While living in West Bengal with the goal of studying Hindustani Raga Music, I regularly experienced the vast repertoire of Bengali composers and songwriters. As a person of Punjabi-Euro origin the music of Bengal utilized instruments, sounds, and song forms I had never encountered. During my stay I played saxophone along side Baul singers in Tanmoy Bose's band Taal Tantra. I listened to the poetry and songs of Tagore at chai stands, on concert stages, and on rooftops. These experiences struck me as an important testament to the plurality of South Asia's cultural landscape. As a followup to my first wind ensemble piece, Samay Raga, Three Songs of Bengal is a reflection on the music I encountered within Bengali communities. Each movement is an instrumental arrangement of a traditional Bangla (Bengali) song for concert band. The piece begins with a song composed by Rabindranath Tagore, the polymathic artist, poet, playwright, composer, and activist who was an important figure in the Bengal Renaissance. The second movement is by Kazi Nazrul Islam who was nicknamed the "rebel poet" for his dissent against the British Empire and the cultural hegemony of Tagore. The piece concludes with a song from the Baul tradition, a community of wandering minstrels whose music centers nature themes and the body.
You might have heard of the three song rule. First three songs, no flash! But what exactly is the three song rule? Who came up with the concept and what can you do as concert photographer to make the photo pit experience a great one.
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Not all photographers were legit, some were hobbyists, others might have never shot a concert before. Most did this in order to get into the concert and see their favourite band or musician. So with this in mind some control was needed.
The rule of a time limit was introduced by giving photographers 15 minutes at a time. As with most songs being approximately 5 minutes or less, it was decided that they should only be allowed to photograph the first three songs. The band then could continue with their performance without the hindrance, annoyance, or distraction of concert photographers. Also, some musicians are very active on stage, so they wanted to get captured at their best, rather than sweaty or tired.
The rules are simple and MUST be followed or you may be thrown out of the venue. When you are provided a press accreditation (photo pass) for an event to shoot in a photo pit, you already know you are only allowed the first thee songs for each performance. There are exceptions to the rules, but this is only given in special circumstances e.g when working directly with bands to shoot the whole concert.
Music playback starts ok, but then after a while it will start repeating the same song(s). Sometimes it will start repeating the same 3-4 songs over and over again, and sometimes it will get stuck on the same song over and over again.
Thanks for sharing details about the issue. I know how challenging it is when you're having issues playing music on your Google Nest Hub. I'd love to dig deeper into this. A few questions: when did the issue start? Are you playing a playlist? Is the loop settings disabled from Spotify app? Does it happen to other music services like YouTube Music?
Golijov grew up in Argentina, in a family that had settled there in the 1920s from Romania and the Ukraine. With a mother who taught piano, he grew up surrounded by music: classical chamber music, Jewish liturgical and Klezmer music, as well as the new tango of Astor Piazzolla. The songs on this program were each originally written for separate works and occasions; Golijov rearranged them and collected them to form Three Songs for Soprano and Orchestra.
The first of the Three Songs, the cinematic Night of the Flying Horses (from Sally Potter's movie The Man Who Cried, about the doomed love between a young gypsy man and a Jewish woman) includes the Yiddish lullaby "Close Your Eyes," as well as a "doina" (a mournful style of Romanian song) and a "gallup" - a theme Golijov says he "stole" from his friends, the gypsy band Taraf de Haidouks, who played on the movie's soundtrack.
In How Slow the Wind, a setting of two short Emily Dickinson poems, Golijov responds to a friend's death in an accident. He writes, "I had in mind one of those seconds in life that is frozen in the memory, forever - a sudden death, a single instant in which life turns upside down, different from the experience of death after a long agony." In the words of Dickinson, "How slow the wind, how slow the sea, how late their feathers be!"
Henri Membertou was the grand chief of the Micmac tribe located near the first Frenchsettlement in Acadia, near Port Royal in present-day Nova Scotia, Canada.As a young man, he had met the French explorerJacques Cartier (1491-1557) and throughout his life developed good relationships withFrench explorers. Late in life, he converted to Christianity and adopted the first name Henri in honor of the late king of France, Henry IV ([Bumsted 2007]).
