Musical um Dom da Cura para a Humanidade - 2

NOTAS CHAVE PARA CADA RAIO DIVINO

A Lista de músicas abaixo, foi elaborada pelo grupo de estudos dos Mestres Ascensos da Summit Lighthouse de Minnesota EUA, baseada nos ensinamentos dos Mestres Ascensos.

Estas músicas ajudam muito na elevação das energias de cada um dos 7 chakras e de sua casa também. Quando tocamos a nota chave de um Mestre Ascenso, isto magnetiza a Sua Presença entre nós.

MÚSICAS DO 1º RAIO DA VONTADE DIVINA:

Albinoni: Adagio Aloha Oe Beethoven: Symphony No. 5 Beethoven: The Heavens Are Sounding Bizet: Intermezzo from Carmen Bruckner: Symphony No. 9 Dykes: Eternal Father Elgar: Nimrod Variation Elgar: Pomp and Circumstance March #1 Franck: Panis Angelicus Gounod: Solidier’s Chorus Grieg: Anitra’s Dance Grieg: In the Hall of the Mountain King Khachaturian: Adagio from Spartacus Liszt: Hungarian Rhapsody #15 Respighi: Saint Michael, Archangel Rimsky Korsakoff: Song of India Sibelius: Karelia Suite (Intermezzo) Smetana: Die Moldau Sousa: Semper Fidelis Wagner: Bridal Chorus Wagner: Entrance of the Gods into Valhalla

MÚSICAS DO 2º RAIO DA ILUMINAÇÃO:

Beethoven: Ode to Joy Bethoven: Symphony No. 6 (5th Movement) Beethoven: Victory Symphony Berlioz: La Marseillaise Finden: Kashmiri Song Foster: Beautiful Dreamer Franck: All Music Gliere: Dance of the Golden Fingers Grieg: Dawn Herbert: Ah! Sweet Mystery of Life Nielsen: Helios Overture Pachelbel: Gigue Praise God From Whom All Blessings Flow Puccini: Un Bel Di Rimsky Korsakov: Invisible City of Kitezh Romberg: Golden Days Vaughn Williams: Greensleeves Vaughn Williams: The Lark Ascending Wagner: Evening Star

MÚSICAS DO 3º RAIO DO AMOR:

Bach: Air on a G String Borodin: Polvestian Dances Chopin: Piano Concerto No. 1 Frilm: Indian Love Call Homing: At Dawning Kreisler: Caprice Viennois Lehar: Yours Is My Heart Alone Mascagni: The Lord Now Victorious from Cavalleria Puccini: Intermezzo from Suor Angelica Puccini: Musette Waltz Rachmaninov: Symphony No. 2 (3rd Movement) Saint Saens: The Swan Sibeluis: Finlandia Sibelius: Symphony No. 2 Wagner: Isolde’s Transfiguration

MÚSICAS DO 4º RAIO DA PUREZA

Adams: O Holy Night Bach: Toccata and Fugue in D Minor Beethoven: Leonore No. 3 Beethoven: Nine Symphonies Bethove: Symphony No. 9 (3rd Movement) Gounod: Angel’s Chorus Grieg: Piano Concerto in A Minor Liszt: Benediction of God in the Solititude Liszt: Christus Liszt: Faust Symphony (2nd Movement) Liszt: Hungarian Rhapsody No. 2 Liszt: Liebestraum No. 3 Mahler: Symphony No. 5: Adagietto Mascagni: Intermezzo Rubinstein: Angelique Reve Schubert: Ave Maria Schubert: Symphony No. 9 Verdi: Anvil Chorus Verdi: Celeste Aida Verdi: Triumphal Scene Wagner: Fest March Wagner: Parsifal Prelude Act 1

MÚSICAS DO 5º RAIO DA CURA E DA VERDADE

Beethoven: Moonlight Sonata D’Indy: Symphony on a French Mountain Air Franck: Prelude, Choral and Fugue Glinka: Variations on a Theme by Mozart Handel: Messiah Overture Liszt: Un Sospiro Loewe: Heather on the Hill Mozart: Rondo Alla Turca Mozart: Sinfonia Concertante Pachelbel: Canon Rachmaninoff: 2nd Piano Concerto Sullivan: Onward Christian Soldiers Wagner: Tannhauser Overture

