#paduan

[icons-br]

Icons atores brasileiros.

Curta ou reposte se salvar

[ruangmistis]

Paduan Suara Ikan Fenomena Menarik di Dunia Bawah Laut

Ruang Mistis – Di dunia bawah laut yang misterius, ikan-ikan memiliki cara yang menarik untuk berkomunikasi, salah satunya adalah melalui fenomena yang disebut "Paduan Suara Ikan". Meskipun ikan tidak bisa bernyanyi seperti manusia, mereka memiliki cara sendiri dalam menggunakan suara untuk berinteraksi. Dalam ekosistem laut yang penuh dengan kehidupan, suara menjadi salah satu alat komunikasi yang sangat penting bagi ikan.

Apa Itu Paduan Suara Ikan?

Paduan Suara Ikan adalah istilah yang cukup unik dan menarik untuk menggambarkan fenomena komunikasi bawah laut yang terjadi di antara ikan-ikan. Meskipun ikan tidak bisa bernyanyi seperti manusia, mereka memiliki cara sendiri dalam menghasilkan suara untuk berinteraksi. Setiap suara yang dikeluarkan memiliki tujuan tertentu, mulai dari menarik pasangan hingga memberi peringatan terhadap ancaman.

[trisfant]

Paduan Pujian Surgawi bagi Anak Domba yang Layak" (Wahyu 5:11-12)

Sabtu, 4 Mei 2024 “Paduan Pujian Surgawi bagi Anak Domba yang Layak” (Wahyu 5:11-12) Wahyu 5:11-12 Maka aku melihat dan mendengar suara banyak malaikat sekeliling takhta, makhluk-makhluk dan tua-tua itu; jumlah mereka berlaksa-laksa dan beribu-ribu laksa, (12) katanya dengan suara nyaring: “Anak Domba yang disembelih itu layak untuk menerima kuasa, dan kekayaan, dan hikmat, dan kekuatan, dan…

[djazzsawiji]

Mari Kita Berlebaran

Arr: Peter Andreas Timotius Singer: Alumni Paduan Suara Mahasiswa Institut Teknologi Sepuluh Nopember (PSM ITS)

Indahnya toleransi...

Menyanyikan lagu Lebaran yang diaransemen oleh seorang Pitch Perfect Non Muslim 14 Penyanyi, ada 2 orang bukan beragama Islam.

Sungguh bersyukur mempunyai komunitas yang multi etnis dan agama. Sehingga melatih rasa untuk selalu menghormati dan bergembira akan keberagaman.

Selamat Idul Fitri bagi seluruh pembaca. Mohon maaf atas segala khilaf kata, tulisan maupun perbuatan

Semoga kita kembali Murni.

Layaknya kemurnian cahaya dan energi semesta yang bersatu dengan kesejatian

Surabaya, 14 April 2024 ~ASw~

[elangggunawann22]

TERWANGI!!! PARFUME LAUNDRY WA 0817-790-764

[chakapriambudi]

Mixing dan mastering choir

Mixing female choir SSAA Sopran 1 Sopran 2 Alto 1 Alto 2 Klien: SMA Tarakanita 1 Live Recording, 8 Tracks 085881832305 WhatsApp

[tembanglawas]

Mari Makan Bersama (Adikarso) - Paduan Suara dan Angklung SGA Negeri Djakarta

[grosirkaoskakicomel]

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[sisa98225]

‘Oh, how I love your law! all the day long it is in my mind.” --Psalm 119:97

Almighty God, the fountain of all wisdom: Enlighten by your Holy Spirit those who teach and those who learn, that, rejoicing in the knowledge of your truth, they may worship you and serve you from generation to generation; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen. (Source: The Book of Common Prayer, p. 261, #23)

[newscakra]

Meski Diadakan Spontanitas, Lomba Paduan Suara PKK Kelurahan Semawung Kembaran Berjalan Sukses

Meski Diadakan Spontanitas, Lomba Paduan Suara PKK Kelurahan Semawung Kembaran Berjalan Sukses

