Alliteration - Shopping2000.com

Alliteration and Sound Change in Early English

Alliteration and Sound Change in Early English: ab 71.99 €

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Alliteration in the Poetic Edda

Alliteration in the Poetic Edda: ab 55.99 €

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Alliteration in Culture

Alliteration in Culture: ab 79.99 €

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Riddles Rhymes and Alliteration

Riddles Rhymes and Alliteration - Listening Exercises Based on Phonics: ab 47.49 €

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Kreuze & Kettensägen gehören in KMFDMs Universum nicht nur durch musikalische Alliteration zusam- men, sondern sind auch die Klammer für musikalische Konstruktion und Dekonstruktion. Ist das Kunst? Entscheiden Sie selbst, wenn KMFDM im Frühjahr auf umfangreiche Europatour kommen.KUNST kommt. Das neue gleichnamige KMFDM-Album wird in Europa am 01.03. das Licht der Welt erblicken. Das Cover ziert eine barbusige Amazone, die gerade ein russisches Kreuz zerlegt. Es ist eine Kunstperformance und Anlehnung an die ukrainische Frauenrechtsgruppe FEMEN, die genau das getan hat, um sich mit den inhaftierten Pussy Riot-Aktivistinnen zu sozialisieren. Genau denen haben KMFDM auf dem Album gleich einen ganzen Song gewidmet: Pussy Riot beschäftigt sich, wie KMFDM selbst, seit zwei Dekaden mit dem Widerstand gegen Autoritäten, vor allem staatliche und religiöse Unterdrückung & Zensur. Die zivile Auflehnung gegen ebenjene Institutionen ist schon lange Teil der engagierten Deutsch-Amerikanischen Freundschaft rund um Käpt n K (Sascha Konietzko) und Singsang-Sirene Lucia (Cifarello). Daneben gehören Steve White (Guitar), Jules Hodgson (Guitar) und Andy Selway (Drums) weiterhin zu spektakulären Live-Setup. Musikalisch tun KMFDM das, was sie am Besten können: Sie schweißen sympathisch groovende Basslinien, sägende Gitarrensamples, mechanische Industrial- Drums und ihre notorischen Bandslogans zusammen und haben sich damit einen langjährigen Namen sowohl in der Industrial als auch in der Metalszene gemacht. Trotzdem scheint es so, als würde diese Fusion auf Tracks wie Ave Maria , Animal Out , I (heart) Not oder nicht zuletzt dem Titelstück Kunst noch ein bisschen besser funktionieren als auf dem bereits knackigen Vorgänger WTF?! . TRACKS: 1. Kunst 2. Ave Maria 3. Quake 4. Hello 5. Next big thing 6. Pussy riot 7. Pseudocide 8. Animal out 9. The mess you made 10. I love not

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Cold Smoke

Tulsi is an independent hip hop artist based in Seattle. He wrote his first song at age 12 while under the influence of golden-age icons (such as Public Enemy, Beastie Boys, NWA) and has never looked back. He performed his first set at age fourteen in Spokane working to hone an authentic voice over the years that doesn't preach but strives for a meaningful comment on the complexity of the human experience from his point of view. Tulsi seems to be seriously prolific, releasing his 3rd album, Cold Smoke, (August 28th at the famed Crocodile Café) in the past five years. If you haven't listened to Tulsi yet you're in for some great sonic moments when you find Fresh Points on Life (2006) and Waterflow (2007). Tulsi loves to honor hip hop history while saying what needs to be said now. Grooving to the the beats of Confidence, Blake 9 and Mallard - he performs with a DJ, Modul8r (or DJ Able if Modul8r can't make it). A storyteller, the lyrics take you on a journey, each song with a destination translated from the Sanskrit of Tulsi's take on the why, who, how, when and where of it all. In the past five years Tulsi has rocked over 150 shows including X Games 16 and two West Coast tours. He keeps surprising himself and his fans with passionate performances, finding a knack for vocal clarity, projection and a love for getting it out there live. Add that to innovative beats and lyrics that flow like the Puget Sound rain and you've got Tulsi. You'll hear his 4 year old son Tre on the final cut of Cold Smoke. Tulsi works a day job, supporting his boy and his music, hoping one day to be able to have even more time to mine the veins of his convoluted brain. Seattle Weekly "Tulsi, an alliteration master..." The Stranger 'An ultracompetent MC...Tulsi gracefully harks back to Del tha Funkee Homosapien and other gilded-age West Coast rappers...'

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Oh Joy! Oh Rapture!

