Built in the 19th century, the Castello Claves is located in Sicily, Italy.
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En ese espíritu de debate civilizado, incluyente y sin balas, figuran las claves de la nueva sociedad colombiana.
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There are blinking lights in the corners and there are blankets, drums and claves lying in front of the altar.
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Por mucho tiempo fue mal visto que estuvieran en el agua, pero en la actualidad son claves en la economía local.
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On "Caribbean Vortex/Hidden Voices," the trio moves in shadow while two guest percussionists play claves, sketching an outline that's deceptively clear.
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La lectura de Lolita, la célebre novela de Vladimir Nabokov, le dio las claves para escapar de una relación tórrida y adictiva.
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En este especial de The New York Times [en portugués] ofrecemos algunas claves de ese desastre minero que ha conmocionado a Brasil.
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Amadeo brought out some claves, and he and Berlin compared the timbre of a few, taking turns tapping along with the music on the boom box.
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En este enlace [en inglés] podrás consultar una guía de nuestra cobertura de temas como la economía, el sectarismo y la seguridad, que fueron claves durante la campaña electoral.
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A muchos nos repitieron que es de mala educación conversar sobre dinero, pero los expertos alertan que a causa de eso no adquirimos nociones básicas ni claves para manejar nuestras finanzas.
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También tiene que haber una puesta en acción que a su vez cuestione esas mismas teorías: son las prácticas las que te dan las claves y los posibles pasos a seguir.
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Yet when the claves were highlighted, I miraculously blended in and was able to enjoy the rest of the journey, as did passers-by, who nearly all smiled and sometimes danced along.
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All of it is beautifully performed by the ensemble, which also includes John Murchison on bass, oud and a zither-like instrument called the qanun; and even James himself, bopping happily on claves.
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En este video, además, Cooper nos explica el proceso detrás de una de las escenas claves del filme (¡sin revelar detalles de la trama!), que se estrena este fin de semana en España y América Latina.
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Tiempo y moderación son claves para que España encuentre el equilibrio necesario, ya que, como la confederación de naciones culturales que es, cada vez que intente arreglar un entuerto dejará al descubierto otro conflicto territorial comunitario.
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Destaca la presencia de funcionarias en cargos claves: Carmen Calvo, en la vicepresidencia; Margarita Robles, en el ministerio de Defensa; María Jesús Montero, en Hacienda, y Nadia Calviño, que estará a cargo de la cuarta economía europea.
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ROME (Thomson Reuters Foundation) - In a tiny makeshift rehearsal studio in a residential neighborhood of Rome, Nigerian asylum seeker Sylvester Ezeala let slip a smile as he drummed a pair of claves to the mesmeric beat of African reggae.
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I was pleased to receive a set of claves; I took percussion for a few years in my youth, and though I was never very good, I have always prided myself on being able to keep a steady rhythm.
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La teoría del apego sobre cómo nos relacionamos con otros puede tener claves importantes sobre nuestro desarrollo laboral, como si nos empeñamos en perfeccionar algún reporte que ya estaba bien hecho o si aceptamos un proyecto más del que deberíamos.
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Eso hizo que los demócratas tomaran la decisión estratégica de no esperar a una larga batalla en el tribunal para obtener las declaraciones de testigos claves como Bolton; argumentaron que la evidencia que ya habían recabado era suficiente para justificar los artículos del juico político.
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There are kick drums and high hats, tambourines and claves, handclaps and foot stomps, the staccato stabs of a singer's voice; I also felt as if I were hearing the sound of change clattering around in a bowl or a car door being slammed, someone dropping a drum kit down a flight of stairs.
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And if I was going to talk about love or expansion— particularly expansion— I felt that whatever I was going to do or to say had to have the impact of modern music, cause I love what technology can do right now… And so yeah, I…said fuck it, man, I'm gonna drill some holes in here, add electronic sensors to the drums – and that way, anybody I know that plays Rumba, that has that language already in their hands, that can use the practice, can just sit down and then set up – and right off the bat, I'm gonna give you 808's and fuckin' claves and all that stuff that maybe they wouldn't have thought to express with – but their swing is already there.
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Claves Records, CD 50-9809 An English Collection. Claves Records, CD 50-9614 An Italian Ground. Claves Records, CD 50-9407 Dancing Hands. Reza Ganjavi Music.
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Claves Records CD 50-2208 Georg Philipp Telemann: Solos & Trios. Claves Records, CD 50-2112 Antonio Vivaldi: Concerti per flauto. Claves Records, CD 50-2010 La Castella.
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Among the bands to have used claves are the Beatles in their recording "And I Love Her" and The Who in their song "Magic Bus". Claves are also utilized in the interstitial spaces of the Night Court theme.
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Claves are sometimes hollow and carved in the middle to amplify the sound.
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Alfredo Duarte, "Las claves de Escudero para vencer al Alianza", El Gráfico, 26 January 2018 .
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The company specializes in recordings of uncommon and neglected works from the classical repertoire. In addition to the Swiss artists Jorg Ewald Dahler and Peter-Lukas Graf, ... Claves also launched the recording career of María Bayo. Claves Records SA was formally founded in 1968.Diapason: Issues 537-542 2006 Voici quelques années Marguerite Dutschler-Huber avait passé le flambeau à Antonin Scherrer qui poursuit aujourd'hui son œuvre à la tête de Claves.
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Claves (; ) are a percussion instrument consisting of a pair of short, wooden sticks about 20-25 centimeters (8-10 inches) long and about 2.5 centimeters (1 inch) in diameter. Although traditionally made out of wood (typically rosewood, ebony or grenadilla) many modern manufacturers, such as Latin Percussion, offer claves made out of fiberglass or plastic. When struck, claves produce a bright, penetrating clicking noise. This makes them useful when playing in large dance bands.
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A pair of claves Tapping two sticks together is the simplest form of hand percussion, and has developed a place in traditional music all over the world. Indigenous Australians use clapping sticks alongside the didgeridoo, and claves are an integral part of South American Music.
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The OBC has made recordings for such labels as Decca, EMI, Auvidis, Koch, Claves and Naxos Records.
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Aguabella played congas, bata, quinto, coro, shekere, drums, claves, bongos, timbales, cajon and other assorted percussion instruments.
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Abrigo appears in the Swiss Chamber Concerts "Xavier Dayer" CD, released in 2020 for Claves Records / CD 3007.
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She is also required to perform on specific percussion instruments such as finger cymbals, claves, and various kinds of chimes.
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Claves The basic son ensemble of early 20th-century Havana consisted of guitar, tres, claves, bongos, marímbula or botija, and maracas. The tres plays the typical Cuban ostinato figure known as guajeo. The rhythmic pattern of the following generic guajeo is used in many different songs. Note that the first measure consists of all offbeats.
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Los peces caribes de Venezuela: diagnosis, claves, espectos ecológicos y evolutivos. Universidad Central de Venezuela CDCH, (Colección Monografías) 52. 149p. Caracas, Venezuela.
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Machado-Allison, A. and W. Fink (1996). Los Peces Caribes de Venezuela. Diagnosis, claves, aspectos ecológicos y evolutivos. Universidad Central de Venezuela, CDCV.
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Alford, M. H. 2003. Claves para los géneros de Flacourtiaceae de Perú y del Nuevo Mundo. Arnaldoa 10: 19-38.Gentry, A. H. 1993.
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In Argentina, selling and importing incandescent light bulbs has been forbidden since 31 December 2010."Clarín.com: Adiós a las lamparitas: las claves antes de cambiarlas".
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Playing a pair of claves The basic principle when playing claves is to allow at least one of them to resonate. The usual technique is to hold one lightly with the thumb and fingertips of the non-dominant hand, with the palm up. This forms the hand into a resonating chamber for the clave. Holding the clave on top of fingernails makes the sound clearer.
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Jörg Ewald Dähler (conductor). Erstaufnahme: Markus Passion Reinhard Keiser (1674-1739). Claves, 1971. The 21st century saw the publication and performance of Bach's 1740s pasticcio version.
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Polo has recorded for Claves Records, RTVE Records, Marco Polo Records and Naxos Records, and has recorded for radio and TV in Spain, Germany and Japan.
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He held this RTÉ post through May 2013. Lintu resides in Helsinki. He has conducted commercial recordings for such labels as Claves, Dacapo, Danacord, Hyperion, Naxos, and Ondine.
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3 bass drums, 2 tom toms, 2 ride cymbals, 2 crash cymbals, 3 snares, 2 hi hats, claps, tambourine, china cymbal, agogo, cowbell, conga, claves, shaker, and timbale.
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This allows the dancing itself to look very fluent as if the rest of the body is just moving untouched with the legs. For salsa, there are four types of clave rhythms, the 3-2 and 2-3 Son claves being the most important, and the 3-2 and 2-3 Rumba claves. Most salsa music is played with one of the son claves, though a rumba clave is occasionally used, especially during rumba sections of some songs. As an example of how a clave fits within the 8 beats of a salsa dance, the beats of the 2-3 Son clave are played on the counts of 2, 3, 5, the "and" of 6, and 8.
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In the ninth second the harpsichord enters the sound of the claves once again playing the fallingly rising motif composed of all the notes of the six-tone mode.
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Claves para reflexionar sobre un problema a pioneering guide to face and analyze prostitution, sexual exploitation, pimping, trafficking of women and children and the relationship between prostitution and gender violence.
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Clap clave along with the excerpt in order to hear and feel the melody move from one side to the other. > The first 4 1⁄2 claves of the verses are in 2-3. Following the measure of > 2/4 (half clave) the song flips to the three-side. It continues in 3-2 on > the V7 chord for 4 1⁄2 claves. The second measure of 2/4 flips the song back > to the two-side and the I chord.
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5 volumes, La Habana. The most important instruments were the drums, of which, there were originally about fifty different types; today only the bongos, congas and batá drums are regularly seen (the timbales are descended from kettle drums in Spanish military bands). Also important are the claves, two short hardwood batons, and the cajón, a wooden box, originally made from crates. Claves are still used often, and wooden boxes (cajones) were widely used during periods when the drum was banned.
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The rimshot is often confused with the cross stick technique, in which the tip of a drumstick is placed on the head near one of the bearing edges and the shaft of the stick is struck against the rim opposite the tip, thus creating a dry, high pitched "click" similar to a set of claves. The stroke is used to simulate claves in Brazilian bossa nova and also used for ballads in rock, pop, and country. Drummer Gene Krupa is credited with having invented the rimshot.
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I told Bobby I was a tap dancer and that I wanted to tap dance to this music. He asked me if I wanted to tap dance to Cuban music, or tap dance Cuban music. Then he reached for the claves,”—the rhythmic base of Afro-Cuban music—“and said, ‘You have to play claves while you dance;’” a feat that sounds easier on paper than in reality. Pollak practiced doing just that, drawing on his drummer's ability to walk and chew gum at the same time.
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The policemen suggested their truncheons and Mick Jagger took the truncheons into the studio to record the claves-like sound that can be heard during the quiet break at one minute 40 seconds into the song.
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Understanding Clave and Clave Changes p. 32. Santa Cruz, CA: Moore Music/Timba.com. Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2–3 claves are written above for rhythmic reference.
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Flora Neotropica 22: 1-499. Hasseltia is now classified in Salicaceae, along with close relatives Pleuranthodendron and Macrothumia, with which they are commonly confused.Alford, M. H. 2003. Claves para los géneros de Flacourtiaceae de Perú y del Nuevo Mundo.
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She has recorded as percussionist and drummer using the following instruments: bongos, congas, tambourine, claves, quica, wood block, tabla, full drum kit, tom-toms, cabasa, maracas, cowbell, bells, shaker, güiro, triangle, mark tree, hand claps, finger snaps and finger cymbals.
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Sexteto Habanero 1920. In 1920, the Cuarteto Oriental became a sextet and was renamed as Sexteto Habanero. This group established the "classical" configuration of the son sextet composed of guitar, tres, bongos, claves, maracas and double bass.Sublette, Ned: Cuba and its music.
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Johnny Otis released the R&B; mambo "Mambo Boogie" in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression.Boggs, Vernon (1993: 30-31). "Johnny Otis R&B;/Mambo Pioneer" Latin Beat Magazine. v. 3 n. 9. Nov.
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Rena Fruchter, "Zurich players ideal as chamber group". Boston Herald, 25 February 1967. Since then the ZKO visited the US several times, latest in November 2019. The ZKO has made commercial recordings for such labels as Omega, Novalis, Claves, Teldec, CPO, and Sony.
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"Bethlehem Down: A carol by Peter Warlock" by Mike Leuty in Claves regni: The Online Magazine of St. Peter's Church, Nottingham with All Saints, published by St. Peter's Church, Nottingham. Accessed 24 January 2007. The carol also exists as a song for voice and piano.
