Fugue Videos

One Voice in the Cosmic Fugue Το Κοσμικο Ημερολόγιο του δρα Σαγκάν παρουσιάζει την ιστορία του σύμπαντος εδώ και 15 δισεκατομμύρια χρόνια, καθώς σκιαγραφεί τη γέννηση της Γης και την εξέλιξη της ζωής πάνω σε αυτή. Παρακολουθούμε τα βήματα αυτής της προόδου, από τα μικρόβια μέχρι τον άνθρωπο. Η κατανόηση του τρόπου με τον οποίο αναπτύχθηκε η ζωή στη Γη μας δίνει τη δυνατότητα να ταξιδέψουμε σε άλλους κόσμους και να κάνμουμε ευφάνταστες υποθέσεις σχετικά με τις μορφές που μπορεί να πάρει η ζωή αλλού στο σύμπαν. Σε αυτό το επισόδειο ο Δρ.Σαγκαν παρουσιάζει γλαφυρά τη θεωρία της εξέλιξης με ένα κλασικό χαρακτηριστικό παράδειγμα αλλαγής μορφής - τεχνητής επιλογής ενός είδους καβουριών της Ιαπωνίας (καβούρια Σαμουράϊ)! (Με τις νέες παρατηρήσεις και ανακαλύψεις η ηλικία του σύμπαντος έχει πλέον καθοριστεί περίπου στα 13.5 δισεκατομμύρια χρόνια μετά την μεγάλη έκρηξη.) Author: andromediospelasgos Tags: Καρλ Σάγκαν Carl Sagan One Voice the Cosmic Fugue Cosmos Personal Voyage Voyager astronomy astrophysics NASA natural sciences exobiology Posted: 22 November 2009 Rating: 0.0 Votes: 0

"Regarding Mother" - Grand Theft Goodwill, "Vamp" - Larry Winfield; Geeknotes: New Podpage Items, Buddy Board Additions, LA Pod Promo, Swingercast ShoutOut; Open Mic Stage: "A Conversation With Death" - Green Man, KnitWitch Zone Interverse News Promo, Mysterious Universe Promo, "Snow Is Falling" - Yoko Ono, "Vampire's Castle Music" - Anonymous, "Devil's Bride" - Alien Christ, Klingon Word Promo, "If Jesus Came" - Künstler Treu; Map Room: Number of Ocean 'Dead Zones' Rises, Fear Could be Linked to Cancer, "X MINUS ONE" Radio Serial, Bush's Real Secret Plan?; Venue Verite: "A Ghost Story" by Mark Twain, read by Esther

Author: tocalpianix Keywords: Fugue on the name of Phillip Sear musical cryptogram Added: September 11, 2009

Soubhan Allah, tous ceux qui se font aider par les démons n'ont que des soucis, et vont de mal en pis, comme nous l'a dit Allah ta3ala : 6 (Or, il y avait parmi les humains, des mâles qui cherchaient protection auprès des mâles parmi les djinns mais cela ne fit qu’accroître leur détresse. (Sourate les djinns 72) Author: au-bon-rappel Tags: magie bonne servante prostitution zina appartement charia imane versets vérité commission police visa fugue islam repentir famille prison paradis père mère apprendre Coran Posted: 14 August 2009 Rating: 5.0 Votes: 2

Abd Allah ibn Omar a dit : « J’ai entendu le Messager d’Allah –que la prière et la paix soient sur lui- dire : « Vous êtes tous des bergers et tout berger est responsable de son troupeau : l’imam (guide) est un berger pour les gens qu’il dirige et l’homme est un berger dans sa famille et il est responsable de son troupeau. La femme est une bergère au sein du foyer conjugal et elle sera responsable de son troupeau. Le domestique est un berger par rapport aux biens de son patron et il est responsable de son troupeau ». Il dit ensuite : je crois qu’il a ajouté : « l’homme est un berger par rapport aux biens de son père et il est responsable de son troupeau. Vous êtes tous des bergers et vous êtes responsables de vos troupeaux ». (Rapporté par al-Boukhari, 853 et par Mouslim, 1829).Author: au-bon-rappel Tags: magie bonne servante prostitution zina appartement charia imane versets vérité commission police visa fugue islam repentir famille prison paradis père mère apprendre Coran Posted: 04 August 2009 Rating: 0.0 Votes: 0

Sara Rozalina Krstevski playing the baroque composition Fugue in C major by Johann Sebastian Bach.