PURWOREJO – Memperingati Hari Ibu Tahun 2022, Tim Penggerak PKK Kelurahan Semawung Kembaran, Kecamatan Kutoarjo, Kabupaten Purworejo mengadakan Lomba Paduan Suara yang diikuti perwakilan Tim Penggerak PKK dari 10 RT, Selasa (20/12/2022). Dewan juri yang terdiri dari : Eti Supriyati (juri 1), Ika Yuniarti (juri 2) dan Meda Ajarwati (juri 3) memberikan penilaian dan memutuskan pemenang lomba diraih…

[myargalargan]

A Classical Polinalysis: Ep. 2

Hello friends, Polin stans, and classical music nerds!

Picking up from my episode 1 analysis, I am back with the second installment in the series of episode-by-episode analyses I mentioned when I shared the playlist I made of all the Classical pieces used in Bridgerton season 3.

The tracks on the playlist are all in order of when they appear in the show, and here are all the pieces that were used in episode 2: 

Beethoven’s String Quartet No. 13 in B-Flat Major, Op. 130: VI. Finale. Allegro

Bach’s Violin Concerto No. 2 in E Major, BWV 1042: III. Allegro assai

Mozart’s String Quartet No. 8 in F Major, "Viennese", No. 1, K. 168: IV. Allegro

Mozart’s String Quartet No. 3 in G Major, "Milanese", No. 2, K. 156/134b: I. Presto

Mozart’s String Quartet No. 23 in F Major, "Prussian", No. 3, K. 590: IV. Allegro

Joseph Schuster’s String Quartet No. 2 in B-flat Major: I. Allegro di molto (formerly attributed to Mozart as the "Milanese" (or Paduan) String Quartet No. 2, K. 210)

Beethoven’s Piano Sonata No. 23 in F Minor, Op. 57, “Appassionata”: II. Andante con moto 

All of this music is used over the course of the Full Moon ball, and the choice of music and the scenes each piece of music is paired with turns the ball something of a microcosm for the entire episode. What the hell do I mean by that? 

This episode is all about flirtation, fertility, and passion, and the action in this episode sets into motion some of the major conflicts of the season. We have the Mondriches settling into their new home and attending society events for the first time, the Featherington sisters getting a healthy dose of Sex Ed, Francesca being granted the Queen’s favor, and—of course—Colin and Penelope beginning their lessons and all the tension and drama that brings. So let’s get into how the Classical soundtrack compliments this very meaty episode…

Looking at the track list in order, we’ve got a bit of a composer sandwich (get it? meaty episode? ha-ha-ha?) with Beethoven bread, Mozart filling, and Bach and Schuster toppings. The allegro finale of Beethoven’s String Quartet No. 13, which starts as Colin and Eloise’s conversation about Penelope in the carriage ends, welcomes us to the ball. The second movement of Beethoven’s “Appassionata,” which Francesca is playing when Lady Danbury sneakily invites the Queen to observe, concludes the whole event. But I have a lot to say about both Beethoven pieces, so I’m going to save that for later! To start, I want to talk about the flirtatiousness of the other pieces used during this episode. 😏

The next piece after the Beethoven string quartet is the third movement from Bach’s Violin Concerto No. 2, which plays when Benedict asks Miss Stowell to dance. We only hear the very beginning of the concerto in this episode, but the distinguishing characteristic of a concerto—which is also what I find so flirtatious about this piece—is the back-and-forth between a solo instrument (in this case, a solo violin) and an ensemble (in this case, a chamber orchestra). In particular with shorter pieces like this Bach concerto, which is an energetic two minutes long with concise musical verses, you get the feeling of a lively conversation, where the ensemble has their say, the soloist replies, the ensemble adds another musing, then the soloist replies, and so on. 

I also think this concerto is fun for this scene for a couple other reasons. One, the soloist-ensemble dynamic calls to mind Benedict getting cornered by a pack of ladies. But also, this concerto is in what’s called “ritornello” form, which means that the ensemble repeats the same musical theme every time they come back in, and I love this as a funny little musical illustration of Miss Stowell’s persistence with Benedict—she keeps coming back, over and over, just like that repetitive musical theme! 

