The second part of the Triptych expands on the ideas of the first – Dawn – while introducing some new ones. As you will see, soon the mist clears up giving way to all the vigor of life.
Here’s an excerpt:
The second part of the Triptych expands on the ideas of the first – Dawn – while introducing some new ones. As you will see, soon the mist clears up giving way to all the vigor of life.
Here’s an excerpt:
As we saw in the first part of the program, sections A present a sort of “metrical dispute”. In A, the rhythm section first dilutes the 12/8 rhythm played by the melody and sitar, in A’ a more profound metrical confusion is achieved by overlapping out of sync meters. In A’’, the bass line is trimmed on purpose in order to go in sync with the rest of the band. They finally achieve what we could call a sort of rhythmic harmony.
In my opinion, this is the musical representation of what is being expressed in the lyrics. For the sake of this argument, consider the rhythmic section to represent the physical aspect of our being, and the harmonies and melodies, the spiritual one.
Before starting section A, out of the nature sounds emerge a very chaotic musical passage. Full of …
This is an excerpt of the program:
This article summarizes a series of reflections that I had after reading the book “The Civilization of Entertainment” written in 2012 by Nobel Prize winner Mario Vargas Llosa. There is no distinction between culture and entertainment, and in this transformation process culture has lost its reflexive and profound nature, and has been trivialized. The article also includes some reflections by Igor Stravinsky, from his essays “Poetics of Music”.
The issues discussed in this article, will be linked to the analysis of the piece “Tarkus” by Emerson Lake & Palmer, that will appear in issue # 3 (January 2017).
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Carlos Franco, in addition to being an exceptional drummer, is also an outstanding percussionist both classical and folkloric. He has a strong command of a wide variety of Afro-Venezuelan rhythms and has been able to integrate them seamlessly into the music of Kotebel.
This article presents an exploration through the music of Kotebel, from “Omphalos” to the “Concerto for Piano and Electric Ensemble”, in order to find these hidden gems….
In this issue we return to Europe with a contemporary progressive rock band. Their style, inscribed within the subgenre RIO, is nevertheless quite accessible for any progressive music lover.
We chose their penultimate album because it represents well the style of the band and because of its good balance between complexity and simplicity.