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247Harington (1995 p. 63) identifies the duple-pulse form of "rumba clave" as a bell pattern used by the Yoruba and Ibo of Nigeria.Ignacio Berroa: "There are just two claves—son clave and rumba clave." Mastering the Art Afro-Cuban Drumming (1996: Warner Brothers VHS).
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An additional two takes (Takes 20 and 21) were recorded on the morning of Thursday 27 February, beginning at 10:00am. Take 20 saw the basic track laid down, while Take 21 was an overdub of McCartney's double-tracked lead vocal and Starr's claves.
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The next moña layers are from the descarga "Guatacando" (1968). The trumpet figure is one clave in length, while the trombone figure is two claves. This is a classic example of how moñas are layered. The trombone Moña consists of two parts, a call-and-response structure.
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The title track "Optimo" gets its name from a brand of cigars. It includes a percussion section that uses the snare drum, bass kick drum, rototom, cowbell, and claves. The beat uses repeated drum rolls. "Optimo" also features a strummed two-note bassline and nonsensical lyrics.
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In May 2005, RTÉ lyric fm released Collins's debut solo CD album, Impromptu. In May 2006, Claves Records released a double CD set featuring the piano music of Robert Schumann. Collins is artist-in-residence at Waterford Institute of Technology and artistic director of the New Ross Piano Festival.
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Onstage, Cosey also had a table set up holding a mbira, claves, agogo bells, and several other hand percussion instruments, which he played or struck with a mallet to indicate a different break or stop. "I would hit them just like they do at [boxing] fights!", Cosey recalled.; .
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Between 2001 and 2012, Diaz encountered 19 times the Italian Luca Valdesi. Diaz won 9 times; their last encounter was during the Germany 2012 Premier League.Karate y algo más..."Perseverancia, pasión y amor son claves en la carrera de Antonio Díaz", 10 Dec 2016. Retrieved on 08 Jun 2017.
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In 1983, the Conjunto Típico Habanero reverted its name definitively to Septeto Habanero, still with Manolo Furé as lead singer and claves player. In 1995, the band recorded an album for its 75th anniversary entitled 75 Años después. The band was actually as octet (and remains so), featuring Manolo Furé (lead vocals, claves), Germán Pedro Ibáñez (guitar), José Antonio Pérez (vocals and maracas), Digno Marcelino Pérez (vocals and güiro), Felipe Ferrer (tres), Bárbaro Teuntor García (trumpet), Faustino Sánchez Illa (electric bass) and Ricardo Ferro Vicente (bongos). After the death of Furé, guitarist and singer Germán Pedro "Pedrito" Ibáñez, who joined the band in 1962, became the director until his death in 2007.
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Redway, CA: Bembe Books. . p. xxii. In contrast, in the rural style columbia, triple pulse is the primary structure and duple pulse is secondary. This can be explained due to the "binarization" of African-based ternary rhythms. Both the claves and the quinto (lead drum) are responsible for establishing the rhythm.
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In his youth, his main influence was Hugo Blanco, who studied with his older brother at the Liceo Aplicación in Caracas. He began playing claves in his brother's band and later moved to the harp influenced by Genaro Lobo, the band's harpist.Leonardo Bigott. Alexis Rossell «El arpa pionera de la fusión».
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Many composers looking to emulate Afro-Cuban music will often use claves such as Arturo Marquez with Danzón No. 2 or George Gershwin with his Cuban Overture. Steve Reich's Music for Pieces of Wood is written for five pairs of claves.Steve Reich, Writings about Music, New York University Press, 1974.
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Allen was hired by "Sir" Victor Olaiya to play claves with his highlife band, the Cool Cats. Allen was able to fill the drum set chair when the former Cool Cats drummer left the band. Allen later played with Agu Norris and the Heatwaves, the Nigerian Messengers, and the Melody Makers.
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A variety of Cuban bell patterns have spread worldwide due to the global success of Cuban-based popular music. Afro- Cuban patterns. , , , , Pattern 1 is son clave, usually played on wooden claves. Pattern 2 is the baqueteo, the key pattern used in danzón and the first expression of clave in written music.
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Las claves de la viabilidad económica de la Cataluña independiente ("Podemos! The keys to the economic viability of independent Catalonia"), edited by Rosa de los Vientos. The work was awarded the XIV Catalonia Economy Prize, awarded by the Catalan Society of Economy, a subsidiary of the Institute of Catalan Studies, in November 2015.
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The traditional charanga format consists of congas, timbales, bass, piano, flute, and a string section of violins, viola, and cello. The claves and güiro are played by the singers. Bongos are not typically used in charanga bands. Típica 73 and Orquesta Broadway were two popular New York salsa bands in the charanga format.
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Cuba and its music: from the first drums to the mambo. Chicago. p336 Sexteto Habanero 1920. Its line-up was: back, L>R: Guillermo Castillo (guitar and director), Carlos Godínez (tres), Gerardo Martínez (voz prima y claves); front, L>R: Antonio Bacallao (botija), Oscar Sotolongo (square bongó) and Felipe Nerí Cabrera (maracas).
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Those layers or "franjas de sonoridades" according to Argeliers León, were assigned to different instruments that were gradually incorporated to the group. Therefore, the ensemble grew from the traditional Tiple and Güiro, to a one that included: guitar, "bandurria", Cuban lute, claves, and other instruments such as the"tumbandera", the "marímbula", the "botija", the bongoes, the common "machete" (cutlass) and the accordion. Some important musical functions were assigned to the sonority layers, such as the: "Time Line" or Clave Rhythm performed by the claves, a "1-eighth note + 2-sixteenth notes" rhythm played by the güiro or the machete, the patterns of the "guajeo" by the Tres (instrument), the improvisation on the bongoes and the anticipated bass on the "tumbandera" or the "botija".
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Pair of claves. The most fundamental rhythmic element in salsa music is a pattern and concept known as clave. Clave is a Spanish word meaning 'code,' 'key,' as in key to a mystery or puzzle, or 'keystone,' the wedge- shaped stone in the center of an arch that ties the other stones together.Peñalosa 2010 p. 85.
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Tomás Cruz developed several adaptions of folkloric rhythms when working in Paulito FG's timba band of the 1990s. Cruz's creations offered clever counterpoints to the bass and chorus. Many of his marchas span two or even four claves in duration, something very rarely done previously.Cruz, Tomás, with Kevin Moore (2004: 25) The Tomás Cruz Conga Method v. 3.
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A late Hittite relief from Karkemesh shows a young man holding a kind of rattle or claves in his hand. There was also an instrument called the GIŠmukar, which may have been a sistrum, rattle, or some other percussion instrument.Schuol: Hethitische Kultmusik, p. 120 A textual reference seems to indicate that it consisted of several rods.
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Tomás Cruz developed several adaptions of folkloric rhythms when working in Paulito FG's timba band of the 1990s. Cruz's creations offered clever counterpoints to the bass and chorus. Many of his tumbaos span two or even four claves in duration, something very rarely done previously.Cruz, Tomás, with Kevin Moore (2004: 25) The Tomás Cruz Conga Method v. 3.
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80 años del son y soneros en el Caribe. Caracas, Venezuela: Tropykos. p. 14 et seq. According to Díaz Ayala, the band in these recordings featured Carlos Godínez (tres and director), María Teresa Vera (lead vocals and claves), Manuel Corona (guitar and second vocals), "Sinsonte" (third vocals and maracas), Alfredo Boloña (bongos) and a sixth musician, possibly Rafael Zequeira.
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African in origin (see clave (rhythm) and bell pattern),Martin, Billy and Thress, Dan (2006). Riddim: Claves of African Origin, p.4. . riddims can generally be categorized into three types. One of the oldest types of riddim is the classical riddim providing roots reggae, dub, and lovers rock with instrumentals, such as Bam Bam, produced by Sly & Robbie.
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A roll can be achieved on the claves by holding one clave between the thumb and first two fingers, and then alternating pressure between the two fingers to move the clave back and forth. This clave is then placed against the resonating clave to produce a roll.Karl Peinkofer and Fritz Tannigel, Handbook of Percussion Instruments, (Mainz, Germany: Schott, 1976), 142.
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Sexteto Boloña in 1926. Left to right: José Vega Chacón (guitar, 2nd voice), unknown (maracas, 1st voice), José Manuel Incharte 'El Chino' (bongó), Abelardo Barroso (vocals, claves), 'Tabito' (double bass), Alfredo Boloña (tres, leader). Alfredo Boloña Jiménez (December 24, 1890 - 1964) was a Cuban guitarist who played a role in the early development of the son as director of the Sexteto Boloña.
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During the chorus section the quinto plays cross-beat phrases that contradict the meter by crossing the measure bar. In 4/4 cross-beats are generated by grouping the regular pulses (sixteenth-notes) in sets of three. In the following example every third pulse is sounded with a slap. The entire cross-beat cycle takes three claves (measures) to complete.
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La Habana. p269 The band recorded six numbers for Columbia Records in 1918, and was regarded as one of the three most important charangas in the history of the danzón, and the first to incorporate melodies from the cantos de claves y guaguancóchoral groups from barrios in Havana and Matanzas; see Orovio, Helio 1981. Diccionario de la música cubana. La Habana.
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The 2014–15 LEB Oro season is the 19th season of the Liga Española de Baloncesto, the Spanish basketball second division. It is named Adecco Oro as its sponsored identity. The season will start on October 3 and will end on May 15, 17 or 19 with the last game of the promotion playoffs finals.Las fechas claves de la temporada 2014/15; FEB.
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La Habana. vol 2, p. 230. Thus, the founding members of the Sexteto Habanero were Guillermo Castillo (guitar and director), Carlos Godínez (tres), Gerardo Martínez (lead vocals and claves), Antonio Bacallao (botija), Óscar Sotolongo (square bongó) and Felipe Neri Cabrera (maracas). The instrumental set-up is interesting, because they use some of the original instruments of the son, including the botijaOrovio, Helio (1981).
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Since 1989, he hosts his own weekly TV program. In 1997 he received the Platinum- and Diamond Konex Award for Communication-Journalism, and have been awarded the Konnex Merit Diploma on the field of Political Analysis in 1987. CV at the Konnex Foundation. During the 2000s he has hosted two radio shows, Las claves del día and Pensando con Mariano Grondona.
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An unusual characteristic of reggae drumming is that the drum fills often do not end with a climactic cymbal. A wide range of other percussion instrumentation are used in reggae. Bongos are often used to play free, improvised patterns, with heavy use of African-style cross-rhythms. Cowbells, claves and shakers tend to have more defined roles and a set pattern.
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The rumba flamenca instrumentation consists of flamenco guitars, hand clapping, occasional body slapping, castanets and the cajón. As a result, it bears little resemblance to Cuban rumba, whose instrumentation is based on the congas and claves. Nonetheless, some artists such as Paco de Lucía and Tomatito have included congas alongside their cajones in their ensembles, although with a minor role.
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Ms. Piccinini's latest CD release is a double CD set of the complete Flute Sonatas of J.S.Bach (including the solo Partita) in collaboration with the Brasil Guitar Duo for the British label Avie. Other recent recordings include an acclaimed collaboration with pianist Andreas Haefliger of the Sonatas of Prokofiev and Franck (Avie), "Belle Époque (Paris, 1880-1913)", with pianist Anne Epperson, (Claves) and a disc with pianist Eva Kupiec of Sonatas by Bartok, Martinu, Schulhoff, Dohnányi, and Taktakishvili (Claves). Marina Piccinini's career was launched when she won First Prize in the CBC Young Performers Competition in Canada, and a year later, First Prize in New York's Concert Artists Guild International Competition. She was cited by Musical America as a "Young Artist to Watch", and in 1991 she became the first flutist to win the coveted Avery Fisher Career Grant from Lincoln Center.
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The LM-1, along with the Oberheim DMX, was one of the first drum machines to use samples (prerecorded sounds). It features twelve 8-bit percussion samples, which can be individually tuned: kick, snare, hi-hat, cabasa, tambourine, two toms, two congas, cowbell, claves, and hand claps. The machine also introduced features such as "timing correct" (quantization) and "shuffle" (swing) and the ability to chain patterns.
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Many of these timba conga marchas are twice or even four times the length of the standard conga marcha (or tumbao). Tomás Cruz developed several adaptions of folkloric rhythms when working in Paulito FG's timba band of the 1990s. Cruz's creations offered clever counterpoints to the bass and chorus. Many of his tumbaos span two or even four claves in duration, something very rarely done previously.
