Samuel Barber (1910-1981) Biography[edit] Early years[edit] Childhood home of Samuel Barber in West Chester, Pennsylvania Barber was born in West Chester, Pennsylvania, the son of Marguerite McLeod (née Beatty) and Samuel Le Roy Barber.[2] He was born into a comfortable, educated, social, and distinguished American family. His father was a physician; his mother, called Daisy, was a pianist of English-Scottish-Irish descent whose family had lived in the United States since the time of the Revolutionary War.[3] His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera; his uncle, Sidney Homer, was a composer of American art songs. At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability. Dear Mother: I have written this to tell you my worrying secret. Barber attempted to write his first opera, entitled The Rose Tree, at the age of 10. Middle years[edit] Later years[edit] Achievements and awards[edit] Music[edit] Piano[edit]
Paroles et traduction Simon And Garfunkel : The Sound Of Silence Paroles et traduction de «The Sound Of Silence» The Sound Of Silence (Le Son Du Silence) Hello darkness, my old friend,Bonsoir ténèbres, mon vieil ami,I've come to talk with you againJe suis venu discuter encore une fois avec toiBecause a vision softly creeping,Car une vision s'insinuant doucement en moi,Left its seeds while I was sleepingA semé ses graines durant mon sommeilAnd the vision that was planted in my brain, still remainsEt la vision qui fut plantée dans mon cerveau, demeure encoreWithin the sound of silenceA l'intérieur, le son du silence Adagio for Strings History[edit] Barber's Adagio for Strings began as the second movement of his String Quartet, Op. 11, composed in 1936 while he was spending a summer in Europe with his partner Gian Carlo Menotti, an Italian composer who was a fellow student at the Curtis Institute of Music.[2] The inspiration came from Virgil's Georgics. In the quartet the Adagio follows a violently contrasting first movement (Molto allegro e appassionato) and is succeeded by music which opens with a brief reprise of the music from the first movement (marked Molto allegro (come prima) – Presto).[3] In January 1938 Barber sent an orchestrated version of the Adagio for Strings to Arturo Toscanini. Toscanini took Adagio for Strings on tour to South America and Europe, the first performances of the work on both continents. Composition[edit] Samuel Barber's Adagio for Strings is a short instrumental piece for orchestra. —Thomas Larson, on Adagio for Strings.[10] Critical reception[edit] Alexander J. Arrangements[edit] G.
Les configurations des cordes vocales - Le Chanteur Moderne 08 Décembre 2008 Les cordes vocales sont tendues entre le cartilage thyroïdien et les aryténoïdes (voir image ci-dessous - c’est la partie intitulée ‘vocal ligament’ - enfin, le ligament vocal n’est qu’une partie de la corde vocale, mais l’important est de voir où se situent les cordes). C’est avec nos cordes vocales que nous faisons du son, chanté ou parlé ou autre – du coup, l’état physique de ces cordes est la base de notre son. Plutôt que de parler de choses nébuleuses telles que ‘la voix de poitrine’ ou bien ‘la voix modale’ etc – je préfère parler avec mes chanteurs en cours particuliers de la réalité physique – comme ça, on est sûr qu’on parle de la même chose et qu’il n’y pas de confusion. Nos ‘vraies’ cordes vocales (je précise vraies parce que nous avons déjà évoqué les fausses cordes vocales dans le premier clip de cette série) disposent de deux mécanismes vibratoires principaux. Elles peuvent être épaisses ou fines. C’est simple Faites le son ‘uh-oh’. Récapitulons Chantez bien !
Religious music David playing his harp (unknown artist, c. 960). The book of Psalms, included in the Jewish and Christian scriptures, and said to have been written largely by David, is one of the earliest collections of sacred music, and still plays a role in the liturgies of the two religions. Religious music (also sacred music) is music performed or composed for religious use or through religious influence. Christian music[edit] The earliest music in the Christian Church came from Jewish worship music. It is believed that this music lay somewhere between singing and speaking, or speaking with an understood ritual cadence.[1] Hindu music[edit] Hindu music is music created for or influenced by Hinduism. Sikh music[edit] Jewish music[edit] The earliest synagogal music was based on the same system as that in the Temple in Jerusalem. Islamic music[edit] Rastafarian music[edit] Shintō music[edit] Shintō music (神楽) is ceremonial music for Shinto (神道) which is the native religion of Japan. Buddhist music[edit]
Church music Church music is music written for performance in church, or any musical setting of ecclesiastical liturgy, or music set to words expressing propositions of a sacred nature, such as a hymn. History[edit] Early Christian music[edit] Christianity began as a small, persecuted Jewish sect. At first there was no break with the Jewish faith; Christians still attended synagogues and the Temple in Jerusalem just as Christ had done, and presumably still carried on the same musical traditions in their separate Christian meetings. The only record of communal song in the Gospels is the last meeting of the disciples before the Crucifixion.[1] Outside the Gospels, there is a reference to St. Later, there is a reference in Pliny who writes to the emperor Trajan (61–113) asking for advice about how to prosecute the Christians in Bithynia, and describing their practice of gathering before sunrise and repeating antiphonally 'a hymn to Christ, as to God'. Gregorian chant[edit] The Mass[edit] Carols[edit]