MÚSICAS DO 6º RAIO DA PAZ E DO SERVIÇO

Adams: The Holy City Anon: Londonderry Air Bach: Come Sweet Death Bach: Sleepers Awake Batiste: Pilgrim’s Song of Hope Bohm: Calm as the Night Boito: Prologue in Heaven from Mefistofele Brahms: Lullaby Byrd: Pavane for the Earle of Salisbury Deep River Delibes: Coppelia Suite Delius: On Hearing the First Cuckoo in Spring Gluck: Dance of the Blessed Spirits Handel: Joy to the World Humperdink: Children’s Prayer Leoncavello: Mattinata Mahler: Symphony No. 2 McDowell: To a Wild Rose Mendlessohn: Spring Song Mozart: Laudate Dominum Novello: Rose of England Rachmaninoff: 18th Variation Rimsky Korsakov: Russian Easter Overture Romberg: One Alone Straus: My Hero from The Chocolate Soldier Tchaikovsky: Amen from Peter Noster Verdi: Laudi Alla Vergine Maria Vivaldi: "Spring" from Four Seasons Wagner: Parsifal

MÚSICAS DO 7º RAIO DA LIBERDADE e CHAMA VIOLETA

Bruckner: Syphony No. 7 Hovhaness: Mysterious Mountain J. Strauss Jr.: Tritsch: Tratsch Polka J. Strauss Jr.: Voices of Spring Mendelssohn: War March of the Priests Prokofiev: Classical Symphony R. Strauss: Der Rosenkavalier Watzes Respighi: St. Gregory the Great Rodrigo: Concierto Aranjuez (Adagio) Schumann: Symphony No. 4 Strauss Jr.: Blue Danube Strauss Jr.: Tales from Vienna Woods Strauss Sr.: Radetzky March Tchaikovsky: Trepak from Nutcracker Wagner: Magic Fire Music Wagner: Ride of the Valkries Músicas Frequenciais

Estas freqüências sonoras foram aparentemente utilizadas em cantos gregorianos antigos, tais como o grande hino de São João Batista (…)

Acreditava-se que esses cânticos e os seus tons especiais tinham o poder de transmitir bênçãos espirituais quando cantados em harmonia durante encontros religiosos. Estas poderosas freqüências foram redescobertas pelo Dr. Joseph Puleo, como descrito no livro "Healing Codes" para o "Biological Apocalypse" de Leonard Horowitz.

PESQUISAS CIENTÍFICAS DIVERSAS COMPROVAM QUE O SOM AFETA A ESTRUTURA MOLECULAR DA ÁGUA.

NOSSO CORPO É 70% ÁGUA, NOSSO PLANETA É 3/4 DE ÁGUA, PORTANTO…

Os Seis "Solfeggio Frequencies" incluem:

UT 396 Hz - Libertando-se da Culpa e do Medo

RE 417 Hz - Desfazendo Complicações e Facilitando as Mudanças

MI 528 Hz - Transformação e Milagres (Reparador de DNA)

FA 639 Hz - Melhorando Relacionamentos

SOL 741 Hz - Despertando a Intuição

LA 852 Hz - Amor Incondicional/ Retornando ao Plano Espiritual / Reencontrando nosso EU SUPERIOR

As Músicas foram compostas por Jandy AKA

UT 396 Hz - Libertando-se da Culpa e do Medo

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MI 528 Hz - Transformação e Milagres (Reparador de DNA) 528 HZ É A FREQÜÊNCIA : a) da glândula pineal (centro do cérebro) b) do chakra do coração (centro do corpo) c) da cor verde (centro do spectro luminoso) segundo observações laboratoriais, através desta frequência de SOM, tanto a ÁGUA como o DNA são "milagrosamente" REESTRUTURADOS / REGENERADOS. https://youtu.be/tZrBRQn6K0A

FA 639 Hz - Melhorando Relacionamentos https://youtu.be/hwrMn0_0Phs

SOL 741 Hz - Despertando a Intuição https://youtu.be/YHM8-mT6CBo

LA 852 Hz - Amor Incondicional/ Retornando ao Plano Espiritual / Reencontrando nosso EU SUPERIOR. https://youtu.be/SeMn69Alu8k

936Hz - PARA ATIVAR A GLÂNDULA PINEAL https://youtu.be/3h2mJnvRbZ8

Invocação à Luz

A Invocação à Luz auxilia você a "prender" o Campo Unificado em posição e aumenta a absorção da Luz.