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Dungowan Station is a pastoral lease that operates as a cattle station in the Northern Territory of Australia, approximately south of Darwin. The property occupies an area of and is currently owned by the Consolidated Pastoral Company. The station is run in conjunction with Newcastle Waters Station which is located away. Over 13,000 head of cattle graze the property with approximately 5,000 claves being branded each year.
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Basilica of St Saviour HIC MILITES WILLELMI DUCIS PUGNANT CONTRA DINANTES ("Here the knights of Duke William fight against the men of Dinan"). Scene from the Bayeux Tapestry, c.1066, showing the early castle of Dinan ET CUNAN CLAVES PORREXIT ("and Conan passed out the keys"). Successive scene The medieval town on the hilltop has many fine old buildings, some of which date from the 13th century.
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The big boxes were the precursors of the modern tumbadora and the small ones corresponded to the modern quinto (the smallest, lead conga drum). The equivalent of claves were two wooden spoons. Although cajones were mostly replaced by tumbadoras by the early 20th century, they are played in contemporary styles such as guarapachangueo. In this regard, Pancho Quinto is a notable crafter and player of the instrument.
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The piece is scored for an orchestra consisting of flute, piccolo, two oboes, clarinet, bass clarinet, two bassoons, two French horns, two trumpets, one percussionist (two latin cowbells; low, medium, and high Agogô bells; ride cymbal; splash cymbal; triangle; wind chimes; low and high bongo drums; maracas; claves; vibraslap; large whip; tambourine; and bell tree), piano, and strings (violins I & II, violas, violoncellos, and double basses).
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Electric instruments were not allowed to be played that night except bass at a low level. There was indeed a joyous vibe throughout the venue. As the audience quieted down, Ras Ravin & Ras Jahn (Hand Drums), Johnathan Door (Acoustic Guitar), Toru (bass), & Nori Ikegame (Claves) performed Bob Marley's track "Rastaman Chant". Afterwards, Bob Marley historian, Roger Steffens, opened his video presentation with that song's live performance from Bob & The Original Wailers.
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Because of the history of stringed instruments like the seprewa in the region, musicians were happy to incorporate the guitar. They also used the dagomba style, borrowed from Kru sailors from Liberia, to create highlife's two-finger picking style. Guitar band highlife also featured singing, drums and claves. E.K. Nyame and his Akan Trio helped to popularize guitar band highlife, and would release over 400 records during Nyame's lifetime.
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Pradera turned from his family's politically conservative traditions and joined the Communist Party of Spain, which was banned during the Franco era. However, he left the part in 1964 following the expulsions of Jorge Semprún and Fernando Claudín in a party purge. Pradera and Fernando Savater, a Basque philosopher, co-founded the Claves de Razón Práctica magazine in 1990. Javier Pradera died on 20 November 2011 at the age of 77.
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The other is held by the dominant hand at one end with a firmer grip, much like how one normally holds a drumstick. With the end of this clave, the player strikes the resting clave in the center. Traditionally, the striking clave is called el macho ("the male") and the resting clave is called la hembra ("the female"). This terminology is used even when the claves are identical.
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The traditional conjunto format consists of congas, bongos, bass, piano, tres, a horn section, and the smaller hand-held percussion instruments: claves, guíro, or maracas, played by the singers. The Cuban horn section traditionally consists of trumpets, but trombones are frequently used in salsa. The section can also use a combination of different horns. Most salsa bands are based on the conjunto model, but the tres is almost never used.
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Concerning the various funk motifs, Stewart states that this model "...is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."Stewart (2000 p. 306). Johnny Otis released the R&B; mambo "Mambo Boogie" in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression.Boggs, Vernon (1993 pp. 30–31).
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1995 (accessed 29 June 2007). Accompanying Jones is Richards on acoustic rhythm guitar. Janovitz remarked that Richards, "play[s] the same open-tuned rhythm he would later use on 'You Can't Always Get What You Want', also contributing to that lonely ambience." The song is also noted for its simple claves-kept beat by Charlie Watts and Nicky Hopkins's "building single-chord organ" and ornamental turns on piano.
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The term guaguancó originally referred to a narrative song style (coros de guaguancó) which emerged from the coros de claves of the late nineteenth and early twentieth centuries. Rogelio Martínez Furé states: "[The] old folks contend that strictly speaking, the guaguancó is the narrative."Martínez Furé, Rogelio (1963) Conjunto Folklórico Nacional de Cuba. Catalogue. The guaguancó song often begins with the soloist singing meaningless syllables, which is called the diana.
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The song was re-written with slightly more lyrics and recorded using eight double basses to mimic the didgeridoo, which Harris could not play at the time. A notable feature of this song is the playing of claves. The song's lyrical structure is simple with the vast majority of the lines starting simply "Sun Arise". The lyrics of the song came from a story Butler told him about Aboriginal beliefs.
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Adding to the percussion, Graciela played claves alongside Machito's maracas. Beginning in 1947, teenager Willie Bobo helped move the band's gear to gigs in Upper Manhattan, just so he could watch them play. Near the end of the evening, if there were no musician's union leaders in sight (he was underage), he borrowed bongos from José Mangual and played with the band. Later, Machito helped him get positions in other Latin bands.
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Indictione Ill. mense Ill. Ego Ill. misericordia Dei presbyter et Electus, futurusque per Dei gratiam humilis Apostolicae sedis Antistes, tibi profiteor, beate Petre Apostolorum Princeps, (cui claves regni caelorum ad ligandum atque solvendum in caelo et in terra, creator atque redemptor omnium Dominus Jesus Christus tradidit, inquiens: Quaecumque ligaveris super terram, erunt ligata et in coelo; et quaecumque solveris super terram, erunt soluta et in coelis) sanctaeque tuae Ecclesiae, quam hodie tuo praesidio regendam suscepi.
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Some of the most significant contributions came from his conga drummer Tomás Cruz. Cruz's creations offered clever counterpoints to the bass and chorus. Many of his tumbaos span two or even four claves in duration, something very rarely done previously. He also made more use of muted tones in his tumbaos, all the while advancing the development of songo-type innovations created by Changuito and Raúl "el Yulo" Cárdenas of Los Van Van.
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The symphony is scored for a large orchestra, comprising piccolo, 3 flutes (3rd doubling 2nd piccolo), 3 oboes (3rd doubling cor anglais), 2 clarinets in B-flat, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns in F, 4 trumpets in B-flat, 3 trombones, tuba, timpani, cymbals, bass drum, tenor drum, snare drum, triangle, tamtam, glockenspiel, xylophone, anvil, claves, ratchet, whip, tubular bells, wood block, piano, celesta, 2 harps, and strings.
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Sexteto Boloña 1926. L>R in photograph: José Vega Chacón (guitar, 2nd voice), unknown (maracas, 1st voice), José Manuel Incharte 'El Chino' (bongó), Abelardo Barroso (sonero, claves), 'Tabito' (double bass), Alfredo Boloña (tres, leader). In 1915 Alfredo Boloña Jimenez formed a son group in Havana. He played the marimbula, the bongó and the guitar at different times and, despite his physical limitations (dwarfism), he was a force in Cuban music for half a century.
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In November 1997, the band recorded Orgullo de los soneros, an album released by Lusafrica in 1998. The line-up in these recordings featured Germán Pedro Ibáñez (guitar and director), José Antonio Pérez (vocals and claves), Emilio Moret (vocals and güiro), Digno Marcelino Pérez (vocals and maracas), Felipe Ferrer (tres), Servando Arango (trumpet), Faustino Sánchez Illa (double bass) and Ricardo Ferro Vincente (bongos).Rosenberg, Dan (1998). Orgullo de los soneros liner notes.
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Duo Crommelynck made a number of recordings for the Swiss Claves label. They recorded music by Auric, Bizet, Brahms, Debussy, Dvořák, Fauré, Messager, Milhaud, Poulenc, Ravel, Schubert, Smetana, Johann Strauss II, and Tchaikovsky.emusic These included 2-piano arrangements of Tchaikovsky's Pathétique Symphony, Dvořák's New World Symphony, and Smetana's Vltava from Má vlast. Their three-disc set of the four-hand piano works of Schubert won a Grand Prix du Disque from the Académie Charles Cros.
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The poems of this collection also visit the theme of maternity within the context of eroticism, sensuality, and plenitude. The poetic voice lays out a cartographic map of miscegenation for the child. This collection underwent a second edition and resulted in a bilingual edition, published by Claves Latinoamericanas in 2006, with the title: De cruz y media luna/From Cross and Crescent Moon. The second edition contains some changes in relation to the first edition.
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Composers Eliseo and Emilio Grenet also established a bridge between the literature and the music of the afrocubanismo movement. Using onomatopoeia, the goal of rhythmic literature is to get the reader to experience the reading like a dance without using actual instruments. Afro-Cuban music genres such as the rumba, afro and son were particularly important during the afrocubanismo movement. The claves, a percussion instrument, was the main inspiration for incorporating rhythm within Cuban literature.
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The catá or guagua is a Cuban percussion instrument which originated in the eastern region of the island. It is classified as a directly struck idiophone, traditionally made out of a hollowed tree trunk, which the player hits with wooden sticks or mallets. The resulting sound is dry and penetrating, similar to that of the claves, although with a different pitch. Of Congolese origin, it is an essential instrument in tumba francesa, yuka and some rumba ensembles.
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The catá is considered a reconstruction of idiophones from the Congo region, brought by slaves to the Caribbean. The catá has been incorporated into Cuban rumba, where it "locks" with the claves, establishing the clave rhythm. In the context of rumba, the term guagua is more common, as in guaguancó, or palitos, which refers to the sticks. Nonetheless, these have been replaced by the caja china (wood block) or the more durable jam block, made of plastic.
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That same year, Tres puntos claves: Lares, idioma, soberanía (Three Key Points: Homes, language, sovereignty), which discussed Puerto Rican nationalism, was published. In 1974, she retired from the University of Puerto Rico and moved to New York City. She was hired to teach the Puerto Rican Studies program at Brooklyn College, which had been founded in 1971, but a change in the administration around the time of her arrival imposed restrictions about course materials that she opposed.
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For the latter, the 2011 prize was TT$2 million. There are also other competitions that are involved in the Calypso Monarch. Traditionally, musicians use drums, claves, and the steelpan, created in Trinidad, and reported to be the only non-electrical instrument invented in the 20th century that has been hammered down in different areas to create a wide range of different notes. A group of performers practise weeks in advance on these pans to compete.
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Different from her last Album Nomad, electronic elements completely disappeared. Accompanied by mandolins, ukuleles and a Cuban tres, Addys sings of a rainy Saturday in summer, a Sabado Roto (broken Saturday). In addition to shows with her band, Addys started a Trio with Pomez di Lorenzo (guitar) and Cae Davis (bass) under the name En Casa de Addys. In it, Addys provides vocals and also plays guitar, cajon and Cuban percussion instruments such as maracas, guiro and claves.
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It is written for three flutes, two piccolos, three oboes and English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons and contrabassoon, four horns, four trumpets, three trombones and tuba, timpani, two harps, celesta, piano, strings, and a variety of percussion instruments, including bass drum, tam-tam, cymbals, xylophone, glockenspiel, tenor drum, wood block, snare drum, triangle, slapstick, ratchet, anvil, claves, and tubular bells. Copland said the work would "reflect the euphoric spirit of the country at the time".
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An album made from 1948 and 1949 recordings was issued: Mucho Macho. For these recordings, the 14-piece band had three trumpeters (including Bauza), four saxophonists, piano player René Hernández, a bass player, and three percussionists playing bongos, congas and timbales, augmented by Graciela on claves and Machito himself on maracas. A subsequent release was Tremendo Cumban featuring arrangements by pianist Hernández and vocal additions from the Rugual Brothers. This recording includes Mitch Miller playing oboe on one tune, "Oboe Mambo".
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Canonici's operatic discography includes La sonnambula (Nuova Era), Il Signor Bruschino (Claves), Don Pasquale (Erato), La grande notte di Verona (Arthaus Musik), La favorite and La cambiale di matrimonio (Ricordi), Linda di Chamounix (Europa Records), Falstaff conducted by Georg Solti (Decca), and the Verdi Requiem conducted by John Eliot Gardiner (Philips). He also played Rodolfo in Luigi Comencini's film adaptation of La bohème, although José Carreras sang the role on the soundtrack.Stinchelli, Enrico (2002). Le stelle della lirica, p. 38.
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Claves have been very important in the development Afro-Cuban music, such as the son and guaguancó. They are often used to play an ostinato, or repeating rhythmic figure, throughout a piece known as the clave.Godfried T. Toussaint, “A mathematical analysis of African, Brazilian, and Cuban clave rhythms,” Proceedings of BRIDGES: Mathematical Connections in Art, Music and Science, Towson University, Towson, MD, July 27–29, 2002, pp. 157–168. Many examples of clave-like instruments can be found around the world.
