Un clásico del videoclip para celebrar Hallowen

Thriller,es famoso por muchas razones pero una de ellas por ser el primer video musical donde se relata una historia,una producción de 13 minutos ,dirigida por John Landis.Una producción que cuenta con impresionantes coreografías que se han convertido fuente de inspiración para numerosos artistas.Hoy dia de Hallowen desde EscuchayCalla ,rendimos homenaje al Rey del Pop,aqui os dejamos el video.

Federica Santini (ex FM di X Factor) vince il "Concorso Emergenti 2009" e vola a Sanremolab

Voglio fare un piccolo regalo ad un’amica e parlare di un suo piccolo grande successo. Il riferimento è alla spoletina Federica Santini, che per chi non se la ricorda, era la bionda del gruppo FM, i sei solisti messi insieme da Morgan nella prima edizione di X Factor.

Ha ripreso la sua carriera da solista e finalmente è arrivato il primo successo. Si è imposta a Milano nella manifestazione “Concorso canoro giovani emergenti 2009″. Si è imposta nella categoria Cantautori con il brano “Non sarò mai” di cui lei è autrice di parole e musica, con l’arrangiamento di Marco Rea.

In giuria c’erano Andrea Rodini, vocal coach ad X factor, Massimo Cotto, giornalista e direttore artistico di Sanremo Lab e Franco Zanetti, direttore di Rockol. Un bel successo per lei che così, oltre alla produzione del singolo in concorso, che vi faremo sentire presto, ha vinto l’iscrizione a SanremoLab e proverà dunque a giocarsi l’ingresso al Festival.

Sono veramente contento di darvene notizia perchè è bravissima (qui potete ascoltare alcune sue canzoni) e perchè X Factor, inserendola in quel gruppo, non le ha dato davvero giustizia. E chissà che per lei non si spalanchino le porte di Sanremo…

 

Nev - Sen Gibi

Suya yazı yazmak gibi seni sevmek
Yorgunum, üşüyorum
Yanındayım, ama yalnız ne çare
Suskunum huzursuzum

Gözlerinde uçurumlar korkup da yüzleşmeye
Bakışların kaçar gider gücüm yok yetişmeye
Düğüm düğüm oldu içim ne olur birşey söyle
Sen sustukça içimde isyanlar, çığlıklar
Gece avutmuyor gönlüm unutmuyor
Dokunduğum hiç bir ten senin gibi kokmuyor
Avuçlarımda eriyen buz gibisin
Damla damla akıp giden umutlarım gibisin
Çaresi derdinden daha zor
Yüreğimiz yetmiyor söylesene nerdesin
Gözlerinde uçurumlar korkup da yüzleşmeye
Bakışların kaçar gider gücüm yok yetişmeye
Düğüm düğüm oldu içim ne olur birşey söyle
Sen sustukça içimde isyanlar, çığlıklar
Gece avutmuyor gönlüm unutmuyor
Dokunduğum hiç bir ten senin gibi kokmuyor
Koyamadım kimseyi yerine sen gibi
Sevemedim kimseyi içimdeki sen gibi

MUSIC KORNER - Suonare dal vivo non è mai stato cosi facile!

Hai un gruppo rock? folk? jazz? pop? indie? Country? o di un genere che non ha ancora un nome? sei un solista? o un duo? o un trio? o una band senza un numero preciso? non hai mai suonato dal vivo ma vorresti provare a farlo? oppure lo hai già fatto e vorresti farlo ancora? ISCRIVENDOTI GRATUITAMENTE AL MUSIC KORNER!
Sabato 7 Novembre dalle 14:30 alle 19:30 potrai far ascoltare la tua musica!
Il Music Korner è uno spazio nel centro di Campi Bisenzio dove troverai un amplificazione per suonare dal vivo e dei fonici a tua disposizione per far ascoltare la tua musica al pubblico presente…devi solo portare il tuo strumento e la tua voglia di suonare… per farne parte devi iscriverti mandando una mail a m.arena@coopmacrame.it o telefonando al 3406201078….e sarai ricontattato!
il Music Korner è un attività all’interno del Progetto RE.GI.E. del Comune di Campi Bisenzio e Organizzato dalla Cooperativa Sociale Macramè in collaborazione con le Associazioni del territorio.

The Literalism Humour

The final of the four humours of music. The literalism humour like, the impressionism humour, defines what a piece of music says and how it says it. Unlike the impressionism humour, the meaning of music with a high level of the literalism humour comes directly from the creator rather than the listener. The most obvious way a creator provides this meaning to a piece of music is with lyrics which guide the listeners mind in a certain direction. More so than an instrumental piece where more is left to the imagination of the listener. However, even providing a title pushes the creator’s thinking into the mind of the listener. For example calling an instrumental piece “The Forest” will have the listener thinking about a forest and trying to attach the mental images the have of a forest to the music, if the piece was untitled who knows where the listener’s mind would go. Even classical titles such as “Study in …”, “Prelude”, “Variations on a theme of …” tell the listener what the piece is about, what to expect and what to take from the music.