Eu vivo na Luz. Eu amo na Luz. Eu rio na Luz. Eu Sou sustentado e nutrido pela Luz. Eu sirvo alegremente à Luz. Pois EU SOU a Luz. EU SOU a Luz. EU SOU a Luz.

EU SOU. EU SOU. EU SOU.

Arcanjo Ariel

CÉLULAS TUMORAIS EXPOSTAS À "QUINTA SINFONIA", DE BEETHOVEN, PERDERAM TAMANHO OU MORRERAM.

Mesmo quem não costuma escutar música clássica já ouviu, numerosas vezes, o primeiro movimento da "Quinta Sinfonia" de Ludwig van Beethoven. O "pam-pam-pam-pam" que abre uma das mais famosas composições da História, Descobriu-se agora, seria capaz de matar células tumorais - em testes de laboratório.

Uma pesquisa do Programa de Oncobiologia da UFRJ expôs uma cultura de células MCF-7, ligadas ao câncer de mama, à meia hora da obra. Um em cada cinco delas morreu, numa experiência que abre um nova frente contra a doença, por meio de timbres e frequências. A estratégia, que parece estranha à primeira vista, busca encontrar formas mais eficientes e menos tóxicas de combater o câncer: em vez de radioterapia, um dia seria possível pensar no uso de frequências sonoras.

O estudo inovou ao usar a musicoterapia fora do tratamento de distúrbios emocionais. - Esta terapia costuma ser adotada em doenças ligadas a problemas psicológicos, situações que envolvam um componente emocional. Mostramos que, além disso, a música produz um efeito direto sobre as células do nosso organismo - ressalta Márcia Capella, do Instituto de Biofísica Carlos Chagas Filho, coordenadora do estudo.

Como as MCF-7 duplicam-se a cada 30 horas, Márcia esperou dois dias entre a sessão musical e o teste dos seus efeitos. Neste prazo, 20% da amostragem morreu. Entre as células sobreviventes, muitas perderam tamanho e granulosidade. O resultado da pesquisa é enigmático até mesmo para Márcia. A composição "Atmosphères", do húngaro György Ligeti, provocou efeitos semelhantes àqueles registrados com Beethoven.

Mas a "Sonata para 2 pianos em ré maior", de Wolfgang Amadeus Mozart, uma das mais populares em musicoterapia, não teve efeito. - Foi estranho, porque esta sonata provoca algo conhecido como o "efeito Mozart", um aumento temporário do raciocínio espaço-temporal - pondera a pesquisadora. - Mas ficamos felizes com o resultado. Acreditamos que as sinfonias provocaram apenas alterações metabólicas, não a morte de células cancerígenas.

"Atmosphères", diferentemente da "Quinta Sinfonia", é uma composição contemporânea, caracterizada pela ausência de uma linha melódica. Por que, então, duas músicas tão diferentes provocaram o mesmo efeito?

Aliada a uma equipe que inclui um professor da Escola de Música Villa-Lobos, Márcia, agora, procura esta resposta dividindo as músicas em partes. Pode ser que o efeito tenha vindo não do conjunto da obra, mas especificamente de um ritmo, um timbre ou intensidade. Quando conseguir identificar o que matou as células, o passo seguinte será a construção de uma sequência sonora especial para o tratamento de tumores. O caminho até esta melodia passará por outros gêneros musicais.

A partir do mês que vem, os pesquisadores testarão o efeito do samba e do funk sobre as células tumorais. - Ainda não sabemos que música e qual compositor vamos usar. A quantidade de combinações sonoras que podemos estudar é imensa - diz a pesquisadora. Outra via de pesquisa é investigar se as sinfonias provocaram outro tipo de efeito no organismo. Por enquanto, apenas células renais e tumorais foram expostas à música.

Só no segundo grupo foi registrada alguma alteração. A pesquisa também possibilitou uma conclusão alheia às culturas de células. Como ficou provado que o efeito das músicas extrapola o componente emocional, é possível que haja uma diferença entre ouví-la com som ambiente ou fone de ouvido. - Os resultados parciais sugerem que, com o fone de ouvido, estamos nos beneficiando dos efeitos emocionais e desprezando as consequências diretas, como estas observadas com o experimento - revela Márcia.