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The texts comprise 48 poetic verses, which in Dee's manuscripts are called "Claves Angelicae", or "Angelic Keys". The Keys are assigned certain functions within the magical system. Dee was apparently intending to use these Keys to "open the 49 Gates of Wisdom/Understanding" represented by the 49 magic squares in Liber Loagaeth: While these texts contain most of the vocabulary, dozens of further words are found hidden throughout Dee's journals, and thousands of undefined words are contained in the Liber Loagaeth.
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Coros de clave were popular choral groups that emerged at the end of the 19th century in Havana and other Cuban cities. Their style was influenced by the orfeones which grew popular in northern Spain in the mid-19th century, and their popularization in the island was linked to the emancipation of African slaves in 1886. The common instrumentation of the coros featured a viola (a string-less banjo used as a percussion instrument), claves, guitar, harp and jug bass.
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Then, > people came running out of the control booth and, in quite an uncontrollable > manner, grabbed the nearest percussion instrument and began to play. My > brother Howard was shaking some sort of cylindrical drum with BBs in it; > John Lee, a drummer friend of Joe Morello, played on Joe's tom-tom; and Teo > Macero, our producer, was master of the claves until he dropped them at the > end of the piece (which I consider a final stroke of upstage chicanery).
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The Toccata is composed for 2 snare drums, Indian drums (1 small and 1 or 2 larger ones), 2 tenor drums, bass drum, claves, maraca, 2 suspended cymbals, large and small gongs, 2 tubular chimes, glockenspiel, xylophone, and 3 timpani, distributed among six players. It is in three movements, played without a break. The Toccata was one of the first major pieces written for percussion ensemble alone, becoming a cornerstone in rhythmic music. Originally, a toccata was a fast, virtuosic composition.
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This rhythm is employed throughout the varied scene melodies using maracas, xylophones, guitars, claves, and bongos to produce a Caribbean motif. In the Havana night club scene he integrates a rumba into the score, then soothes it to a soft melody underscoring the dialogue between Martha and Len. Also notable is a "unique cue" to announce the presence of sharks. The score of The Sharkfighters displays the fully developed elements of style now associated with Moross in Westerns such as The Big Country.
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In 2000, Gomá was also chosen as a participant in the International Visitor Program of the US Department of State/USIA, a professional exchange program. He has written, among others, in the following newspapers, magazines and cultural supplements: El Mundo, La Vanguardia, Nueva Revista de Política, Cultura y Arte, El País, Babelia, El País Semanal, ABC, ABC Cultural, El Cultural, Claves de Razón Práctica, Revista de Libros, La Razón, Revista de Occidente, Metrópolis, El Noticiero de las Ideas and Turia.
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Who Discography by Ed Hanel, included in booklet to box set Thirty Years of Maximum R&B; The song was included on their 1968 album Magic Bus: The Who on Tour. The arrangement for "Magic Bus" uses a Latin percussion instrument known as claves, which are pairs of small wooden sticks that make a distinctive high pitched clicking noise when struck together. The Who previously used this same instrument on the song "Disguises", which was recorded in 1966. The song makes use of the Bo Diddley beat.
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Luogu (Chinese: 锣鼓; pinyin: luógǔ; literally "gongs and drums") is a Chinese percussion ensemble. It typically comprises several types of drum and several types of metal idiophone (including gongs and cymbals) and wooden idiophone (including temple blocks and Chinese claves). Luogu music is performed in China and wherever there are populations of Chinese people (including Taiwan, Singapore, and other parts of the world). Luogu is commonly used as an accompaniment in Chinese opera including Kun opera, Beijing opera and Cantonese opera and accompaniment for lion dance.
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In 1974, Flynn recorded Frank Emilio presenta a Frank Emilio at EGREM studios featuring his Quinteto Instrumental with a different lineup, including Carlos Emilio Morales on guitar. In the late 1970s and 1980s, his band expanded incorporating new musicians such as violinist Elio Valdés, flautist Miguel O'Farrill, batá drummer Jesús Pérez, percussionist Angá Díaz, timbalero Changuito, güiro and claves player Enrique Lazaga. Sometimes Carlos del Puerto replaced Cachaíto on bass, and Orlando "Maraca" Valle replaced O'Farrill on flute. This new band was known as Los Amigos.
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The genre is based in a fusion of flamenco singing and the Afro- Cuban claves. It is in time, and consists of vocalists and handclaps, accompanied by guitar, bongos, and güiro; later groups also incorporate timbales, conga drums, small percussion instruments, piano, wind instruments, electric bass, and electric keyboard. Among the most important early artists in the genre were Antonio González "El Pescaílla", Peret, Josep Maria Valentí "El Chacho", followed by the duo Los Amaya. In the 1970s, Gato Pérez rejuvenated the Catalan rumba.
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Bilson is known for his series of recordings (on the Archiv label) of the piano concertos of Mozart, in collaboration with Sir John Eliot Gardiner and the English Baroque Soloists. He has also recorded the complete Mozart and Schubert piano sonatas for Hungaroton. In collaboration with six of his former students Bilson has produced a complete recording, on Claves Records, of the piano sonatas of Beethoven. These recordings use a set of nine restored or replica pianos, each of a type contemporaneous with the sonata being performed.
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In 1916, tres player and director Ricardo Martínez from Santiago de Cuba founded the Cuarteto Oriental together with Guillermo Castillo (botija), Gerardo Martínez (lead vocals and claves) and Felipe Neri Cabrera (maracas). In 1917, they left Oriente to record four tracks for Columbia Records in Havana. The songs are listed in a Columbia catalog for 1921, but are probably lost. However, the same group expanded to a sextet in 1918, with Castillo now on guitar, Antonio Bacallao on botija and Óscar Sotolongo on bongos.
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The 808 produces sounds in imitation of acoustic percussion: the bass drum, snare, toms, conga, rimshot, claves, handclap, maraca, cowbell, cymbal, and hi-hat (open and closed). Rather than playing samples, the machine generates sounds using analog synthesis; the TR in TR-808 stands for "Transistor Rhythm". Users can program up to 32 patterns using the step sequencer, chain up to 768 measures, and place accents on individual beats. Users can also set the tempo and time signature, including unusual signatures such as and .
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García 2006 p. 35. The band also recorded Rodríguez's "Ben acá Tomá" in the same recording session, becoming their next A-side. In 1938 they recorded "Yo son macuá", "Funfuñando" (also a hit) and "Se va el caramelero", which included Rodríguez's first recorded performance, a remarkable solo on the tres. In 1940, on the wave of his success with Casino de la Playa, Rodríguez formed his own conjunto, which featured three singers (playing claves, maracas and guitar), two trumpets, tres, piano, bass, tumbadora and bongo.
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Keyboardist Robert Lamm, guitarist Terry Kath and bassist Peter Cetera shared lead vocals, while James Pankow, Lee Loughnane and Walter Parazaider handled all brass and woodwinds (trombone, trumpet and saxophone, clarinet and flute respectively) and Danny Seraphine played drums. Band members added percussion during sections of a song when they weren't playing their main instrument. For example, on "I'm a Man", Pankow was on cowbell, Parazaider on tambourine, and Loughnane on claves. Lamm, Kath and Pankow were the band's main composers at this time.
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One of the most popular genres of ethno jazz is Latin jazz, characterized by a combination of jazz elements with traditional Latin American music. In addition, instrumentation plays an important role. While standard jazz bands feature a rhythm section (piano, guitar, bass and drums) and winds (saxophone, trumpet or trombone), Latin music makes use of many more percussive instruments, such as timbales, congas, bongos, maracas, claves, guiros, and vibes, which were first played in a Latin setting by Tito Puente. Musicians combine these two instrumentations to create a Latin jazz sound.
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Afro-Cuban music developed in Cuba from West African origins, and is characterized by the use of Cuban claves. There are two kinds of clave: the rumba and the son, both of which are typically used in a two-measure pattern in cut time. Both add a base, mood, and flow to the music, creating polyrhythms and asymmetry within their traditional settings. When combined with jazz, which was more symmetrical and featured a heavy back beat, a new Cuban-jazz fusion was created, known as Afro-Cuban jazz or Cubop.
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According to his website, da Costa has played agogô, atabaque, bar chimes, bass drum, batá drum, bell tree, berimbau, bongos, bougarabou, cabasa, cajón, castanets, caxixi, chimes, chocalho, claves, conga, cowbell, cuíca, cymbal, djembe, finger cymbals, flexatone, ganzá, gong, guiro, jawbone, kokiriko, kora, log drums, maraca, pandeiro, rainstick, reco-reco, repinique, samba whistle, shekere, slapstick, snare drum, spoon, surdo, talking drum, tambora, tamborim, tambourine, tan-tan, temple block, timbau, timbales, kettle drum, triangle, udu, vibraslap, whistle, woodblock, and zabumba. He has also played dumbek, sleigh bells, African shakers, and zurna.
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On October 9, 1948, the song was recorded as part of a show at the Royal Roost in New York. Gillespie responded to the crowd's amusement at Pozo's chanting by mimicking Pozo's chants himself, evoking laughter from the audience. This type of clowning was common to Gillespie's stage presence but it was in contrast to his serious effort to incorporate Afro-Cuban elements into jazz. On this recording, someone is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2-3 song.
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She has published academic papers about the musical style she has been involved with creating and examining. One paper was "El concepto de "imagen-de-lo-sonoro" en la música acusmática según el compositor François Bayle" which was published in Escritura e imagen in 2013. Another paper she published was "Claves de la Música del Siglo XX" also published in Escritura e imagen in 2005. A third paper she published was "The Listener in François Bayle’s Works: A resonant subject in a living space" published in 2015 in Organised Sound.
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Following these accidents, all of TBA's concessions were revoked and the national government began restoring rail infrastructure and purchasing brand new rolling stock for Buenos Aires' commuter rail lines, as well as huge investment across the country.Finalmente, el Gobierno le sacó las concesiones del Sarmiento y del Mitre a TBA - Clarín, 24 May 2012. These moves eventually led to the complete re-nationalisation of the country's railway network, with safety concerns under private operation being one of the primary reasons.Las claves de la estatización - Pagina/12, 16 April 2015.
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Every instrument in a salsa band is either playing with the clave (generally: congas, timbales, piano, tres guitar, bongos, claves (instrument), strings) or playing independent of the clave rhythm (generally: bass, maracas, güiro, cowbell). Melodic components of the music and dancers can choose to be in clave or out of clave at any point. However it is taboo to play or dance to the wrong type of clave rhythm (see salsa music). While dancers can mark the clave rhythm directly, it is more common to do so indirectly (with, for example, a shoulder movement).
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The Trío Matamoros was one of the most popular Cuban trova groups. It was formed in 1925 by Miguel Matamoros (8 May 1894 in Santiago de Cuba - 15 April 1971; guitar), Rafael Cueto (14 March 1900 in Santiago de Cuba - 7 August 1991; guitar) and Siro Rodríguez (9 December 1899 in Santiago de Cuba - Regla, 29 March 1981; maracas and claves). All three were singers and composers. The group was originally called Trio Oriental, but changed their name to Trio Matamoros in 1928 upon the discovery that another group already claimed the Trio Oriental name.
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Narcoculture in Sinaloa shares many characteristics with Mediterranean culture and mafias in that it is said that the Sinaloa narcoculture is based on honor, bravery, family loyalty, protection, vengeance, generosity, hospitality, nobility, and prestige much like the Mediterranean mafias. Drug traffickers use "claves" (codes) to maintain a level of secrecy. Some of these codes, however, have been revealed in narcocorridos (Mexican ballads about drug trafficking) and are then used by people who listen to this music, even if they are not drug traffickers. This is when narcoculture becomes a part of the mainstream discourse.
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A farewell party was organized in Ronnie Scott's club. Before leaving for Ghana, Kaye and his Kwamlah Quaye Sextetto Africana recorded "Everything Is Go", the song he had written with William "Bill" Davis. With this band he made the first recordings in which he played guitar. This group consisted of Laurence Deniz, born in Cardiff in 1924 to a father from Cape Verde; Chris O'Brien, bongos, and Frank Holder, both from British Guiana (now Guyana) and served in the Royal Air Force (RAF); and Chris Ajilo on claves.
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Clave is also the name of the patterns played on claves; two hardwood sticks used in Afro-Cuban music ensembles. The five- stroke clave represents the structural core of many Afro-Cuban rhythms, both popular and folkloric.Agawu: "Gerhard Kubik claims that a time-line pattern 'represents' the structural core of a musical piece, something like a condensed and extremely concentrated expression of the motional possibilities open to the participants (musicians and dancers)" 2006 p. 1. Just as a keystone holds an arch in place, the clave pattern holds the rhythm together.