Of course an imaginative listener may throw the creators instructions away and come up with some completely different interpretation whereby the levels of the literalism humour and impressionism humour in the music would shift in favour of the impressionism humour.

The level of the literalism humour in a piece of music determines how much of the meaning of the music comes from the creator.
The level of the impressionism humour in a piece of music determines how much of the meaning of the music is generated by the listener.

Even in music with lyrics, written in a language in which you are fluent, whose meaning may at first look obvious, there is always room for interpretation.

The levels of these humours in a piece of music therefore depend on both the creator and listener and are not fixed, varying with mood and each listen/performance.

elleadore.com

Nous vous présentons un de nos partenaires  pour notre journée d’exposition éphémère du jeudi 5 novembre 2009.

Magazine féminin en ligne, elleadore.com, c’est 20% de frivolité, 30% de curiosité et… 50% de passion, à consommer sans modération !

elleadore…se détendre sur le site et feuilleter chaque jour de nouveaux articles chics, drôles et pétillants…consulter les tarots et l’horoscope, jouer au solitaire, au mahjong…

elleadore…échanger ses aventures de shopping sur le forum

elleadore… partager ses gourmandises avec la communauté, ses trucs et astuces de cuisine, ses fiches créatives…

elleadore… être à la pointe de l’actualité culturelle : musique, ciné, télé, livres, expo, photo, art, tendances…

elleadore… découvrir des interviews de ses artistes préférés :  Shakira, Scarlett Johansson, Ayo, Lenny Kravitz, Sia, Moby…

 Retrouvez elleadore.com sur le site : elleadore.com

Standard Time ~~ "You've Got a Friend"

Carole King’s “You’ve Got a Friend” may not be the most covered pop song of the second half of the 20th century, (that title is often said to belong to McCartney’s “Yesterday”), but it may be the most successfully covered. I say this because despite Carole King having written and initially recorded it, the most famous version remains James Taylor’s. In addition, countless other versions exist from artists who have since made it staples of their own. The wide array of interpretations help show that besides being a superbly written song, it is remarkably flexible. Taylor’s version is, true to form, very low-key, with little more than guitar, percussion, and beautifully sung backup-vocals (courtesy of Joni Mitchell); quite different than the original. But, as we will see, the song has the ability to convey all types of emotions and styles.

Carole King

Despite it being composed and often performed by Carole King, many have not heard her original version. In comparison to where it would eventually go, this is a rather tame take. Take note of the short introductory tag, which is only otherwise utilized by James Taylor. The form is unusually long, and we can either see it as a an ABABCB form or AABBAABBCBB, because the verses and choruses turn around on themselves without really reaching a cadence. The style and tempo falls somewhere between a ballad and a medium soul tune, both of which we will see fully realized later. In addition to the heavy soul inflections provided by King, there is a strongly implied backbeat that never manifests itself. It can be assumed that King certainly approached this song as a ballad, but others, such as Donny Hathaway, took it into a more driving, soulful direction.

Donny Hathaway

There were many soul artists of the 70’s who covered “You’ve Got a Friend,” including Al Green and Aretha Franklin. It was even included on an expanded reissue of Dusty Springfield’s Dusty in Memphis. But of all of them, the Donny Hathaway and Roberta Flack duet version was probably the most well known. While this recording of Donny Hathaway performing the song live does not include Flack, it is based on the same arrangement and features an incredible performance by Hathaway. Hearing this song live shows how powerful Hathaway was able to make the song, this time including a heavy backbeat and lots of soulful melismas and crowd-participation. It is in this version that we see the song as more of a crowd pleasing soul standard as opposed to a ballad, and the effect is significant. It’s hard to believe that this song wasn’t written specifically for Hathway; it fits his voice and style perfectly, and this still stands as one of his best recorded performances.

Jacky Terrasson

Like its utilization in the soul community, there are many jazz musicians who have interpreted “You’ve Got a Friend.” Some were recorded as early as its release, including a version by Ella Fitzgerald with the Count Basie Orchestra. It has actually become more increasingly popular in recent years, especially with pianists. Kevin Hays, for one, recorded it for his album of the same name, which featured other newly interpreted modern standards.

Jacky Terrasson’s recent solo version is especially interesting. Going more in the ballad direction, the french pianist mixes classical flourishes with beautiful harmonies to create a genuinely emotional version of this classic. The length of the form is certainly felt in his slower take, but without much cost. The verses and choruses are performed with such tasteful refrain that when the bridge finally does arrive (over 4 minutes into the song) it is all the more powerful. Terrasson’s interpretation is of particular interest because, surely as a testament to the song’s quality and longevity, for the most part very few have taken it very far from its initial harmonic form. Still, much of the form remains the same, but Terrasson adds new and vibrant harmonic colors to the climax of the chorus as well as the intro and outro.

These three versions of “You’ve Got a Friend”, with the addition of the probably too-often heard James Taylor version, clearly illustrate a song that has rightfully earned a place in the library of “modern standards.” It has still been under 50 years since its initial recording, but the obvious power and distinction this song holds show it will continue to be covered for a long time.