The next piece is the fourth movement from Mozart’s String Quartet No. 8, which starts playing right as Portia tells Mr. Finch that his wife is a pastry and continues as Penelope talks with Colin about his writing. This piece actually elides seamlessly into the track from the season 3 OST called “Attempts to Flirt” the moment Colin says he’ll consider letting Pen read more of his writing if she talks to at least one lord that night, which is a fun little tie-in to our theme. And the string quartet is great for this moment between Colin and Pen because of its fugal quality. A fugue—such as Bach’s famous Toccata and Fugue in D Minor, which is used in a ton of films including the original Fantasia—refers to a structure where the musical theme is introduced in different voices or instruments one after another. (Kind of similar to a musical round, like “Row, Row, Row Your Boat,” but not as simplistic.) Like the concerto, there’s a repetition of musical ideas, and those ideas bounce around from instrument to instrument, again creating a sense of lively conversation. Almost as if one person starts to tell a story to a group of friends, and then another person jumps in to say, “Oh, yes, I know what that’s like!” and tells their own anecdote, and so on around the group as the conversation feeds on everyone’s enthusiasm. 

I love this for Pen and Colin’s interaction because it has a similarly flirtatious energy as the concerto, but at the same time it’s more complex than a simple back-and-forth. There’s a layering aspect to a fugue—when a subsequent instrument picks up the theme, that doesn’t mean the first instrument stops playing. I think this has a similar energy to the way good friends who are comfortable and excited together might end up talking over one another or picking up the ends of each other’s sentences. I think it’s also illustrative of the complexity of Colin and Penelope’s relationship, especially at this phase. They’re friends, yes, but other feelings are starting to get all mixed in. They flirt quite easily with each other, but that makes things more complicated. A playful but multi-layered fugue illustrates this pretty well, I think.

Then we have our second Mozart string quartet of the episode, the first movement of Mozart’s String Quartet No. 3, when Eloise inadvertently lets it slip to Cressida that Colin is helping Penelope find a husband. This piece isn’t a concerto or a fugue, but it does still have an interplay between the instruments that, to me, creates a similar effect. There are several moments within this movement where the violin will start the musical line and one of the other instruments will finish it, like passing a baton. Or, again, like lively and comfortable conversation! To me, it feels a little bit like two people winking at one another as they catch each other’s meaning. 

There’s also a fun little bit about two-thirds of the way through the piece where, for not even 30 seconds, the tone of the music changes entirely, to something darker and more dramatic. Musically this part is known as the “development,” which is where the music meanders and does a bunch of interesting things before it returns to the main theme that was introduced in the beginning. This is a very common musical technique, but it doesn’t appear quite so starkly in any of the other pieces used in ep. 2. Since this piece plays during an Eloise and Cressida scene, we could take this darker interlude to be a reflection of Eloise’s relationship with Penelope—how it has taken a dramatic turn but will be righted again before long. We can also look at it through a Polin lens, since Penelope and Colin’s relationship takes a similar trajectory. Either way, I like the idea that there’s a bit of dark foreshadowing in this otherwise playful, flirtatious piece of music.

From there, we have the fourth movement of Mozart’s String Quartet No. 23, which plays as the Mondriches enter the scene. Other than the Beethoven pieces, this is the longest piece used during this episode, and it gets the most airtime. It plays for the entire duration of Benedict’s spiel about how married couples are free from the rules of society because they have already fulfilled their duty. And I love this piece for this moment because it really goes places. This movement has some fugal passages, giving it that same flirtatious quality as the other pieces used this episode, but there’s also moments where the tone gets much more dramatic, moments when the tempo seems to slow or get interrupted, syncopated sections that almost feel cartoonish… The character of the piece is surprising, and it evolves over time, and—I think—it reflects the journey the Mondriches have been on since season 1 and the surprising evolution their life has taken in season 3. And will continue to take! As they figure out how to navigate this new world and learn that it’s not as simple as Benedict made it seem.