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Straka is the author of La Voz de los Vencidos (2000), Hechos y gente, Historia contemporánea de Venezuela (2001), Un Reino para este mundo (2006), La épica del desencanto (2009), La república fragmentada. Claves para entender a Venezuela (2015), among other works and essays. Outside of his work at Andrés Bello Catholic University in Venezuela, Straka has been a visiting scholar at the University of Chicago, Universidad Nacional Autónoma de México and Pomona College. Since 2016, he has been a member of the National Academy of History (Venezuela).
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Two helicopters, one from the police, and another one from the army, flew over the plaza. Around 5:55 P.M. red flares were shot from the nearby S.R.E. (Mexican Ministry of Foreign Relations) tower. Around 6:15 P.M. another two flares were shot, this time from a helicopter (one was green and another one was red) as 5,000 soldiers, 200 tankettesCanal 6 de Julio, Tlatelolco: Las Claves de la Masacre and trucks surrounded the plaza. Much of what proceeded after the first shots were fired in the plaza remained ill-defined for decades after 1968.
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The rhythm section includes "bongos, four congas, and a rock drum set blended with other percussion instruments such as claves, maracas, and castanets". It further incorporates "three dancers performing typical 'palmas' (hand-clapping) in synchronization", as well as three trumpets, three pianos, and a "country- style" violinist. The enhanced CD includes two videos: one with interactive live concert footage filmed during Laucke's tenth season at Montreal's Place des Arts, and the other with the video clip of "Flamenco Road". The latter reached number one on video charts across Canada for five consecutive weeks.
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XHUDG programming is primarily cultural and educational in nature. Many of the UDG-produced programs formerly seen on XHG under the Televisa contract are now seen on XHUDG, such as Claves, La Brújula and La Vagoneta. XHUDG has also rebroadcast programs produced by teveunam and by Canal 22, but those two television services are now available in their entirety as digital subchannels of OPMA repeater station XHOPGA-TDT. The station produces a local newscast, La Señal Informativa, which is aired three times daily, at 7am, 1pm and 8pm.
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Cardoso has composed over 400 works: solo guitar, duets (two guitars, guitar and violin, claves, viola, cello and flute), three and four guitars, string quartet, guitar and stringed, guitar and wind, concerts for guitar and orchestra, for guitar orchestra and symphony orchestra, string orchestra, and voice. These have been recorded by over 200 artists. By far his most popular piece is Milonga, from 24 Piezas Sudamericanas. He also transcribed and made folkloric arrangements of music from several South American countries, from the Spanish Renaissance and Baroque periods, and from other nations and periods.
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Ten works were recorded at five different studios in Montreal, each chosen for its unique acoustics. The instrumentation for the recording's title piece, "Flamenco Road", required the use of 24 tracks. It comprises a combination of four types of guitars—flamenco, Spanish, classical, and electric—and all natural acoustic guitars are played the Spanish way, using all the fingers of the right hand without a pick. The rhythm section includes bongos, four congas, and a rock drum set blended with other percussion instruments such as claves, maracas, and castanets.
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A manga adaptation of Eternal Sonata was drawn by Mimei Kuroi and published by ASCII Media Works under their Dengeki Comics comic imprint, and the chapters were collected into a single tankōbon on September 27, 2008. While it deviates from the game's story drastically, it does reach the same conclusion; in addition, Viola, Falsetto and Claves do not appear at any point in the manga due to the condensation of the altered story, and the roles of Salsa and March are greatly reduced, with the two appearing only briefly and not joining the party.
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Tres claves de la vida inglesa (1951) was result of Larramendi's spell in London. Formally discussing legal, commercial and insurance systems, the book was praise of the British social and state model; it was hailed as merger of efficient economic order and organization on the one hand, and traditional values and structures on the other. The British system was judged as balanced, especially compared to the French model, stemming from bureaucratic illusions as to state and its powers to build a new order.Martorell Pérez 2009, p. 398-9.
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The piece is scored for 20 violins, 8 violas, 8 celli, 6 double basses, celesta, harp, piano, and a large percussion section including xylorimba, congas, wooden-drums, vibraphone, bongos, bells, cymbals, glockenspiel, tom-toms, triangle, gong, tam-tam, and timpani to be played by six percussionists. Additionally, the pianist is responsible for playing wooden claves or rumba-sticks. The tempi in the beginning and end of the piece are noted in durations of seconds. The middle section uses more conventional metronome marks which range from quarter note equals 44 to quarter note equals 80.
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The previously mentioned backing track would later go on to be mimed by the band the following day, on 15 June for their final appearance on the television show A Whole Scene Going, in which Townshend appears with a false handlebar moustache. Following this performance, rumors started circulating that this would become their next single. It is one of the earliest songs recorded by them that features rather unique instruments. Claves can be heard clicking throughout the track, played by drummer Keith Moon, who would also later use them on "Magic Bus" in 1968.
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Owner of the limited company Sarmata S.L., producer of a documentary for Telemadrid emitted in 2006 (Las claves del 23-F). By 2010 he gave a course in criminology at the Complutense University of Madrid, in which Juan Antonio Aguilar, former member of Bases Autónomas, intervened as speaker. He is the author of several books dealing with the contemporary history of Spain, including two books authored ex-aequo with right-leaning historian Stanley G. Payne, one of them a biography of the dictator Francisco Franco described as distilling a "hagiographic tone".
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The CR-78's built-in rhythm sounds were a further development of those available on the earlier Roland Rhythm 33, 55 and 77 machines. The analog percussion voices consist of bass drum, snare drum, rim shot, hi-hat, cymbal, maracas, claves, cowbell, high bongo, low bongo, low conga, tambourine, guiro, and "metallic beat" (an accent that could be overlaid on the hi-hat voice). The CR-78 has an accent control, which increases the loudness of certain steps in a pattern. There are four patterns named "Rock" and two named "Disco".
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It offered 16 preset patterns, and four buttons to manually play each instrument sound (cymbal, claves, cowbell and bass drum). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred. Ace Tone's Rhythm Ace drum machines found their way into popular music from the late 1960s, followed by Korg drum machines in the 1970s. Kakehashi later left Ace Tone and founded Roland Corporation in 1972, with Roland synthesizers and drum machines becoming highly influential for the next several decades.
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At this time he started his journalistic work, an activity in which he is still occupied. During his stay in the city of Buenos Aires he held the position of Chief of Culture, and Director of Claves magazine, and he also collaborated in the Southern Cone edition of Le monde diplomatique. In 1986 he moved to the Patagonia region of Argentina, where he worked in the regional press. The landscape’s strong character in this southerly region of the world entrapped him: the majority of his novels have the Patagonia as a backdrop.
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The work is written for oboe solo and symphonic orchestra composed of two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, glockenspiel, xilophone, percussion (suspended cymbal, claves, snare drum, castanets, tambourine, zills, wood block, bass drum, cymbals, triangle), harp, piano and strings. There is an arrangement made by the composer himself for wind band (the bass are reinforced through cellos and double basses, with no violins and violas). A typical performance lasts 22 minutes. It has only one movement.
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However, in this piece, Copland used up to four different themes. The orchestral arrangement of the Danzón is scored for a piccolo, two flutes, two oboes, a cor anglais, two clarinets in B-flat, one bass clarinet in B-flat, two bassoons, one contrabassoon, four horns in F, three trumpets in B-flat, three trombones, a tuba, timpani, a xylophone, a large percussion section consisting of a bass drum, Chinese blocks, claves, a cowbell, cymbals, a gourd, maracas, a slapstick, a snare drum, and a woodblock, a piano and a large string section.
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Since 1999 the Charl du Plessis Trio, has recorded three albums with the Swiss classical music record label, Claves Records, annually attends the Festival Musikdorf Ernen in Switzerland. Famous venues Du Plessis has played in include the Royal Albert Hall, the Berliner Philharmonie, the Shangai Oriental Arts Centre and the Elbphilarmonie in Hamburg. In South Africa he has played in the Artscape (Cape Town), the South African State Theatre (Pretoria) and the Sand du Plessis Theatre (Bloemfontein). Du Plessis frequents arts festivals in South Africa like Aardklop, Klein Karoo Nasionale Kunstefees, Grahamstown Art Festival and the Suidoosterfees.
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The work calls for solo violin and orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, cor anglais, 2 clarinets, 2 bass clarinets, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 2 tenor trombones, bass trombone, tuba (doubling cimbasso), harp, celesta, strings (with violins I and II played antiphonally), and percussion including bass drum (with cymbal attachment), chimes, claves, cymbals, glockenspiel (printed c3-C6 range), suspended cymbals (large, medium and small), tam-tam, tambourine (mounted, no head), timpani, tom-toms (8 inch, 10 inch, 12 and 14 inch), triangle, vibraphone, woodblocks (piccolo, high, medium, low), and xylophone.
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Retrieved 13 December 2009. Turnage's musical language is modernist but influenced by jazz,Valorie Dick, "The Winnipeg New Music Fest", La Scena musicale, Volume 3, No. 6, 1 April 1998. Retrieved 13 December 2009. an area of musical interest he shared with Kay. The instrumental scoring is for flute (doubling alto flute), oboe (doubling cor anglais), 2 clarinets (one doubling bass clarinet), horn, trumpet, trombone, one percussionist, harp, piano (doubling celeste), violin, 2 violas, 2 cellos and double bass. The percussion consists of 8 crotales, vibraphone, marimba, suspended cymbal, 3 gongs, tam-tam, bass drum, pedal bass drum, ratchet, claves and whip.
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The song uses a variety of instruments such as claves, cabaca, marimba and sleigh bells, some of which were played by Yusuke Takeda himself. Yusuke Takeda later commented that he had liked the sound of the original demo, and was excited to help shape the rest of the song. "Neon Town Escape" is the only song on the album written by Haruna, and was described by Haruna as reminiscent of the "90s J-pop" genre that she is very fond of. It was arranged by Haruna's friend, Chiaki Satō, who created the atmosphere of the song by deliberately overlaying brass and wind instruments.
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When the tahona ensembles participated in carnival parades they added one or two tumbadoras, hierros (iron idiophones), trumpet and saxophone. According to Harold Courlander, in Matanzas, tahonas were performed on two tumbadoras, claves and marímbula. According to Fernando Ortiz, tahona ensembles emerged as a way of making tumbas francesas "portable", since the drums in tumba francesas were to large to be carried in street parades. He described tahona ensembles as containing three tahonas (one repique and two fondos), one tambora, one tragaleguas (another drum), a hierro, and a guamo (an aerophone made of a sea snail).
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Five years later, the group had new members and a different look, including Agustín Gutierrez (bongó), Abelardo Barroso (sonero, claves), Felipe Nerí Cabrera (maracas, vocals); Gerardo Martínez (double bass, vocals, leader); Guillermo Castillo (guitar, vocals), Carlos Godínez (tres, vocals).La historia del son: Sexteto Habanero, the roots of salsa 2. Arhoolie/Folklyric LP 9054. Sexteto Habanero 1925, with bongoseros lamp circled The group's recordings in New York 1925-26 are available on LP and CD.Tumbao TCD 001 Sexteto Habanero: Son cubano 1924-1927 and TCD 009 Sexteto Habanero: las raices del son (the latter contains 24 numbers, from 1925 to 1931).
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Kozlov has performed in several orchestras over several roles, including soloist, principal cellist, and guest cellist. He first performed in the Chamber Orchestra Kremlin from 1995 to 2003, with whom he performed concerts in the United States, Canada, South America and Europe, South Korea and China. With the Chamber Orchestra Kremlin, Kozlov recorded a total of 6 CDs with Claves Records, two as a soloist and six as their principal cellist. Kozlov then moved to the South Dakota Symphony Orchestra from 2005 to 2012, also occasionally performing with the Northwest Iowa Symphony Orchestra, the Lancaster Symphony Orchestra, and the Annapolis Symphony Orchestra.
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On 12 September 2001, Laucke released a CD called Flamenco Road, consisting mainly of his own compositions in the new flamenco style, which he also arranged. In an interview for Voir magazine, Laucke stated: "It is also very influenced by my classical background. So it's a smoother flamenco." An example of this style from the album can be heard in Laucke's treatment of the well-known classical guitar transcription "Leyenda", which is given a flamenco rendition using several percussion instruments (claves, maracas, special castanets mounted on wood blocks, chimes, and a large gong), bass, and flute.
