On ROUND TRIP these two musicians have created a series of duets that demonstrate their virtuosity, and their ability to blend numerous musical traditions and styles, ultimately creating great new music. Tio Chorinho is the only ensemble in Canada dedicated to performing Brazilian choro music. It is an infectious mix of European and Afro-Brazilian influences, and is the foundation of many modern Brazilian music styles.
Although consisting of a sole melody player, the brilliant multi-tasking of each member is demonstrated by the ability to take on multiple roles. At first glance few would peg them for a highly creative musical partnership.
Canadian Junior Hockey League
Singer, songwriter, multi-instrumentalist and producer Royal Wood has established himself as a true musical talent. After the release of their first album, Le poids des confettis, which has sold more than 60, copies, the girls have performed in auditoriums and festivals more than times.
Safia Nolin learned how to play guitar at 17 by watching tutorial videos on YouTube. Nolin released her debut album, Limoilou, in September via Bonsound to critical acclaim. Twin Flames take the audience on a musical journey across Canada and the Arctic, they echo the voices of their ancestors and depict life on the land as they sing songs in English, French and Inuktitut.
They leave audiences fascinated and intrigued. Their unique brand of alternative rock bridges the gap between modernity and tradition, redefining aboriginal music for modern audiences. Amanda tours relentlessly across Canada, Europe and the United Kingdom annually. WCMA award winners Sweet Alibi have been captivating audiences with their charming and personal performances since Sweet Alibi are fast becoming a highly acclaimed Roots group. Their original songs feature sophisticated harmonies, body percussion, scintillating dance moves, inviting humour and just enough ooh-la-la to charm your socks off!
These hilarious beauties released their debut studio album last fall and have since performed sold-out shows across Canada. Good Clean Fun! His album, Proof of Love, won a Juno Award for traditional folk album of the year. Master percussionist, Senegalese born singer-songwriter-performer Elage Diouf settled in Canada in , to pursue a musical career that is still growing today. His music, a blend of pop, world, blues, folk and asiko — thrives at artistic crossroads of artists like Carlinhos Brown, Peter Gabriel and Andres Cepeda.
The musicality of the wolof language explains his singing mainly in his mother tongue. Wholehearted in his artistic approach, charismatic, authentic and easygoing in his personal and public life, people love him, and he loves them back. The remarkable quality of his voice and his varied influences make him a unique artist.
Born in Algiers. As He grew up with the Chaabi music that wafted from the casbah where he was born, his father, a musician, mastered the unique musical genre. Saada perpetuated the art by adding the accents of an exiled man impassioned by his roots and inspired by other cultures. His music is the product of an inner social melting pot that can only be expressed through full immersion. By guiding music lovers towards myriad research avenues and destabilizing the genre without denaturate it.
West Coast Canadian award-nominated performer, Jocelyn Pettit, is a vibrant fiddler, stepdancer, and singer.
With graceful passion, Jocelyn delivers engaging, uplifting performances of original and traditional music, inspired by Celtic and World music cultures of Canada, Ireland, Scotland, France, Spain, and Scandinavia. Jocelyn has performed on national television and radio, and with The Chieftains. Thrilling audiences with their genre-hopping passport of Celtic reels, flamenco, Gypsy-jazz, Arabic, Cuban, and South Asian rhythms, fiery violin dances with kinetic guitar, while bass and percussion lay down unstoppable grooves. Lenka Lichtenberg was born in Prague, Czechoslovakia, where she was a recording child star in the musical theatre Semafor and studied at the Prague Music Conservatory.
In , she began a serious career as a bandleader and a composer. She founded her global roots ensemble Fray in Mother of three, and a passionate activist, she tours internationally and has released 6 albums that meld innovative expressions of traditional song with her own contemporary compositions, reflecting her desire to bridge cultures through music. Drawing from traditional Arabic and Roma songs, along with instrumental dance music from the Jews and Gypsies of the Balkans and Eastern Europe, Nomadica weaves together a tapestry of sound that has deep roots in the ancestral lands and a real home in post-multicultural Toronto.
A charismatic charmer and smasher of pianos. A madman and earnest poet. A strummer of delicate chords and lover of broken melodies. Inspired by Eastern European and Jewish folk traditions, Ben Caplan mixes older musical sensibilities with his own soul. His sophomore, Birds with Broken Wings, explodes with sounds both ancient and modern, with over 30 musicians and even more instruments, combining sounds from around the world.
A road trip album.