In 2007, Canada Post issued a 52 stamp dedicated to Membertou as part of their French Settlement Series.Since there were no reliable portraits of Chief Membertou,illustrator Suzanne Duranceau conceived a portrait with the assistance of historian Francis Back ([CanPost 2007]).
Lescarbot later published an account of Membertou's songs in Chapter 5 of the third edition of his book ([Lescarbot 1617]) using solfege notation for the melody. Here are the words and solfege melody of the three songs, from the Project Gutenberg 2007 edition ([Lescarbot 2007]):
Solfege notation can be adequate for conveying a melody, but it says nothing about the rhythm of a song. Rhythm had traditionally been conveyed using a number of standard rhythmic modes, but European composers were responding to music that called for increasingly more complex rhythms by developing a notation system that conveyed the rhythm as part of the written music. The system of mensural notation was developed that incorporated the rhythm in to the shape of the note heads on a written five-line staff. Mensural notation is the predecessor to the present-day modern music notation.
Shortly after Lescarbot's return to France, a religious movement began to educate, catechize, and baptize Canadian indigenous cultures. The secretary of Louis XIII asked the Rcollet Franciscan order to send missionaries to Canada, with support from Anne of Austria, the consort of Louis XIII. In 1623, Gabriel Sagard-Thodat, a French missionary, arrived in Quebec and proceeded on to live with the Huron Indians ([Herbermann 1913]).
In this full song arrangement, the core melody is repeated twice at using at the starting note, then once at , transposed up to start at the note . Then an section is repeated, followed by a section at that repeats the core melody starting at . Then and sections are repeated. Note that at the end of the piece at , the melody is modified slightly to resolve the melody.
The result of the improvised sessions that led to New Blue Sun is subtle but daring. Mainly because it flies in the face of everything we've come to expect, and selfishly demand, as Andr 3000 fans. Kai Regan/Courtesy of the artist hide caption
At a certain point in the winding lifespan of Andr 3000's musical journey, there came a time when we as fans began to worry less about his lack of creative output and more about his general well-being. He'd ascended pop's mountaintop as the outrageous half of OutKast, the best-selling hip-hop duo of all time. Then, without much explanation, he bowed out. He grieved the loss of three parents (mom, dad and stepdad) in a decade's time. And, for years, the only glimpse we got into his state of mind were the random guest verses he'd kill at will or the doubly random social media sightings of him inexplicably playing flute while wandering the Earth solo.
The painstaking standard Andr 3000 set may have made it harder to entertain himself in the years post-OutKast, but so has the thought of chasing his tail. Even without a solo rap album in his catalog, he's consistently ranked among the greatest of all time. Like Coltrane reaching for new heights, he mastered rap's rigidity, pushed it past its limits and eventually reconfigured the entire landscape alongside Big Boi. He granted a lineage of ATLiens permission to run amok with melodic, sing-songy rhyme styles that would earn them the same early derision and eventual mass following he'd gained.
Aging gracefully is not a luxury afforded most rappers. Even 50 years in, hip-hop is still no country for old men. But what of the rapper who comes to see rap itself as old hat? How should we, as fans, react when the poet laureate of our collective psyche trades in his pen for a woodwind?
When we talked a few weeks before the album's release, he was equally transparent and tangible, whether laughing about Tyler, the Creator's funny response to his new music, detailing the wild ayahuasca trip that had him purring like a panther in Hawaii or sharing the reason why he gets so many requests to play flute at funerals now.
Rodney Carmichael: There's obviously been a lot of pressure from fans for you to release a new album for years now. I'm sure you've felt it. But from what I've heard you say in past interviews, it seems like maybe the greatest pressure you felt was the pressure you were putting on yourself at times.
Andr 3000: Yeah, for sure. It's always been that way. Even in our height of what people know of what I've done before, I was always like a slow writer. I'm not a freestyler. I don't be freestyling. I just wasn't blessed with that.
I'm a writer, and not necessarily a pen and pad writer, but I construct and architect verses in a way. That's what I've been doing all my life. So I look at it in that way, and if I'm not satisfied with what it is I just don't put it out. Even during the earlier times, Big Boi, he just kind of got down, like, he's so fast and efficient with what he does. And it'll take me a minute to throw them down. So I've always kind of been analyzing it or figuring out how I wanted to approach it. 152ee80cbc
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