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Leia mais no Blog "Terapias con Sonidos"

ODE À ALEGRIA - 9ª Sinfonia de Beethoven

Em vez de entrar nas atividades normais, você pode escolher entrar na Vibração Divina dessas 10.000 vozes. Dê-se um tempo, sem pressa. Esta será sua sessão de Cura. Fique confortável e ligue o som. Entregue-se. Abra todos os seus Chakras, Meridianos e Poros para receber em seus corpos (Físico, Emocional, Mental, Espiritual) as ondas sonoras emitidas. Conscientize-se de que essa vibração tem Poder e Cura. Coloque suas mãos aonde dói e onde Você sente que precisa de Energia. Percorra delicadamente com suas mãos todos os locais onde seu corpo está fragilizado.

Acredite. Agradeça. Deus está Presente.

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MÚSICA PARA EQUILIBRAR OS HEMISFÉRIOS CEREBRAIS (melhor se ouvido com fones de ouvido)

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852 Hz➤ LIBERAR MEDO, PENSAMENTOS REPETITIVOS, PREOCUPAÇÕES & ENERGIA

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Música Xamânica - Para ATIVAR ENERGIA DE CURA, Eliminar Ansiedade, Medo e Negatividade

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#conhecimento #curaenergetica #sonsquecuram #sabedoria #discernir #sairdailusão #musicas #frequencia #vibração #despertar #consciência #Youtube

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gasparodasalo · 7 months

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Anonymous classical period composer - Concertante for 2 Clarinets d'amore and Orchestra in G-Major, III. Rondo. Performed by Vlad Weverbergh, clarinet d'amore & direction, Diederik Ornée, clarinet d'amore, and Terra Nova Collective on period instruments.

#anonymous composer #classicism #clarinet d'amore #orchestra #concertante #period performance #period instruments #rarely performed composers #anonymous composers #clarinet #woodwinds #band #strings #string orchestra #sinfonia concertante #rondo #classical music #concerto #double concerto

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mozart-1053 · 8 months

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sinfonia concertante in a major, k. 320e (fragment)

#k. 320e #mozart's one of the best unfinished works #only if he left more cello works for us #wolfgang amadeus mozart

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gaytobymeres · 2 years

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been obsessed with this song today....also it makes me want to cry

#idk who this guy is. but this song is so nice #music #Spotify

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senfonikankara · 5 months

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Mozart | Sinfonia Concertante

Suna Kan & Ruşen Güneş

#suna kan #ruşen güneş #Mozart #Classical Period #klasik müzik #submission

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lesser-known-composers · 28 days

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youtube

Dmitry Bortniansky (1751-1825) : Sinfonia concertante in B Flat Major

Natalia Gerasimova, Marina Butir, Natalia Burnasheva & Musica Viva, Alexander Rudin (conductor)

#Dmitry Bortniansky #classical music #Youtube

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dopingconsomme · 29 days

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2024年04月01日の記事一覧

2024年04月01日の記事一覧 (全 17 件) 1. XZ Utilsの脆弱性 CVE-2024-3094 についてまとめてみた - piyolog 2. ノーマ・シェフィールド - DO YOU REALLY WANNA LOVE ME - MF GHOST VERSION 3. HOTBLADE - MANIFOLD LOVE - MF GHOST VERSION 4. 椛田早紀 - Lonely Rolling Star 5. 田中昌之 - 塊オンザロック～メインテーマ 6. 紗倉ひびき(CV:ファイルーズあい) - お願いマッスル 7. エクトル・ベルリオーズ - Roméo et Juliette, Op. 17, H 79, Pt. 2: No. 2b, Fête 8. エクトル・ベルリオーズ - Berlioz: La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Le vieil hiver a fait place au printemps" (Faust) 9. エクトル・ベルリオーズ - Tristia, Op. 18, H.119: 1. Méditation religieuse, H.56b 10. エクトル・ベルリオーズ - Berlioz: La Damnation de Faust, Part 1, H. 111: "Les bergers quittent leurs troupeaux" (Chorus/Faust) 11. フランソワ＝ジョセフ・ゴセック - Symphonie concertante in D Major, "Mirza": I. Allegro 12. フランソワ＝ジョセフ・ゴセック - Grande Messe des Morts: V. Graduale: Requiem aeternam - Grave 13. フランソワ＝ジョセフ・ゴセック - Sinfonia In B Flat Major: III. Allegro 14. フランソワ＝ジョセフ・ゴセック - Grande Messe des Morts: II. Introitus: Requiem aeternam - Grave 15. フランソワ＝ジョセフ・ゴセック - Gavotte in D Major, "Rosine" (arr. for violin and piano) 16. 「TikTokは事実上のキーロガー」と専門家、知らないうちにユーザーを侵害する「アプリ内ブラウザ」の脅威とは？ 17. https://www.nicovideo.jp/watch/sm43604451 April 02, 2024 at 05:00AM

