Aqui una cancion de "In Vain"

Didong Tianyi (6 years old), presented on Jan 27 2008.

Monody performing "Blue is the Color..." and "Utopia" written and performed by Alex Pitta, Joel Williams, Matt Kennedy, and Jacob Montoya

Live from Fitzgerald's June 6th, 2008.

poems by Monody, music by 100% Drastic (Dimitris)

just our guitarist(left to right David Anaya and Kris Barwick aka dimebag) fucking around practising like total jackass's lol ;p

''The Barghest's Monody'' by David Hart Therewithal, profluent life ettles it's while. Thitherward, from Death's bleak campanile Grim antiphonals serenade. A capriccio, the slashing swipe of the reaper's scythe will serenade. Stringent Death forthwith anoints the mithridate to Life's cantankerous and rankling ado Hither now come, anon recondite Azrael, neither protend nor annex this throttled contretemps. The antiphonal of the reaper's cavalier scythe Shall now serenade. Awhirl, like kerfs demarcated Years, bollixed, muzzy and brattled shall holus-bolus expire. No retaliation to death's gloomy surcease No ingenious riposte to the reaper's final cleave. Bootless now to don the amulets, squeeze the jujus, Kiss the talismans, clutch the periapts or Attire in steely cataphract. The serenading of the reaper's scythe, it's efficacy shall blithely cleave. Bedim mine eyes from life's assailing Bedim mine eyes from life's poltroonery Vocabulary: barghest-a goblin fabled to portend misfortune; monody-funeral song; antiphonal-chant; protend-to protract in time/lengthen; riposte-n. in fencing, a quick return/thrust; brattle-v.-to make rattling or clattering noises; cavalier-supercillious/disdainful/haughty; muzzy-hazy; attaint-v. to condemn; rankle-to give pain/nettle/gnaw; contretemps-untoward accident/hitch; throttle-v.to choke/suffocate/strangle/stiffle; bollix-v.-to bungle or botch; holus-bolus-adv.-all at once/altoghter; mithridate-antidote against poison; cataphract-suit of armor for the whole body; poltroonery-n. cowardice; a capriccio-musical piece characterized by improvisation; ettle-to intend/to prepare; campanile-free standing bell tower; kerf-a groove or notch Azrael-the angel that helps souls from living to enter the afterlife; recondite-not easily understood/abstruce; periapt-a charm worn to ward of evil; juju-object believed to contain magical powers; contretemps-disruptive unforeseen event; protend-to hold out or stretch forth

poem written by Monody - music: the start of a song by diary of dreams from panic manifesto.

Monody playing "Bound" Live at Mt Tabor May 2008, Portland Oregon. Check out www.monodyweb.com for more band info.

This is "Monody" from Filjar's March 24th show at Gasoline Alley.

video art, poems by Monody (music: Genesis)

video art, poems by Monody (music: the start of a song by Diary of Dreams)

Ellen Hargis (soprano), Paul O'Dette (baroque guitar), Andrew Lawrence-King (harp) from CD "Il Zazzerino", music of J. Peri

================================ Armand-Louis Couperin Simphonie de Clavecins, for 2 harpsichords I.Allegro moderato et marqué II.Andante III.Presto William Christie, clavecin Goujon-Swanen David Fuller, clavecin Ruckers-Taskin Clavecin Ruckers-Taskin 1646 Clavecin Goujon-Swanen 1749 ================================ Related information: Baroque music Baroque versus Renaissance style Baroque music shares with Renaissance music a heavy use of polyphony and counterpoint. However, its use of these techniques differs from Renaissance music. In the Renaissance, harmony is more the result of consonances incidental to the smooth flow of polyphony, while in the early Baroque era the order of these consonances becomes important, for they begin to be felt as chords in a hierarchical, functional tonal scheme.[citation needed] Around 1600 there is considerable blurring of this definition: for example essentially tonal progressions around cadential points in madrigals are noted, while in early monody the feeling of tonality is still rather tenuous.[citation needed] Another distinction between Renaissance and Baroque practice in harmony is the frequency of chord root motion by third in the earlier period, while motion of fourths or fifths predominates later[citation needed] (which partially defines functional tonality). In addition, baroque music uses longer lines and stronger rhythms: the initial line is extended, either alone or accompanied only by the basso continuo, until the theme reappears in another voice. In this later approach to counterpoint, the harmony was more often defined either by the basso continuo, or tacitly by the notes of the theme itself. These stylistic differences mark the transition from the ricercars, fantasias, and canzonas of the Renaissance to the fugue, a defining baroque form. Claudio Monteverdi called this newer, looser style the seconda pratica, contrasting it with the prima pratica that characterized the motets and other sacred choral pieces of high Renaissance masters like Giovanni Pierluigi da Palestrina. Monteverdi used both styles; he wrote his Mass In illo tempore in the older, Palestrinan style, and his 1610 Vespers in the new style. There are other, more general differences between baroque and Renaissance style. Baroque music often strives for a greater level of emotional intensity than Renaissance music, and a Baroque piece often uniformly depicts a single particular emotion (exultation, grief, piety, and so forth).[citation needed] Baroque music was more often written for virtuoso singers and instrumentalists and is music,[citation needed] although idiomatic instrumental writing was one of the most important innovations of the period. Baroque music employs a great deal of ornamentation, which was often improvised by the performer. Expressive performance methods such as notes inégales were common and were expected to be applied by performers, often with considerable latitude.[citation needed] Instruments came to play a greater part in baroque music, and a cappella vocal music receded in importance. Baroque music shares with Renaissance music a heavy use of polyphony and counterpoint. However, its use of these techniques differs from Renaissance music. In the Renaissance, harmony is more the result of consonances incidental to the smooth flow of polyphony, while in the early Baroque era the order of these consonances becomes important, for they begin to be felt as chords in a hierarchical, functional tonal scheme.[citation needed] Around 1600 there is considerable blurring of this definition: for example essentially tonal progressions around cadential points in madrigals are noted, while in early monody the feeling of tonality is still rather tenuous.[citation needed] Another distinction between Renaissance and Baroque practice in harmony is the frequency of chord root motion by third in the earlier period, while motion of fourths or fifths predominates later[citation needed] (which partially defines functional tonality). In addition, baroque music uses longer lines and stronger rhythms: the initial line is extended, either alone or accompanied only by the basso continuo, until the theme reappears in another voice. In this later approach to counterpoint, the harmony was more often defined either by the basso continuo, or tacitly by the notes of the theme itself. http://en.wikipedia.org/wiki/Baroque_%28music%29 ================================ *Note:Support the artist, their families and their legacy by purchasing their music.