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Auxiliary percussion such as claves, bongos or maracas can also be used, especially in music influenced by strains from Latin America such as salsa and samba. In theory any instrument or instruments can provide a steady rhythm: for example, in the trio led by Jimmy Giuffre the late 1950s, the clarinet, valve trombone and guitar all switched between lead and supporting roles. In the 1950s, some jazz bandleaders began to replace the double bass with the then-newly invented electric bass. However, the electric bass made a big impact on jazz in the 1970s, with the advent of jazz rock and jazz fusion.
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Songo La Maya, Santiago de Cuba, 22 June 1946), the leader of Cuerteto Patría. Ochoa learnt both Spanish guitar and the Cuban trés; Cuban composer and classical guitarist Leo Brouwer told him that he did not need to learn more about musical technique as he already knew too much! Ochoa plays now with an eight-stringed guitar (a self-designed hybrid of an acoustic six-string and the Cuban trés). Cuerteto Patría includes his brother Humberto Ochoa on guitar, son Eglis Ochoa on maracas, William Calderón on bass, Anibal Avila on claves and trumpet, and Roberto Torres on congas.
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The overture is scored for three flutes (third doubling piccolo), two oboes, English Horn, two clarinets in B-flat, bass clarinet, two bassoons, contrabassoon, four French horns, three B-flat trumpets, three trombones, tuba, timpani, percussion and strings. A composer's note in the score instructs specific placement of the Latin American percussion instruments including bongo, claves, gourd, and maracas "right in front of the conductor's stand", with pictures. F. Campbell Watson, who was in charge of Gershwin's scores after his death, had the score tweaked and changed somewhat. This may account for a rhythm piano that appears in some audio recordings.
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In 2015, she was invited to spend three years as an artist in residence at the Chapelle Musicale Reine Elisabeth in Waterloo, as well as for the Singer- Polignac Foundation. She has performed at the Philharmonie de Paris, Musikverein in Vienna, KKL Luzern, Basel Casino, Dijon Opera, Flagey in Brussels, Teatro Colón Buenos Aires, Kennedy Center Washington. Here recordings have been mentioned in mainstream media. Recordings made in 2018 for the Claves Records label include concertos from A. Khachaturyan and K. Penderecki and received 5 diapasons, 5 Classica stars as well as the Clef du mois ResMusica Award.
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Rhibosome's line-up was Chipper on drums, tom toms, congas, bells, claves, bongos, scratches and tambourine; McKinney on congas, cowbell, timbales, drums, bells, scratches; together with Andrew Selmes on percussion, brushes and drums; and their live sound engineer, George Nikoloudis. The group's debut single, "Impulse", appeared via Perth's Offworld Sounds label in 1999, which attracted praise in Australia and internationally. They also became one of the stalwarts of the Fremantle scene, regularly performing under their main name, but also as the Big Ear DJs at popular venues in the port city. Rhibosome appeared at dance festivals, including Vibes on a Summer's Day, Gatecrasher and Science Fiction.
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After the spreading of Taarab from the Sultan's palace to Zanzibari weddings and other community events, the first famous female singer of taarab was Siti bint Saad. Beginning in 1928, she and her band were the first from the region to make commercial recordings. Over the next several decades, bands and musicians like Bi Kidude, Mzee Yusuph, Culture Musical Club and Al-Watan Musical Club kept taarab at the forefront of the Tanzanian scene, and made inroads across the world. Playing in a similar style, Kidumbak ensembles grew popular, at least among the poor of Zanzibar, featuring two small drums, bass, violins and dancers using claves and maracas.
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The coros de clave share their name with the percussion instrument used as accompaniment, the Cuban claves, which execute the main rhythmic pattern, the vertical hemiola (also characteristic of the contradanza). The vertical hemiola constitutes the most essential element of the sesquiáltera rhythm, and consists in the practice of superimposing a binary rhythmic pulse over a ternary one, as follows: Vertical Hemiola. The accompaniment of the choirs frequently included a guitar and the percussion was executed over the sound box of an American banjo from which the strings were removed, due to the fact that African drums performance was strictly forbidden in Cuban cities.Sublette, Ned: Cuba and its music.
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In 1990, Motörhead vocalist and bassist Lemmy Kilmister moved from England to the U.S., settling in West Hollywood within walking distance of the Rainbow Bar and Grill. With Phil Carson managing the band, the sessions for what would become the album 1916 began with Ed Stasium, best known for producing the Ramones, Talking Heads, and Living Colour. The band recorded four songs with the producer before deciding he had to go. When Lemmy listened to a mix of Going to Brazil, he asked him to turn up four tracks, and on doing so heard claves and tambourines Stasium had added without the band's knowledge.
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Paris, France: Lusafrica. Their second album on Lusafrica, Celebrando sus 80 años, was released in March 2000 for the band's 80th anniversary with the same line- up. In 2010, their 90th anniversary album 90 años: Orgullo de los soneros was nominated for the Latin Grammy Award for Best Traditional Tropical Album. The album was recorded between February and March 2009 with the following line-up: Felipe Ferrer (tres and director), Juan A. Jústiz (vocals and güiro), José Antonio Pérez (vocals), Emilio Moret (vocals and maracas), Ernesto Laza (bongó and bell), Ibrahim Aties (baby bass), Digno Marcelino Pérez (vocals and claves), Gilberto Azcuy (trumpet) and Jaime Gracián (manager).
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In the series of CD albums that followed the film, Ochoa played an increasingly prominent part, and this was reflected in increased sales for the Cuarteto Patría albums, and in many foreign tours for the man and his group. The group consists of Eliades Ochoa (leader, vocals, guitar); Humberto Ochoa (second guitar, coro); Eglis Ochoa (maracas, güiro, coro); William Calderón (double bass); Roberto Torres (bongos, conga, coro). Others who have played on some albums include: former leader Franciso Cobas de la O (second guitar, coro); Aristóteles Limonta (d. bass, coro); Enrique Ochoa: (second guitar, coro); María Ochoa (voice); Aníbal Avila Pacheco (trumpet, claves); José Ángel Martínez (d.
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Cayetano Antonio Licciardo (July 19, 1923– October 30, 1999) was an Argentine politicianLa economía argentina: El Proceso II ; Alfonsín ; Menem ; 1996 en adelante ; Reflexiones: Lo que hay que explicar ; La economía como proceso decisorio : mi versión ; La economía como proceso decisorio : reseña de ideas ajenas ; Exogeneidad 1 : Mundo ; Exogeneidad 2 : Política ; Claves de la política económica ; Dónde se inspiraron las políticas económicas ; Ciclo político-económico, más fuerzocracia : cómo se sale de esto? ; Protagonistas ; Legislación : por orden cronológico ; Legislación más importante : por materia, La Ley, 2005 and the Minister of Economy of Argentine from 1971 to October 13, 1972 and the Minister of Education December 22, 1981 to December 1983.
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Her third book, Y comerás del pan sentado junto al fuego (And You Shall Eat from the Bread While Seated by the Fire), was published by Claves Latinoamericans in 2002 and is one of the most significant within her literary works. The poems in this collection revisit the theme of love, although, this time, it appears to be within a semi-biblical context. Critical studies of the work of Ardalani revolve, generally, on the process of transculturation, as well as on the analysis of the referential language in her poetry. Her fourth book, Miércoles de ceniza (Ash Wednesday), was published by Editorial Miguel Ángel Porrúa in 2007.
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Brian A. Nelson agreed with the analysis, claiming that Baralt Avenue was not as empty as the film portrays and that the filmmakers "put a black bar at the top of the frame to hide the Metropolitan Police trucks that were still there".Nelson (2009), p. 265. Bartley and Ó Briain reaffirmed their claim that the opposition did not pass below the Puente Llaguno bridge, citing eyewitness statements—including one from Le Monde Diplomatiques deputy editor—and an Australian documentary, Anatomy of a Coup, that "came to conclusions similar to our own". A Venezuelan documentary, Puente Llaguno: Claves de una Masacre, also supported Bartley and Ó Briain's view.
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Many of the important figures in the history of rumba, from Malanga to Mongo Santamaría were raised in solares. Slavery was abolished in 1886 and first- generation of free black citizens were often called negros de nación, a term commonly found in the lyrics of rumba songs. The earliest progenitors of the urban styles of rumba (yambú and guaguancó) might have developed during the early 19th century in slave barracks (barracones) long before the use of the term rumba as a genre became established. Such proto-rumba styles were probably instrumented with household items such as boxes and drawers instead of the congas, and frying pans, spoons and sticks instead of guaguas, palitos and claves.
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In 1967, Ace Tone founder Ikutaro Kakehashi (later founder of Roland Corporation) developed the preset rhythm- pattern generator using diode matrix circuit, which has some similarities to the earlier Seeburg and Nippon Columbia patents. Kakehashi's patent describes his device as a "plurality of inverting circuits and/or clipper circuits" which "are connected to a counting circuit to synthesize the output signal of the counting circuit" where the "synthesized output signal becomes a desired rhythm." An Ace-Tone Rhythm Ace drum machine Ace Tone commercialized its preset rhythm machine, called the FR-1 Rhythm Ace, in 1967. It offered 16 preset patterns, and four buttons to manually play each instrument sound (cymbal, claves, cowbell and bass drum).
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He is a recording artist with the Swiss classical record label Claves, with which he has recorded works of Johann Sebastian Bach and Beethoven. As a pedagogue at the Moscow Conservatory (and later at the Queen Sofia College of Music in Madrid), he taught many internationally renowned artists such as Arcadi Volodos, Dmitri Alexeev, Luis Fernando Pérez, Dang Thai Son, Nikolai Demidenko, Elena Bashkirova, Kirill Gerstein, Denis Kozhukhin, Eldar Nebolsin, Vestards Šimkus, David Kadouch, Jong Hwa Park, Claudio Martinez Mehner, Bruno Vlahek, Plamena Mangova, Stanislav Ioudenitch and many others. Bashkirov has a daughter, Elena Bashkirova, who is married to Daniel Barenboim. Bashkirov has a son, Kirill Bashkirov who is a photographer specialised in portraiture, landscape and esports.
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Groups began adding more and more traditional percussion instruments to the pit, and in its modern form, the ensemble may contain any type of percussion instrument from cymbals, gongs, and drum kits to Afro-Cuban percussion such as congas, bongos, claves, and cowbells, to African percussion such as djembes. The main emphasis of the pit in drum corps style groups are the mallet instruments: marimba, vibraphone, glockenspiel, chimes, crotales, and xylophone. Some marching band circuits also allow non-standard instruments (such as the violin) or electronic instruments (such as synthesizers and bass guitars) in the pit. In indoor drumline, the front ensemble may not necessarily be placed at the front as the name suggests.
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With the court case resolved, Motörhead signed to Epic/WTG and spent the last half of 1990 recording a new album and single in Los Angeles. Just prior to the album sessions the band's former manager, Doug Smith, released the recording of the band's 10th anniversary show, much against the bands wishes, having previously told him that they did not want it released, in 1986. In the studio they recorded four songs with producer Ed Stasium, before deciding he had to go. When Lemmy listened to one of the mixes of "Going to Brazil", he asked for him to turn up four tracks, and on doing so heard claves and tambourines that Stasium had added without their knowledge.
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One of the most difficult parts of the sound implementation was making the machines sound the same on all three game speeds. According to French, the process of creating the sounds was "weird"; it included watching animations and "looking at everything that could make a sound" in an effort to figure out how to recreate those sounds. For example, an umbrella, some straws, and a yoghurt drink were used by French to create the sounds for Chromotherapy (a disease which causes patients to turn grey and requires them to be re-coloured). French stated that the songwriting process began with a guitar or piano riff together with percussion elements (which included bongos and claves).
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She has written for Spanish magazines such as Cuadernos de Periodistas, Ínsula, Leer, and GEO, and for foreign media, such as the BBC program Europe and the Swedish newspaper Expressen. In 2005 she published the biography Federica Montseny, una anarquista en el poder (Espasa) and won the for Lenguas en guerra. Lozano was an ABC columnist from 2005 to 2010. She is currently a columnist for El País, where she publishes monthly, and contributes to the regional press of the Vocento Group (El Comercio, El Correo, El Norte de Castilla, La Verdad, etc.) through a biweekly column, as well as to the thought magazines Claves and ', and the online publications Fronteras and Cuarto poder.