Gulda plays Bach cis-moll fugue

Glenn Gould - Paul Hindemith , Piano Sonata No. 3 - Fugue

Consider Latin Actor Joseph Fiero... Contact JOSEPH FIERO www.CastingJoseph.com 323-467-8954 In Hollywood, CA

Masterclass from Arvo Part. Episode from 24 preludes for a Fugue

Two-time Tony-winning actress Judith Ivey talks about her transition to directing; why she was drawn to direct Lee Thuna's "Fugue" at the Cherry Lane Theatre rather than play the leading role; what she's learned from directors she's worked with, including Mike Nichols and Daniel Sullivan; why she moved from Chicago to New York in order to get better roles in Chicago -- only to find great success in New York once casting directors realized she wasn't British; her extraordinary year with "Hurlyburly"; and why she's willing to direct musicals, but won't ever act in them again. Original air date – April 13, 2007.

Woody Allen once said that Mozart's Symphony 41 proved the existence of God. Certainly, a symphony of such grandness and scale had, until the summer of 1788, never before been seen in the musical universe. Its implications for the direction of music in the future, and its influence on future composers is immeasurable. What makes Mozart's Jupiter symphony worthy to share the name of the most powerful god of the Roman world? The answer to this question comes in the Molto Allegro, and more specifically in its coda, (8:09-8:36). In the coda, Mozart takes the five musical themes or melodies that had been developed throughout the final movement, and does something that no one has ever achieved to the extent that he did, not even the illustrious Beethoven. What Mozart does is take these five themes and combines them to create a fugato in five-part counterpoint. That is, he takes the five melodies and simultaneously plays them in a variety of combinations and permutations. Imagine five separate melodies, all with their own notes, being played simultaneously, but each constantly changing. It's impossible for the human ear to focus on the enormous amount of notes that this simultaneous playing and constant changing entails. The effect is that the music seems to encompass an infinite amount of sound. With lesser two or three-part fugues, it is occasionally possible to sense everything that is going on. Once you get to four voices, it's nearly impossible to detect all of the nuances of the melodies. With five, well, only God could completely grasp its profundity. This is Jeffrey Tate and the English Chamber Orchestra performing the Molto Allegro of Mozart's Symphony 41 in C Major. A far greater introduction to this piece than I provide can be found at NPR's website, if you follow this link: http://www.npr.org/templates/story/story.php?storyId=5173337 In the audio clip, you will get the chance to hear the five melodies that Mozart used in the coda individually.

Vanessa-Mae plays a rare version of Toccata & Fugue with her acoustic violin, accompanied by the Bratislava Radio Symphony Orchestra. This was during her Classical tour in '96.

WARNING:Distortion and reverb used on this composition. I arranged this for electric guitar back in 1987 when I was into rock bands at the time. This piece is performed on an Aria Pro II, The Cat model. The guitar was a gift from a friend and I really love the fret board on it. Hope you don't mind a little distortion and reverb set to Bach's music. I envision this piece being done by a rock band that can really tear it up! Maybe Ingwie Malmsteen? Bach purists please leave the area now, you might be offended.