Okay, now onto the last bit of sandwich filling, the first movement of Joseph Schuster’s String Quartet No. 2 in B-flat Major, which plays while Lady Danbury leads the Queen away from the main ball and while Eloise’s group of debutantes lament their chance to show off. Is this piece also flirtatious? Yes, I think this piece has a similar quality to Mozart’s String Quartet No. 3, where sometimes musical lines started by one instrument get picked up and finished by another. But another thing I find really interesting about this piece is that it’s a case of mistaken identity. This piece was composed around 1780, but until the 1960s music scholars attributed the piece to Mozart. And to use this piece during this scene is particularly compelling, because it’s the moment that Cressida denies having any good gossip, but also the moment when the gossip about Penelope and Colin begins to spread throughout the ball anyway, which Eloise (and Colin) mistakenly blames Cressida for. There’s also maybe a deeper meta here about mistaken identities that could tie into Cressida’s false claims to the Lady Whistledown name, which is interesting to consider in contrast to this moment at the ball where Cressida—unlike later in the season—chooses to be the bigger person and renounces the lure of gossip in favor of protecting her new friendship with Eloise. 

Which brings us to the final piece of music featured at this ball, the second movement from Beethoven’s Piano Sonata No. 23, the “Appassionata.” Which is of course relevant because Francesca earlier admits to loving it so much during her abbreviated conversation with Lord Petri. Petri describes Francesca’s favorite pieces as “expressive music,” which is fitting for a musical work nicknamed “Passionate.” Francesca also says, “I mostly enjoy the chord progressions,” in response to Petri getting all “can’t you feel it in the music?” and although Petri was talking about the Ries Piano Trios, I like thinking about Francesca’s response in relation to the second movement of the “Appassionata” because that movement is one big theme-and-variation—there’s a musical theme introduced at the beginning, and then that theme is repeated two more times with variations in the melodic structure but always with the same chord progressions.

One thing I love about this piece as the close-out to the ball is the way, with each subsequent variation on the theme, the music builds and builds. It starts out slow and in a low register, and it gets faster and higher pitched as it goes (the part we hear Francesca playing is the fast high part). There’s a really obvious analogy to sex here, which is clear in Petri’s reaction and Francesca’s discomfort with his reaction—which is appropriate because sex is such a major motif in this episode (“Inserts himself? Inserts himself where?”). But there’s also the analogy to the build-up that we’re about to experience at the end of the episode, the way everything Penelope has been through the past couple episodes (couple seasons, really) culminates in that first unbelievably passionate kiss between her and Colin. 

But, more than that! The second movement of the “Appassionata” doesn’t have a true ending—it’s through-composed with the third movement, so that the two are meant to be listened to back-to-back. If you listen to the end of the second movement by itself, you’ll hear a chord that sounds like it’s supposed to resolve to a nice clear ending, but then instead of resolving, that chord is followed by an intriguing, dissonant, kinda jazzy-sounding musical lick. If you didn’t proceed to the third movement right away, musically, you’d be left hanging. (And even once you’re into the third movement, it takes a while for the music to properly resolve.) And I love this! Why do I love this? A while back, I did an analysis of Polin’s theme (from the original score) and wrote a bunch of stuff about how their musical theme, the way we hear it in part 1 of the season, feels unresolved, suspending us in the tension of their uncertain relationship status. We only get proper musical resolution in their theme in part 2, after they’re engaged. So using the second movement from the “Appassionata,” with its false ending, at the conclusion of the Full Moon ball—a ball which encapsulates so much of what’s going on in the episode overall—is such a great way to foreshadow the end of the episode: the build-build-build to the passionate kiss and then—! Leave us hanging as Penelope runs away and Colin’s life starts falling apart around him.  