Oh, Joy! Oh, Rapture! New York Gilbert & Sullivan Players Albert Bergeret, conductor and music director 'Hail, hail, the gang's all here!' What better way to begin this sampling of our company's enthusiasm for G&S than with the original chorus from Pirates of Penzance whose melody was later borrowed for those familiar words? With cat-like tread TRACK 1 The Mikado the most popular of the G&S collaborations and only nominally Japanese, is one of several works for which Gilbert chose an exotic setting as a thin disguise for the English society of which he was making fun. Even Nanki-Poo's famed catalogue of song includes only standard English offerings, sentimental parlour ballads, martial music, and sea chanteys! A wand'ring minstrel I TRACK 2 Comes a train of little ladies TRACK 3 Three little maids from school TRACK 4 A more humane Mikado TRACK 5 Patience spoofs the Aesthetic movement (Whistler, Oscar Wilde) but, more broadly, the excesses of any fad or cult and it's mindless followers. In this piece, one of the idols gives a 'how to' recipe for posing successfully as a cult icon. Am I alone and unobserved? TRACK 6 H.M.S. Pinafore the 2nd full-length G&S collaboration (1878), is only half as long as The Mikado (1885). While later works became more subtle, complex, and elaborate, Pinafore has a palette of bright primary colors and needs no apology for it's relative simplicity, it is a model of brevity and clarity, and estabished the pattern of Gilbert's witty poking of fun at social and individual human foibles, perfectly set off by Sullivan's music. The more pretentious Titanic sank, but this saucy ship has proven virtually indestructible. Our selections are the pieces with which the characters introduce themselves. I am the Captain of the Pinafore TRACK 7 I'm called Little Buttercup TRACK 8 I am the monarch.. When I was a lad TRACK 9 The Yeomen of the Guard is the most 'operatic' of the Gilbet & Sullivan works, full of rich texture and subtle color. Sullivan's stirring overture is one of his finest orchestral settings. In the first chorus, a tough 16th century street crowd is brilliantly evoked by Gilbert's use of archaic vocabulary with alliteration and by Sullivans' use of hard driving rhythms with angular uneven meters, jarring dissonance and stark modal harmony. In 'I have a song to sing' each verse is longer than the last, it's structure finds many precedents in English folksong and was inspired by a sea chantey sung by the crewmen on Gilbert's yacht. The lyrics mirror the story of the opera's central love triangle the way Jack Point wishes it would turn out, the next selection, 'When a wooer goes a-wooing,' presents the reality of what actually happens. In between comes a paean to the grim glory of the Tower of London, where the story is set in a historical context. Overture TRACK 10 Here's a man...I have a song to sing, O TRACK 11 When our gallant Norman foes TRACK 12 When a wooer goes a-wooing TRACK 13 The Gondoliers presents a world where 'all is merry May.' It is as sunny and upbeat as Yeomen is shadowed. The first selection here is extracted from the ebullient 20-minute musical extravaganza that opens the work, rich in Italianate melodies and Italian lyrics to set the mood. The second selection poses a universal Gilbertian philosophic point: 'take life as it comes.' Buon giorno... We're called gondolieri TRACK 14 Try we lifelong TRACK 15 The Pirates of Penzance is the most 'child-friendly' of the G&S, with it's colorful pirates, comic police, and nearly non-stop action. It also contains the best-known and most often parodied pattersong and, in 'Poor Wand'ring One,' not only a splendid aria for a coloratura soprano but an example of one of Sullivan's deliberate and delicious borrowings from other composers, here, the classic 'Sempre libera' from La traviata. We leave you with the first, and still one of the best, of the G&S 'double choruses,' as the Victorian maidens rapturously romanticize 'death and glory' to the more realistically apprehensive policemen. Hail, Poetry TRACK 16 I am the very model TRACK 17 Poor wand'ring one TRACK 18 When the foeman bares his steel TRACK 19 New York Gilbert & Sullivan Players Albert Bergeret, Artistic Director Andrea Stryker-Rodda, Assistant Music Director and Rehearsal Accompanist Lucy Ito, Sally Small, Production Assistants Larry Tietze, Orchestra Manager NYGASP Ensemble SOPRANOS: Robin Bartunek, Meredith Borden, Kimilee Bryant, Susan Case, Charlotte Detrick, Lynelle Johnson, Margaretha Ohse, Laurelyn Watson, Lauren Wenegrat ALTOS: Lee Berman, Victoria Devany, Laura Koeneman, Melissa Parks, Ariane Reinhart, Angela Smith, Maariana Vikse, Lara Wilson TENORS: Michael Connolly, Thomas Donelan, Michael Galante, Michael Scott Harris, Alan Hill, Keith Jameson, Mark Montague, Larry Raiken, Paul Sigrist BARITONES/BASSES: Christopher Briggs, Louis Dall'Ava, Gary Dimon, Richard Holmes, Keith Jurosko, Lance Olds, Stephen Quint, Philip Reilly, Samuel Shaw, William Whitefield NYGASP Orchestra VIOLINS: Andrea Andros, concertmistress, Paula Flatow, Rachel Heineman, Valerie Levy, Maxim Moston, Eleanor Schiller, Svetoslav Slavov, Peter Van DeWater, William Zinn VIOLAS: Carol Benner, Carol Landon CELLOS: Daniele Doctorow, Amy Camus BASS: Deb Spohnheimer FLUTES: Laura George, Margaret Swinchoski, OBOE: Nancy Ranger CLARINETS: Larry Tietze, Joan Porter, Renee Rosen BASSOONS: Andrea Herr, James Jeter FRENCH HORNS: Heidi Garson, Peter Hirsch TRUMPETS: Terry Sizor, Richard Titone TROMBONES: Steve Shulman, Paul Geidel, Joseph Stanko PERCUSSION: Michael Osrowitz.

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