#IFTTT #複数のRSSをまとめるのデイリーフィード - DailyFeed #last.fm #April 02 #2024 at 05:00AM

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zed-air · 1 month

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CKUA - The Score & Maestri: 2024

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>> Listen via CKUA OnDemand

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In April 2024 CKUA launched INTERMISSION - a seasonal schedule change to its classical music programming. CKUA host Mark Antonelli has been on extended leave and is expected to return to his radio duties in September 2024. Until then, CKUA introduces five new classical programs presented by four different CKUA hosts, as temporary replacements for Mark's programs Sunday Breakfast and Classic Examples. Two of these programs, The Score (Wednesdays) and Maestri (Thursdays) are hosted by Oskar Zybart.

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The Score is an exploration of new releases and current events in classical music. The program is not era-specific, so baroque and chamber pieces will sit inquisitively against avant-garde and vocal selections, and there may even be occasional deviations into composers with electronic and jazz backgrounds. Not limited to recorded music, we'll also present periodic chats with members from our classical-music community for an inside scoop regarding activity on Albertan concert stages. Theme music: “Franz Schubert” by Kraftwerk.

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Maestri is a deep dive into the life and works of a single significant figure. Each week we profile a composer, or a conductor, or a performer. Sometimes, that individual is all of the above! Part biography, part musical study, Maestri celebrates the various music masters of yesterday, today, and tomorrow.

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TITLE • PERFORMING ARTIST • ALBUM • AIRTIME

(01) 2024-04-03 - 20:00-22:00 - The Score

F. Schubert: D89 German Dances 1-5 • Daniel Hope • DANCE! • 20:03

F. Tellez: Suite Concertante, Op 2 • Canadian Studio Symphony • TELLEZ: EVOCATIONS • 20:19

Marini: Sonata Quarta Per Il Violin... • Les Barocudas • BASTA PARLARE ! • 20:38

Castello: Sonata Duodecima a 3 • Les Barocudas • BASTA PARLARE ! • 20:48

M-A. Hamelin: Toccata on L'homme arme • Marc-Andre Hamelin • NEW PIANO WORKS • 20:59

J. Brahms: 3 Intermezzi, Op. 117 • Helene Grimaud • FOR CLARA • 21:08

K. Weill: Symphony #2 • Ulster Orch; T. Kocsis • VIOLIN CONCERTO... • 21:26

(01) 2024-04-04 - 20:00-22:00 - Maestri (feat. Franz Schubert)

F. Schubert: Overture In D Major, D556 • Prague Sinfonia Orchestra • COMPLETE OVERTURES 2 • 20:01

F. Schubert: Piano Sonata No 13 in A, D664 • Janina Fialkowska • PIANO SONATAS • 20:10

F. Schubert: Trio #1 D898, Op99 • Gryphon Trio • SCHUBERT: COMPLETE PIANO TRIOS • 20:29

F. Schubert: Ave Maria • Grant Cahoon & Lawrence Gee • SERENITY • 21:08

F. Schubert: Mass #2, D167, parts 1, 3, 6 • Bavarian RSO & Choir • SCHUBERT / GOUNOD • 21:15

F. Schubert: Symphony #6 D589 • CBC Vancouver Orchestra • SYMPHONIES 5 & 6 • 21:30

F. Schubert: Scherzi D593: Allegretto... • Marie-Andree Ostiguy • IMPROMPTUS & SCHERZI • 21:56

(02) 2024-04-10 - 20:00-22:00 - The Score

>> The full interview with Hank Knox is available to stream on YouTube.