Speaking of endings…! It’s time to circle back around to the first piece of bread in our Beethoven sandwich, the sixth movement from Beethoven’s String Quartet No. 13…

If you’ve stuck with me this far, hang in there for just bit longer! Maybe take a quick break and grab a snack. ;) 

I thought a lot about the usage of the allegro finale from Beethoven’s Op. 130 in this episode. It’s such an interesting choice, not necessarily because of the music itself, but because of the history of the entire quartet. See, when Beethoven first composed String Quartet No. 13, it had a different final movement. However, at the first performance, that movement received such a negative reaction that Beethoven’s publisher convinced him to write a replacement. The replacement is what’s used in the show. And it has an entirely different character from the original. The new finale is light and cheery, while the original was dense and complicated. The original was panned by critics as being incomprehensible, inaccessible, and difficult to both listen to and play. (Give it a listen. You may find that it makes you deeply uncomfortable 😅 but it’s definitely an experience!) The new finale, on the other hand, is…a dance! It’s bouncy and positively Haydnesque, and completely uncontroversial.

The original was ultimately published as its own work under the title “Grosse Fugue,” as Beethoven’s Op. 133. However, some Beethoven enthusiasts and music scholars will argue that the correct way to play String Quartet No. 13 is with the original ending, the way Beethoven intended. Preferences vary, though, and what this means is…there are two possible, perfectly valid, endings to this piece of music. And each ending has a completely different vibe. 

Do you see where I’m going with this? 😉

This piece plays as we are welcomed into the Full Moon ball, and when I set out to do this analysis, I was originally looking at the allegro finale on its own, trying to find something meaningful in its structure or its harmonies… But I think what’s most interesting about it, in the context of this episode, is that it represents the duality of choice. And there’s a few different layers this could apply to: Eloise and Cressida’s decision whether or not to share the gossip about Colin helping Penelope, Colin’s choice to help Penelope in the first place (and to continue to help her after the journal faux pas)...his choice—at the end of the episode—to kiss her. The Queen's choice of a diamond, even! But if we’re talking about possible endings, then this piece is really setting us up for the ultimate narrative choice between Colin and Lord Debling. And it’s fitting as an introduction to the Full Moon ball because it’s at this ball that Colin gets his first taste of jealousy and competition, and then of course it’s Penelope’s humiliation at this ball that is the catalyst for the kiss that sends Colin into his downward spiral of desperate, all-consuming love. So whereas at the end of ep. 1 Colin may have been able to go about his life acting as though he was unconcerned about whatever feelings he may or may not have had for Penelope at that point, by the end of ep. 2 that’s simply not at all possible anymore. And so the show starts building the foundations of one of Penelope’s possible choices, one of her potential endings. (And I guess whether or not you consider Debling to be a perfectly valid alternative ending depends on what kind of Polin shipper you are. 😉) 

So there you have it: the drama of choice, the sexiness and frustration of building yet unresolved tension, misunderstandings (and, you might even say, the probable pains of friendship), SO much flirting—some easy and straightforward, some ceaseless and unvarying, some deliciously complex… All present at the ball, throughout the episode, and in the Classical soundtrack.

♥

And here's some of the research I did for this post:

Beethoven's String Quartet No. 13: https://www.earsense.org/chamber-music/Ludwig-van-Beethoven-String-Quartet-No-13-in-B-flat-major-Op-130/

Beethoven's String Quartet No. 13: https://www.brentanoquartet.com/notes/beethoven-quartet-opus-130/

Beethoven's String Quartet No. 13: https://www.maramarietta.com/the-arts/music/classical/beethoven/

Bach's Violin Concerto No. 2: https://www.laphil.com/musicdb/pieces/4549/violin-concerto-in-e-major-bwv-1042

Mozart's String Quartet No. 8: https://fugueforthought.de/2018/07/01/mozart-string-quartet-no-8-in-f-k-168/

Mozart's String Quartet No. 3: https://fugueforthought.de/2016/08/27/w-a-mozart-string-quartet-no-3-in-g-k-156/

Mozart's String Quartet No. 23: https://www.talkclassical.com/threads/mozart-string-quartet-23-k590-sq-review.81909/