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Marguerite Dütschler-Hüber founded Claves with business partner Ursula Pfaehler when her piano teacher Jörg Ewald Dähler was unable to find a company willing to record and issue an LP of Bach preludes.Gramophone: Volume 71, Issues 841-846 1993 "... run now, as then, by Marguerite Dutschler-Huber. Urged into action by the inability of her teacher Jorg Eward Dahler to find a home for an LP of Bach Preludes, Dutschler-Huber and her partner Ursula Pfaehler produced it themselves ... The label specialised in Swiss music and artists such as flutist Peter-Lukas Graf and Lieder recitals by performers including Dietrich Fischer-Dieskau, Teresa Berganza and Ernst Haefliger.Encyclopedia of recorded sound Volume 1 Frank W. Hoffmann, Howard Ferstler - 2005 "... in 1968 by Marguerite Dutschler-Huber, in Switzerland.
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LP pioneered the use of many ethnic-based instruments for wider musical uses, and continues to be a leading innovator in this area. They are particularly known for their revolutionary plastic jam blocks, standard wood blocks, durable granite blocks which is a modern version of the age old temple blocks, claves, , congas, bongos, udu drums, tambourines, maracas, one shot shakers, vibraslaps, Afuche , güiros, güiras and agogo bells, and their cowbells and jam tambs which is a modified tambourine used in drum kits. Some of their discontinued china cymbals are now highly sought after. Their Drumset division, CP or Cosmic Percussion, and Ascend saw success in the 1980s and 90s producing mostly entry level instruments, and some intermediate to professional grade instruments in Taiwan.
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The traditional song inspired Ritchie Valens' rock and roll version "La Bamba" in 1958. Valens' "La Bamba" infused the traditional tune with a rock drive, in part provided by session musicians Earl Palmer and Carol Kaye, making the song popular with a much wider record audience and earning it (and Valens) a place in rock history (he was inducted posthumously into the Rock and Roll Hall of Fame in 2001). The musicians on that session were Buddy Clark: string bass, Ernie Freeman: piano, Carol Kaye: acoustic rhythm guitar, René Hall: Danelectro guitar (six-string baritone guitar), Earl Palmer: drums and claves, Ritchie Valens: vocals, lead guitar.Ritchie Valens, "Ritchie Valens in Come On. Let’s Go" Del-Fi Records, liner notes The song features a simple verse- chorus form.
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She was the first highly trained professor in her field when she started with the Tec de Monterrey in 2005 as the academic coordinator of the philosophy program until 2008. Today she is the director of the humanities department of the Tec de Monterrey, Mexico City Campus, serving also as the academic leader of strategic projects in humanities since 2009 and the coordinator of the UNESCO group in ethics and human rights at the campus. García González has worked as a consultant for various banks, in education and in hospitals and other medical organizations. In 2007, she founded a journal called En-claves del pensamiento with the Humanities and Social Sciences Division of the Tec de Monterrey which she still directs.
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Crew, the band, was formed in 1965 in London, England, by John Wright as lead vocalist and percussionist specializing on congas. In 1969, the songs "Marty" and "Danger Signs", written by Richard Hartop, were recorded and released on Plexium and, in 1970, the band recorded a ska version of Paul Simon's "Cecilia" and "1970" by Jonathan King released on Decca. In 1971, John reformed the band with, lyricist Jon Newey (bongos, claves, congas, maracas), John Chichester (electric guitar and vocals), Ian Rutter (bass guitar), Tony Perry (organ and vocals) and songwriter Martin Samuel (drums and percussion). The band then signed with The Space Agency, in Chelsea, London, for management and representation and worked consistently including at such notable London venues as The Marquee Club and The Roundhouse.
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For bands that include a front ensemble (also known as the pit or auxiliary percussion), stationary instrumentation may include orchestral percussion such as timpani, tambourines, maracas, cowbells, congas, wood blocks, marimbas, xylophones, bongos, vibraphones, timbales, claves, guiros, and chimes or tubular bells, concert bass drums, and gongs, as well as a multitude of auxiliary percussion equipment, all depending on the instrumentation of the field show. Drum sets, purpose-built drum racks, and other mounted instruments are also placed here. Until the advent of the pit in the early 1980s, many of these instruments were carried on the field by marching percussionists by hand or on mounting brackets. Some bands also include electronic instruments such as synthesizers, electric guitars, and bass guitar, along with the requisite amplification.
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In the late 1960s, Latin jazz, combining rhythms from African and Latin American countries, often played on instruments such as conga, timbale, güiro, and claves, with jazz and classical harmonies played on typical jazz instruments (piano, double bass, etc.) broke through. There are two main varieties: Afro-Cuban jazz was played in the US right after the bebop period, while Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as Xavier Cugat, Tito Puente, and Arturo Sandoval. Brazilian jazz such as bossa nova is derived from samba, with influences from jazz and other 20th-century classical and popular music styles.
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At the age of 16 he won the Migros study prize and completed his studies at the Conservatoire in Fribourg "summa cum laude". His talent was recognised in international competitions, including Senigallia, Sion, Vienna, Naples, Gernsbach, Freiburg and Vercelli, where he won 1st prizes, including the coveted ”Premio Rodolfo Lipizer“Lipizer 5° CONCORSO: 7 - 14 SETTEMBRE 1986, A. Dubach in Gorizia (I). In 2000 the town of Thun awarded him their prize for culture. In 2007 Dubach performed the Swiss national premiere of Niccolò Paganini's Third Violin Concerto. His Claves recording of Paganini’s 6 violin concertosPaganini Violin Concertos on Amazon, A. Dubach with the Orchestre Philharmonique de Monte Carlo Orchestre Philharmonique de Monte Carlo has won great acclaim, including a listing in Jaoachim Hartnack’s Great Violinists of our Time.
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Yoruba drummers: One holds omele ako and batá, the other two hold dunduns. Orchestral percussion section with timpani, unpitched auxiliary percussion and pitched tubular bells Djembé and balafon played by Susu people of Guinea Concussion idiophones (claves), and struck drums (conga drum) Modern Japanese taiko percussion ensemble Very large drum kit played by Terry Bozzio A percussion instrument named mridangam played by T. S. Nandakumar Evelyn Glennie is a percussion soloist A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater including attached or enclosed beaters or rattles struck, scraped or rubbed by hand or struck against another similar instrument. Excluding zoomusicological instruments and the human voice, the percussion family is believed to include the oldest musical instruments.The Oxford Companion to Music, 10th edition, p.
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The originals are in English and ...José Tlatelpas - 1980 Asamblea de poetas jóvenes de México Gabriel Zaíd - 1980 "José Tlatelpas Tláhuac (DF), 4 de abril de 1953. Estudió economía y antropología. Ha publicado poemas en Nueva Generación, Ramble, Godfree, El Diario del Pueblo, Boletín de la Sociedad Mexicana de Amistad con China Popular, .." He has been a director of several cultural and political magazines since 1972, such as Nueva Generación (1972), Gaceta Politécnica de Literatura y Redacción (1981), La Guirnalda Polar (since 1996) and Poder Popular (since 2008). Among other places, he gave workshops for the INBA (National Institute of Fine Arts and Literature) in Mexico, the ENEP Acatlan University; abroad, he conducted workshops in CLAVES Latinoamericanas and the Circulo de Escritores Latinoamericanos in Vancouver, Canada, and other places.
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They are the cry of regret and anguish with which Brecht warns us that often it is necessary to renounce the seduction of words when they sound like an invitation to forget our links to a world constructed by our own acts. The score calls for an unusually large orchestra: 16 woodwinds; 6 horns, 4 trumpets and 4 trombones plus tuba, full strings, including three violin sections, and a percussion section calling for a number of performers who address themselves not only to glockenspiel, celesta, vibraphone and marimba but also to spring coils, tamtam, tom-tom, temple blocks, wood blocks, bongos, timpani, cowbells, tubular bells, claves, guiro, censerros, cymbals, snare drum, tambourine, etc. The BBC Proms premiere was given in the Royal Albert Hall, London on 8 August 1986, by Elizabeth Laurence and the BBC Philharmonic Orchestra conducted by Edward Downes.
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In the documentary, footage captured from another angle by an amateur cameraman shows pro-Chávez gunmen firing over an empty street with no apparent opposition protesters below. Further, the film makers claim that the opposition march never went down that street. While this documentary has been criticized by another called X-Ray of a Lie and American academic Brian Nelson, who argue that the footage is manipulated and obscures Metropolitan Police on the street below, it's not clear whether this is relevant to the veracity of the claim that pro-Chávez gunmen were not firing on opposition protesters from the bridge. The 2004 documentary Puente Llaguno: Claves de una Masacre claimed that the Chavistas on the bridge did not begin shooting until 4:38 pm, by which time most of the opposition deaths had already occurred.
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Rumba instrumentation has varied historically depending on the style and the availability of the instruments. The core instruments of any rumba ensemble are the claves, two hard wooden sticks that are struck against each other, and the conga drums: quinto (lead drum, highest-pitched), tres dos (middle-pitched), and tumba or salidor (lowest-pitched). Other common instruments include the catá or guagua, a wooden cylinder; the palitos, wooden sticks to strike the catá; shakers such as the chekeré and the maracas; scraper percussion instruments such as the güiro; bells, and cajones, wooden boxes that preceded the congas. During the 1940s, the genre experienced a mutual influence with son cubano, especially by Ignacio Piñeiro's Septeto Nacional and Arsenio Rodríguez's conjunto, which led to the incorporation of instruments such as the tres, the double bass, the trumpet and the piano, and the removal of idiophone instruments.
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A kouxian, a plucked idiophone Set of bell plates, range C2–E4, a struck idiophone (played with mallets) or friction idiophone (bowed) Claves (foreground), a struck idiophone An idiophone is any musical instrument that creates sound primarily by the vibration of the instrument itself, without the use of air (as is the case with aerophones), strings (chordophones) or membranes (membranophones). It is the first of the four main divisions in the original Hornbostel–Sachs scheme of musical instrument classification (see List of idiophones by Hornbostel–Sachs number). The early classification of Victor-Charles Mahillon called this group of instruments autophones. The most common are struck idiophones, or concussion idiophones, which are made to vibrate by being struck, either directly with a stick or hand (like the wood block, singing bowl, steel tongue drum, triangle or marimba) or indirectly, by way of a scraping or shaking motion (like maracas or flexatone).
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Swiss Chamber Soloists consist of solo artists, ensembles from Switzerland and guests from abroad and features many world renowned soloists like Sarah Maria Sun, Sarah Wegener, Christophe and Julian Prégardien, Heinz Holliger, Sergio Azzolini, Ilja Gringolts, Patricia Kopatchinskaja, Rosanne Philippens, Thomas Zehetmair, Christophe Coin, Thomas Demenga, Edicson Ruiz, Bruno Canino, Dénes Várjon, Gilles Vonsattel, Hopkinson Smith and The Hilliard Ensemble. From 1999 to 2020 Swiss Chamber Soloists produced 15 CDs for the labels ECM, NEOS, Claves and Genuin. International tours brought the ensemble to Australia and Japan as well as to Austria, France, Germany and Italy with appearances at the Festival Archipel Geneva, the Lucerne Festival, the Menuhin-Festival Gstaad and the Wittener Tage für Kammermusik. The repertoire of the Swiss Chamber Soloists ranges from the Baroque, also played on historical instruments, to the modern, with many of the pieces being written for and dedicated to the ensemble.
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The original version was recorded over two dates at United Western Recorders in Hollywood on January 8 and 19, 1965, with Chuck Britz as the engineer and production by Brian Wilson. The instrumental track has Carl Wilson, and members of The Wrecking Crew: Bill Pitman, and Glen Campbell on guitar, Billy Strange on ukulele, Ray Pohlman on bass guitar, Leon Russell on piano, Hal Blaine on drums and timbales, Julius Wechter on claves, Billy Lee Riley on harmonica, Steve Douglas and Plas Johnson on tenor saxophone, and Jay Migliori on baritone saxophone. Al Jardine sang the lead vocal with backing vocals by Carl, Dennis and Brian Wilson, and Mike Love. The track runs over three minutes with no guitar solo, has a number of false, fade in/fade out endings, and, instead of the song starting with Jardine's vocal, there is a brief ukulele intro.
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It was also reported that the National Guard, which was firing tear gas and combatting the opposition protesters, did not pay any attention to the gunmen on the La Nacional building and that it was the Metropolitan Police who had attempted to go to the building. Bernal dismissed the allegations as "totally false". The 2003 documentary titled The Revolution Will Not Be Televised shows footage captured from another angle by an amateur cameraman of the gunmen firing while the street below is portrayed to be empty; although another documentary, X-Ray of a Lie and American academic Brian Nelson argue the former's footage is manipulated and obscures Metropolitan Police on the street below. The 2004 documentary Puente Llaguno: Claves de una Masacre claimed that the Chavistas on the bridge did not begin shooting until 4:38 pm, by which time most of the opposition deaths had already occurred.