Bach's most famous organ piece, with a bar-graph score. FAQ Q: Where can I get free sheet music for this piece? A: Sheet music for this can be found here: http://tinyurl.com/243oyo Q: Who wrote Bach's Toccata and Fugue in D Minor? Q: Isn't that like asking who's buried in Grant's Tomb? A: Heh-heh. A theory has recently (1981) been put forth that J. S. Bach did not write this piece. A brief summary of the supporting evidence for this theory can be read here: http://en.wikipedia.org/wiki/Toccata_and_Fugue_in_D_minor#Attribution Q: What's wrong with synchronization? A: I don't know, but it appears that if you use this URL, it works better: http://www.youtube.com/watch?v=ipzR9bhei_o spam ), are removed. If you posted a comment and don't know why it's gone, email me (stephen at musanim dot com) with YouTube comment in the subject line. Q: How did you make this video? A: You can read about it here: http://www.musanim.com/ProductionNotes/ToccataAndFugueInDMinor.html Q: What is the BWV number for this? A: BWV 565 Q: Where does the toccata end and the fugue begin? A: The fugue starts at 2:51 and the toccata returns at 7:12, but between these two points, parts which are strictly fugal alternate with episodes that are more toccata-like, so it's not 100% clear-cut (like in some other toccata/fugue pairs he wrote). Q: What do the colors mean? A: Each stop on the organ was played on a separate MIDI channel, and each MIDI channel was assigned a color. Q: What is a fugue? A: Here is a good introduction: http://en.wikipedia.org/wiki/Fugue Q: Can I get a DVD with this video (or others like it)? A: Yes: http://www.musanim.com/mam/video.html Q: Could you please do a MAM video of _________? A: First, check my to do list: http://www.musanim.com/all/MAMToDoLis... ... If the piece isn't listed, read the Could you please do a MAM video of _________? item on my main FAQ: http://www.musanim.com/mam/mamfaq.htm... ... and if you think I'd consider doing it, email me (stephen at musanim dot com). Q: How can I make this kind of movie? A: Check out this: www.musanim.com/player/ Q: The audio/video isn't very good; can I get the original? A: Yes, you can get it here (you have to sign up, but then you can download it): http://www.vimeo.com/user=musanim/clips Q: Where can I read more about this piece? A: Here are a couple of places: http://www.musanim.com/pdf/ViewersGuideMAM1996.pdf http://en.wikipedia.org/wiki/Toccata_and_Fugue_in_D_minor%2c_BWV_565 Q: Why does this piece of music remind me of horror movies? A: Because it was used in the 1962 version of The Phantom of the Opera. Before that, it did not have that connotation. When Walt Disney and Leopold Stokowski used it in the 1940 film Fantasia, they considered it to be a purely abstract piece --- absolute music --- which brought to mind expressionistic forms and lines. .

FAQ (Frequently Asked Questions) for this video Q: What's wrong with synchronization? A: I don't know, but it appears that if you use this URL, it works better: http://www.youtube.com/watch?v=ipzR9bhei_o spam ), are removed. If you posted a comment and don't know why it's gone, email me (stephen at musanim dot com) with YouTube comment in the subject line. Q: How did you make this video? A: You can read about it here: http://www.musanim.com/ProductionNotes/ToccataAndFugueInDMinor.html Q: What is the BWV number for this? A: BWV 565 Q: Where does the toccata end and the fugue begin? A: The fugue starts at 2:51 and the toccata returns at 7:12, but between these two points, parts which are strictly fugal alternate with episodes that are more toccata-like, so it's not 100% clear-cut (like in some other toccata/fugue pairs he wrote). Q: What do the colors mean? A: Each stop on the organ was played on a separate MIDI channel, and each MIDI channel was assigned a color. Q: Can I get a DVD with this video (or others like it)? A: Yes: http://www.musanim.com/mam/video.html Q: Where can I see everything you've put online? A: This is a good place to start: http://www.musanim.com/watch/ Q: How can I make this kind of movie? A: Check out this: www.musanim.com/player/ Q: The audio/video isn't very good; can I get the original? A: Yes, you can get it here (you have to sign up, but then you can download it): http://www.vimeo.com/user=musanim/clips Q: Where can I read more about this piece? A: Here are a couple of places: http://www.musanim.com/pdf/ViewersGuideMAM1996.pdf http://en.wikipedia.org/wiki/Toccata_and_Fugue_in_D_minor,_BWV_565 Q: Why does this piece of music remind me of horror movies? A: Because it was used in the 1962 version of The Phantom of the Opera. Before that, it did not have that connotation. When Walt Disney and Leopold Stokowski used it in the 1940 film Fantasia, they considered it to be a purely abstract piece --- absolute music --- which brought to mind expressionistic forms and lines. .