Didong Tianyi, 7 years old, Grade 5 1,Sonata in A Kp.74 by Scarlatti 2,October Monody by Gabriel Jackson 3,Troldtog Op.54 Nr.3 by Grieg

we had an awesome lineup: The Young Jazz Trio, War Pony, Fight Back, Orderly Anarchy, Authentics, Billy Holland, S3RVANT, Alive on Q, Monody, and Tragedy and Triumph. The event was August 15th, 2008. for more info on this or other events check out our website. www.thenazyouth.com

Ellen Hargis (soprano), Andrew Lawrence-King (harp), Paul O'Dette (chitarrone), Hille Per (lirone) from CD "Il Zazzerino"

poetry set to music

I wasn't sure whether or not I should submit this song to this site, as it was only a classroom excercise from university, but I thought I might as well... I had to compose a song for a solo instrument of my choice, (I chose flute), with a scale of my choice, (I chose E, F, G#, A, B, C, D#, E). This song may sound a bit random at first because of the frequent time changes, but give a try!

Stereo: http://br.youtube.com/watch?v=ugob2i5B8dA&fmt=18 Severo Bonini (1582 - 1663). 1. Ecco l'alba ridente. Concerto Suave. Maria Christina Kiehr (Soprano). Dir. Jean-marc Aymes. Severo Bonini (December 23, 1582 - December 5, 1663) was an Italian composer, organist and writer on music. He was born in Florence and became a Benedictine monk. He studied singing with Giulio Caccini. He served as organist in Forlì from 1613 and held a number of other posts before returning to Florence in 1640 where he was maestro di cappella and organist at Santa Trinita until his death. He died in Florence. He published several books of music, including motets and madrigals. He wrote music in the new monodic style. His treatise Prima parte de' discorsi e regole sovra la musica (1649-1650) is an important source of information on contemporary composers and the rise of monody and opera.

Excerpts from Jim Moy's FLOWER PUNK and Marc Eskenazi's MONODY.

Some bloopers meant exclusively for my friends, shot whilst creating the second part of A Journey.

Ludert Dijkman Lamentum eller en Sorge-Music Aria Öde-Gudinnornas Swar Aria Countertenor: Yves-Michael Kiffner Soprano: Susanne Rydén Alto: Anne Pajunen, Jerry Mazo Tenor: Tore Sunesson Bass: Mats Persson, Kjell Henriksson Orchestra: Corona Artis Conductor: Hans Davidsson Funeral music for the children of Karl XI and Ulrika Eleonora, Gustav and Ulrik. The music was written for this occassion by Ludert Dijkman in 1685, "Lamentum or Mourning Music by 4 singing and 4 playing", with a subtitle: "The words / are a conversation between man / and the Goddesses of Fate Parcae." Dijkman takes up Ehrenstrahl's motifs and "man" directs his complaint to Parcae, in aria and recitative in the manneristic way of the Baroque, that "destiny cruelly our lifethread will so hastily cut" and pleads for mercy for the princes. The Goddesses, however, are unyielding and answer that "tears can move us not". "Man" is represented by a soprano in a weave of four string parts, and the Goddesses of Fate by three song parts and basso continou. The printed version of the work, published by J.G. Eberdt in Stockholmm is abridged; the answer of the Parcae, for example, has been cut out. Dijkman ends the lamentation with a four-part chorus in which he appeals to the high Heavens to spare and uphold the Royal family. The music is well written and shows that its composer was very familiar with all the means of expression in rhetoric and contemporary music. Lamentum is the earliest Swedish musical setting of a new text written in Swedish, but it has been critized because of the formulation of the text. However, the metaphorical and stereotyped language of the text must not be allowed to obscure the work's musical qualities; it deserves indeed to be held forth as perhaps the most successful example of swedish monody from Sweden's Great Power Epoch.

"Monody", a clip from the Buffalo Soundpainting Ensemble's "The Foundation of Thebes".

This video was created using the Spore Creature Creator.