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Since 1997 van Oort has made some forty recordings of chamber music and solo repertory, including piano trios by Mozart, Hummel, and Beethoven, and the piano quartets of Mozart, all with his ensemble The Van Swieten Society (formerly Musica Classica). His diverse discography also includes Bohemian Songs with soprano Claron McFadden, the Mendelssohn Double Concerto for piano and violin, and Schubert Sonatas. Together with six other fortepianists he recorded the complete Beethoven Sonatas (Claves, 1997), and with four other fortepianists he recorded the complete Haydn Sonatas (Brilliant, 2000). In 2003 the 4-CD box set The Art of the Nocturne in the Nineteenth Century, which included the complete Nocturnes of Field and Chopin as well as works by Pleyel, Kalkbrenner, Clara Schumann, Lefèbure-Wély, E. Weber, Alkan, Glinka, Szymanowska and Dobrzynski, was awarded the highest rating (five tuning forks) by the French classical music magazine Diapason.
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Reviewing the show for Revista Claves de Arte, Ana Folguera de la Cámara observed: "Technique, in this case, is clearly displaced so as not to be recognizable...This artist seems to move between expressionistic vehemence and the self-containment of abstraction." In 2013, at Miguel Abreu Gallery, Raissnia presented Series in Fugue, an exhibition with panels of oil and gesso, works on paper and films. The show marked a closer nexus being forged among her films, drawings, and paintings: each painting was a contrapuntal composition influenced by two visual quotations from the artist's film, which was transferred onto gessoed wood and guided the building up of oil paint, its sanding and reapplication. Likewise, her films were constructed from fragments of earlier work. At the 56th Venice Biennale in 2015, Raissnia showed Longing (2014), a three-part 16mm black-and-white and color film developed from a series of visits to East Harlem, New York.
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Fold-out paleontological chart of Edward Hitchcock in 'Elementary Geology' (1840) Although tree-like diagrams have long been used to organize knowledge, and although branching diagrams known as claves ("keys") were omnipresent in eighteenth-century natural history, it appears that the earliest tree diagram of natural order was the "Arbre botanique" (Botanical Tree) of the French schoolteacher and Catholic priest Augustin Augier, first published in 1801. Yet, although Augier discussed his tree in distinctly genealogical terms, and although his design clearly mimicked the visual conventions of a contemporary family tree, his tree did not include any evolutionary or temporal aspect. Consistent with Augier's priestly vocation, the Botanical Tree showed rather the perfect order of nature as instituted by God at the moment of Creation. In 1809, Augier's more famous compatriot Jean- Baptiste Lamarck (1744–1829), who was acquainted with Augier's "Botanical Tree", included a branching diagram of animal species in his Philosophie zoologique.
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Detenido el español que conducía el vehículo en el que murió PayáLas claves del 'caso Carromero' The Cuban government accused Ángel Carromero of illegally financing Cuban government-opposition groups.Cuba acusa al político del PP retenido de financiar ilegalmente a la oposición Manslaughter charges were levied against Carromero for the two vehicular deaths, with Cuban authorities asserting that in a case such as his, in which negligent actions resulted in "grave consequences," Article 177 of the Criminal Code required a maximum sentence of 10 years imprisonment. For their part, the family of Oswaldo Payá did not file charges against Carromero; furthermore, they have stated, on various occasions, their suspicions vis-a-vis the Cuban government and its purportedly oppressive machinations against them and other dissidents, and, especially, against the late Oswaldo Payá, machinations which, the family claims, may have in some way contributed to the latter's death. Carromero's trial in Cuba began and ended on October 5, 2012.
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This unusual composition takes 10 minutes to perform. It is score for a very large and powerful set of instruments. The list of instruments used in this piece is as follows: ;Woodwinds :4 flutes :4 oboes :3 clarinets in B :baritone saxophone :contrabass clarinet in B :3 bassoons :contrabassoon ;Brass :6 horns in F :4 trumpets in B :4 trombones :tuba ;Percussion :musical saw :vibraphone :bells I :bells II :4 timpani :2 bongos :bass drum :claves :5 wood blocks :ratchet :guiro :whip :4 cowbells :triangle :6 cymbals :2 gongs :gong ageng :2 tam-tams ;Other :bass guitar :harp :harmonium :piano ;Strings :solo violin :24 violins :10 violas :10 cellos :8 double basses The composition has no tempo marking at the beginning, even though the last bars are marked as Tempo di Valse. It is mentioned in the score that two or three of the bells from the second bell set should be made of 24-karat gold.
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Also typical are the claves, the Spanish guitar, the double bass (replacing the early botija or marímbula), early on the cornet or trumpet and finally the piano. In spite of a traditional tendency to attribute the origin of Cuban Son to the Eastern region of Cuba (Oriente), most recently, some musicologists have shown a more inclusive stance. Although Alejo Carpentier, Emilio Grenet and Cristóbal Díaz Ayala support the "Eastern origin" theory, Argeliers León doesn't mention anything about it in his pivotal work "Del Canto y el Tiempo", as well as María Teresa Linares in "The Music between Cuba and Spain." Ramadamés Giro states about this subject: "If Son was an artistic phenomenon that was developing since the second half of the 19th century – and not just in the old Oriente (Eastern) province -, it is logical to suppose, but not to affirm, that long before 1909 it was heard in the Capital City (Havana) because of the aforementioned reasons..."Giro, Radamés: Los Motivos del son.
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Agostini has appeared in various international music festivals in Europe, United States and Japan and has performed chamber music with many distinguished artists including Bruno Giuranna, Jaime Laredo, Joseph Silverstein, Janos Starker as well as with members of the American, Emerson, Fine Arts, Tokyo and Guarneri quartets. Together with violinist Yosuke Kawasaki (currently concertmaster of National Arts Centre Orchestra, Ottawa), James Creitz (former violist of the Academica Quartet) and Sadao Harada (former cellist and founder of the Tokyo String Quartet), Federico Agostini has recently founded the D'Amici String Quartet which began its activities in 2004. Among Agostin's Philips recordings there are Bach and Vivaldi's violin concertos, including the Four Seasons, which was filmed on location in Venice and available also on DVD. Other recordings include the Fauré's 'Piano Quartets' produced by Claves and, more recently, an Hommage à Nathan Milstein, a selection of favorite virtuoso violin pieces, published by 'Live Notes' in Japan.
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A standard string orchestra of violins, violas, cellos, double basses is augmented by a percussion battery of one timpanist and four members, who play the following: Player 1: marimba, vibraphone, castanets, three cowbells, four bongos, tubular bells, snare drum, guiro Player 2: vibraphone, marimba, snare drum, tambourine, two woodblocks, claves, triangle, guiro Player 3: glockenspiel, crotales, maracas, whip, snare drum, choclo, guiro, three temple blocks, bass drum, tam-tam, snare drum, triangle Player 4: cymbals, bass drum, tam-tam, hi-hat, triangle, tambourine, five tom-toms Two factors influenced Shchedrin in choosing this instrumentation. The first, he said in an interview with BBC Music Magazine, was that, "to be [as] totally far [as possible]" from Bizet's scoring for the opera, he wanted an ensemble "without brass and woodwind... that gave me many possibilities" for timbral variety. The second was the high level of string and percussion players then available in the Bolshoi orchestra.Duchen, BBC Music Magazine.
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He owes his international reputation largely to his first recordings (among others a CD dedicated to Antonio Pasculli, the “Paganini of the Oboe”) which were received with great acclaim, and brought engagements at various festivals and with major orchestras in Berlin, Rotterdam, Paris, Warsaw, Lugano, Geneva, Zurich, Basel, Milan, London, Japan and the United States. Besides being a soloist, he is an enthusiastic performer varying from duo to baroque ensemble, playing on period instruments, and from wind octet (Ottetto Classico Italiano) to larger string-wind groups and contemporary music included improvisation. Composers like Sylvano Bussotti, Niccolò Castiglioni, Paul Glass, Éric Gaudibert, Francesco Hoch, Alessandro Lucchetti, Luca Mosca, Albert Möschinger, Mario Pagliarani, Gianni Possio and many others have written for and dedicated works to him. He has recorded a DVD (Lebrun Concerto, Frans Brüggen conducting) and about 30 LPs and CDs for Accord, Claves, Divox, Ex Libris, Harmonia Mundi, Jecklin, Koch-Schwann, Stradivarius, Teldec and others with works that represent the oboe repertoire of the last three centuries at its very best.
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The treble drum is called "quinto", the medium range drum is called "macho or tres-dos" (three-two), because its essential rhythm is based on the Cuban clave pattern, and the bass drum is called "hembra o salidor," because it usually began or "broke in" (rompía) the rumba. In the Rumba ensemble they also utilize two sticks or spoons to beat over a hollow piece of bamboo called "guagua" or "catá," as well as the Cuban Claves, the Güiro and some rattles from bantu origin called "nkembi". The vocal part of the rumba corresponds to a modified version of the ancient Spanish style of "copla-estribillo" (quatrain-refrain), including a "montuno" section that one may consider an expanded or developed "refrain" that constitute an independent section which include the call and response style, so typical of the African traditions. Rumba drummers From the many rumba styles that began to appear during the end of the 19th century called "Spanish times" (Tiempo'españa), such as tahona, jiribilla, palatino and resedá, three basic Rumba forms have survived: the Columbia, the guaguancó and the yambú.
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The term trabuco comes from Venezuelan baseball slang, where it means an all-stars selection of ballplayers coming from different clubs, or bands, if it is the case, in musical terms. The orchestra was created by Naranjo in response to the emergence of a plethora of salsa amateurish bands, that often offered pale imitations of foreign groups, as he wanted to start a total musical movement with all-round musicians and singers. As a result, his Trabuco had no specific commercial ambitions and was ideated to record and perform at cultural events in theaters and universities, and although Naranjo never intended to be a salsa interpreter, the band overlapped considerably with salsa music. But in his jazzy arrangements, Naranjo did not use the typical 'minor' percussion salsa instruments, like maracas, güiro and claves, so he worked with a classic jazz drum set, congas, bongos, timbales, piano and bass in front of four trumpets and four trombones, similar to jazz brass band ensembles, not at all common in salsa bands.
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The recording marked a change in direction for the band following the psychedelic pop of their previous two albums, Between the Buttons and Their Satanic Majesties Request. Styles such as roots rock and a return to the blues rock sound that had marked early Stones recordings dominate the record, and the album is among the most instrumentally experimental of the band's career, as they infuse Latin beats and instruments like the claves alongside South Asian sounds from the tanpura, tabla and shehnai and African music-influenced conga rhythms. Beggars Banquet was a top-ten album in many markets, including a number 5 position in the US—where it has been certified platinum—and a number 3 position in the band's native UK. It received a highly favourable response from music critics, who deemed it a return to the band's best sound. While the album lacked a "hit single" at the time of its release, songs such as "Sympathy for the Devil" and "Street Fighting Man" became rock radio staples for decades to come.
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These novels, representative of the boom allowed Hispanic American literature to reach the quality of North American and European literature in terms of technical quality, rich themes, and linguistic innovations, among other attributes.Antonio Sacoto (1979) Cinco novelas claves de la novela hispano americana (El señor presidente, Pedro Páramo, La muerte de Artemio Cruz, La ciudad y los perros, Cien años de soledad), Eliseo Torres & Sons, New York In his Nobel Prize acceptance speech, García Márquez addressed the significance of his writing and proposed its role to be more than just literary expression: Harold Bloom remarked, "My primary impression, in the act of rereading One Hundred Years of Solitude, is a kind of aesthetic battle fatigue, since every page is rammed full of life beyond the capacity of any single reader to absorb... There are no wasted sentences, no mere transitions, in this novel, and you must notice everything at the moment you read it."Bloom, Harold. Bloom's Critical Interpretations: Edited and with an Introduction by Harold Bloom: "Gabriel García Márquez's One Hundred Years of Solitude".
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This suite for orchestra is divided into four movements and takes around 14 minutes to perform. The scoring can be divided into three groups: first, a full orchestra (two flutes, two piccolos, two clarinets in B-flat, a bassoon, two horns, a trumpet in C, a large percussion section consisting of a xylophone, a glockenspiel, a side drum, a woodblock, a tambourine, four tom-toms, claves, two suspended cymbals, a hi-hat, two large tam-tams and two very large tam- tam, and a string section consisting of twelve first violins, twelve second violins, eight violas, eight cellos, and four double basses); then, an amplified solo group consisting of an oboe, a cor anglais, a trumpet in B-flat, a harp, a celesta, and a piano; finally, an off-stage string quintet consisting of two violins, a viola, and two cellos. The movement list is as follows: The general tone of the suite is sensual and atmospheric. Tempo variations are frequent in the dances, but the tempo is generally slow and calm in the first and third movements.
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