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A driving album. David Gillis has won awards as a guitarist, a songwriter and is recognized as a producer. Matt Patershuk is the real deal. That is because Lincoln was an artist, not just a scholar. Classicism of Everett's sort looks backward; but the classic artifact sets standards for the future -- for a whole rank classis of efforts it makes possible. Pericles' speech in Thucydides established a norm, a bench-mark -- but no more than Lincoln's Address created a political prose for America, to rank with the vernacular excellence of Twain.
Lincoln does not, like Everett, archaize -- but neither did Pericles. Pericles rejected the notion that his predecessors had done more than his own generation, It was the challenge of the moment that both Pericles and Lincoln addressed. Lincoln sensed, from his own developed artistry, the demands that bring forth classic art -- compression, grasp of the essential, balance, ideality, an awareness of the deepest polarities in the situation life for the city coming from the death of its citizens.
Take, first, the matter of compression. Everett addresses many different tasks in his diffuse oration -- historical narrative, constitutional argumentation, excoriation of the foe, comparison with the Greeks, etc. This means that, in praising the Greeks, he fails to imitate them.
His speech is far longer than any Epitaphios from Athens. Even the Greek orations embedded in literary works and embroidered there can be recited comfortably in under twenty minutes. The Gorgias model is actually no longer than Lincoln's Address.
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The standard recital time seems to have been under fifteen minutes -- five times the length of Lincoln's "remarks" but only one-eighth of Everett's sprawling oration. The compactness is not merely a matter of length. There is a suppression of particulars in the idealizing art of Lincoln, as in the Greek orations. This restraint produces the aesthetic paradox that makes these works oddly moving despite their impersonal air. The Greek orator does not refer to himself except as answering the city's ordinance. Most often, he uses the plural "we" hemeis of all the citizenry -- as Lincoln does.
Nor are the Greek dead referred to by name except in one late example. The fallen are usually just "these men " hoide -- as Lincoln speaks of "what they did here" or of "these dead. The prose form of the Greek orations was meant to be bracing after the sung lament threnos of the burial rite -- as Lincoln's astringent speech stood in contrast to B.
French's preceding hymn and the following "dirge. The prose form is itself a return to political life, a transition from family mourning to the larger community's sense of purpose. There is an air almost of rebuke in the dismissal of mourners at the end of the speech: "Your individual lamenting done, depart. The struggle to contain individual sorrow in a larger meaning is pronounced "well and fair" by each orator.
Lincoln unconsciously echoes this when he says, "It is altogether fitting and proper that we should do this" -- dignum et justum est, as the old Latin Mass put it.
No proper names are used in Lincoln's Address -- not even the name of the battle, or of the cemetery he is dedicating with his speech. We are met on a great battle-field of that war.sivasolar.hu/mil-anuncios-mujeres-sevilla.php
Battle of Wills
We have come to dedicate a portion of that field The general or generalizing articles -- a great civil war, a great battlefield, a portion, any nation -- make this military engagement part of a larger process. There is an almost hygienic air about the experiment in liberty. The process can be observed on the broadest scale because its parts are so interchangeable -- this portion of a field is of interest only because it is testing what any nation of the same condition may expect.
The "unfinished work," the "task remaining before us," will affect liberty's prospects over the whole earth, as the last word puts it. The draining of particulars from the scene raises it to the ideality of a type. Everett, despite his training as a Hellenist, is not really classical in spirit. He speaks unabashedly for the romantic age. His earlier speeches are highly colored and full of movement --even Warren's statue is felt to be on the verge of stepping off its pedestal.
The dead themselves are still restless under a soil that throbs with their emotions. Looking to the battles, Everett calls up smoke-filled scenes of "the boiling veins, the burning nerves, the almost maddened brain, which alone could have encountered the terrors of that day. As Everett said at Lexington, echoing Shakespeare's very words: Its sacred memories must be transmitted by your citizens, from father to son, till all its thrilling incidents are as familiar as household words, and till the names of the brave men who reaped the bloody horrors of the nineteenth of April, , are as well known to us as the names of those who form the circle of our friends.
By contrast with any of Everett's battle orations, Lincoln's has the chaste and graven quality of an Attic frieze. An ability to balance the particular against the type marks Lincoln's thought, as it did that of the Athenian masters. Lincoln had a logical mind, furthermore, that regularly showed itself in the act of distinguishing alternatives. His thought leaned toward antitheses, as classical rhetoricians have noticed. He regularly underlined contrast-words in the texts he prepared for delivery.
Either the opponents of slavery will arrest the further spread of it, and place it where the public mind shah rest in the belief that it is in course of ultimate extinction; or its advocates will push it forward, till it shall become alike lawful in all the States, old as well as new -- North as well as South.
These do not crudely spell out "on the one hand" and "on the other. President Truman used to ask for "a one-handed economist," to avoid on-the-other-handedness.
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