Schuster's String Quartet No. 2: https://www.earsense.org/chamber-music/Joseph-Schuster-String-Quartet-in-B-flat-major-No-2-KAnh-C2001-K-Anh-210/

Beethoven's "Appassionata": https://www.youtube.com/watch?v=tR706pYvNl0&

[corporialus]

Beautiful "Forgeries"

Paduan medallion engraved by Giovanni Cavino in the early 16th century. Obverse depicts portrait Faustina II, reverse depicts Faustina sacrificing over a lit altar, surrounded by four attendants as well as a child behind her, and a statue of Neptune in the background.

This medallion, as well as 100+ other types were engraved by renaissance medalist Giovanni da Cavino in the early and mid-16th century, during a period of great interest in collecting Roman coinage. Cavino's coins were not considered or meant to be forgeries however, instead being coveted by many due to their artistic merit. Cavino didn't try and hide the fact he was making these coins either, his tombstone even notes that he produced coins bearing the images of "the early Caesars".

His work has a distinctly different, more flowy and slightly exaggerated style than original Roman sestertii, in my opinion, his work (pictured above) reflects the engraving style of Nero the most (original sestertius pictured below).

In this case, the original Paduan type is vastly more expensive than the Roman one, with the Paduan hammering at $2250 and the Roman example hammering at $550.

Pictured below is a Paduan medallion that is far less Roman-like in its engraving style compared to most of Cavino's other work in my opinion. The obverse features a portrait of Lucius Verus, and the reverse depicts Verus and the goddess Virtus presenting Jupiter with victory.

And if the one above is a far departure from Roman engraving style then this one is just entirely imagined. The choice to put Veni Vidi Vici on the reverse is just really silly to me.

Probably my favorite of the Paduan types I've seen is this Otho sestertius.

Otho never minted imperial bronzes like sestertii during his reign, so Paduan coins like this one would've filled the spot in people's collections.

The main problem with Paduans is that the coins were themselves faked, leading to an abundance of cast Paduan coins that were sometimes passed off as genuine Roman pieces. Each time there were more Paduan coins made, the quality of the molds deteriorated, succumbing to generational rot. leading to an abundance low quality pieces such as the one pictured below.

In the next post I'll be going over some really interesting coins by Cavino.

[themuseumwithoutwalls]

MWW Artwork of the Day (3/28/24) Andrea Mantegna (Paduan, 1421-1506) Pala of St. Zeno: The Agony in the Garden (1459) Oil on canvas, 66 x 88 cm. Musée des Beaux-Arts, Tours

"The Agony in the Garden," the right panel of the predella of the San Zeno Altarpiece, is the pinnacle of Mantegna's early style. His early career was shaped indeed by impressions of Florentine works. At the time, Mantegna was said to be a favorite pupil; Squarcione taught him the Latin language, and instructed him to study fragments of Roman sculpture. The master also preferred forced perspective, the lingering results of which may account for some of Mantegna's later innovations. However, at the age of seventeen, Mantegna separated himself from Squarcione. He later claimed that Squarcione had profited from his work without paying the rights.

[elangggunawann22]

TERWANGI!!! PARFUME LAUNDRY WA 0817-790-764

[chakapriambudi]

transkripsi not balok diubah ke not angka

Bisa, cukup kirimkan saja file pdf kayak gini. biaya bisa kita hitung perhalaman. bisa juga borongan kalau lebih dari 1 lagu. not angka biasanya berguna buat choir format SATB karena di gereja dan sekolah-sekolah umumnya masih lebih mudah mengajarkan not angka ini. Langsung WA aja ya ke 085881832305

[gr8brandz]

Shinecon 6.0 VR Box Virtual Reality Glasses dengan Headphone

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Fitur Cara Kerja Anda dapat menikmati 3D Virtual Reality dengan gampang, cukup mendownload aplikasi cardboard disini dan masukkan smartphone kedalam VR Box, rasakan sensasinya.

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