Merula: Canzon #19 • Les Barocudas • BASTA PARLARE ! • 20:02

Grillo: Canzon Sestadecima a 4 • Les Barocudas • BASTA PARLARE ! • 20:05

Myers: Cavatina • Pablo Sainz-Villegas • THE BLUE ALBUM • 20:09

Satie: Gymnopedie No. 1 • Pablo Sainz-Villegas • THE BLUE ALBUM • 20:13

Candyman Suite • Angele Dubeau & La Pieta • SIGNATURE PHILIP GLASS • 20:17

Schubert: Sonata D.958 • Luisa Guembes-Buchanan • C MINOR MOODS • 20:24

N. Rota: Clarinet Sonata in D • G. Gojevic; M. Kenedi • CLARINET SONATA; TRIO • 20:47

G. F. Handel: Ariodante: Con l'ali di • J. Boulianne; L. Beausejour • ALMA OPPRESSA • 21:06

Interview with Hank Knox • Oskar Zybart • CKUA INTERVIEWS • 21:14

G. F. Handel: Ariodante: Qui d'damor n • J. Boulianne; L. Beausejour • ALMA OPPRESSA • 21:19

Interview with Hank Knox • Oskar Zybart • CKUA INTERVIEWS • 21:22

J. S. Bach: Ricercar a3, BWV 1079 • Hank Knox • OEUVRES POUR CLAVIER • 21:26

V. Silvestrov: Maidan 2014 • Kyiv Chamber Choir / M Hobdych • MAIDAN • 21:33

(02) 2024-04-11 - 20:00-22:00 - Maestri (feat. Nino Rota)

N. Rota: Trio for Clarinet, Cello & Piano • G. Gojevic; W. Zelenka; M. Kenedi • CLARINET SONATA • 20:02

N. Rota: Fantasia in G for Piano • Mary Kenedi • CLARINET SONATA • 20:20

N. Rota: Ai Giochi Addio • Alessandra Paonessa • REMEMBERING HEAVEN • 20:37

N. Rota: Il Gattopardo suite • Deutsche Staatsphilharmonie • MASCAGNI / ROTA • 20:42

N. Rota: The Godfather: Love Theme • 2Cellos • SCORE • 21:02

N. Rota: La Strada: Tema • Richard Galliano • NINO ROTA • 21:08

N. Rota: La Strada: La Processione • Richard Galliano • NINO ROTA • 21:11

N. Rota: La Strada: Zampano E La Vedova • Richard Galliano • NINO ROTA • 21:14

N. Rota: Symphony #3 • Filarmonica '900 Del Teatro... • ROTA: SYMPHONY #3 • 21:19

N. Rota: Concerto for Bassoon • CBC Vancouver Orch; C. Millard • CONCERTI ITALIANI • 21:38

N. Rota: La Dolce Vita theme • Angele Dubeau & La Pieta • SILENCE ON JOUE • 21:57

(03) 2024-04-17 - 20:00-22:00 - The Score

(03) 2024-04-18 - 20:00-22:00 - Maestri

(04) 2024-04-24 - 20:00-22:00 - The Score

(04) 2024-04-25 - 20:00-22:00 - Maestri

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FUTURE PLAYLISTS TO FOLLOW BROADCASTS

>> Explore my playlist history for other dates and programs.

~~ Featured content ^^ Listener recommendations/requests ++ Tonight’s ‘odd one out’ / vintage vinyl

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PROMO TEXT

The Score - The world of orchestral music remains as vibrant and active as ever. Fresh recordings and unique interpretations continue to spring from legacy artists and emerging talents alike. New pieces; new releases; new performances. The Score spotlights recent additions to CKUA's classical music library, along with recordings from related genres boasting similarly ambitious arrangements and orchestral originality. Not limited to recorded music, we'll also present periodic chats with members from our classical-music community for an inside scoop regarding activity on Albertan concert stages.

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Maestri - The terms 'maestro' and 'maestra' have long been applied to great individuals in music - those with a particular gift for composition, performance, and/or conducting. History is rich with such talents, though some are better known than others. Each week on CKUA, we take a detailed dive into the career and catalogue of a single exceptional subject. Some episodes focus on elements of one's works in isolation, while others might navigate specific themes or compare similar approaches by multiple maestri. From the middle ages to the present day, across boundaries and borders, there's always more to explore.

#playlist #ckua #radio #2024 #the score #maestri #classical music #orchestra

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