Number Of Singers Research Articles

Ladarice

Ladarice are a female vocal nonet founded with the aim of nurturing Croatian musical heritage. Thanks to their extensive activities on the Croatian music scene, a series of performances at traditional folk music and popular music festivals, frequent appearances on radio and television, participation in theatre plays, performances featured in popular Croatian films (for example, the performance of the song Podravina ravna in the TV series Gruntovčani, created by Dubravko Ivančan and Živan Cvitković), Ladarice have evolved into a cultural brand. However, the general public is mostly unaware that the group Ladarice was founded independently of the Lado Ensemble, and that it operated as such until 2008. The aim of this paper is to provide an overview of the activities of Ladarice from their forming in 1966 to the present day. From the analysed material, it is possible to deduce that, thanks to their of music, they managed to remain active for many years and evolve into a cultural brand. Today, the singers of Ladarice operate within the framework of the Lado Ensemble, while their work differs significantly in terms of primary motivation, the number of singers, the mode of work, and artistic programme.

PURITY OF THE SPIRITUAL EXPERIENCE IN THE POEM URWA BIN UTHAINA

The pure spiritual experience affected by the spirit of Islam and its purity appeared in the poet Qurashi hermit, modernist, jurist, and preacher, and he was Urwa bin Uthaina. Madinah, he was in good contact with the Umayyads and the supporters of Abdullah bin Al-Zubayr, he chose not to play with politics or play with it, because he had a clear commitment to poetry, especially what was from it in spinning. He did not only say poetry, but he was making melodies and dissolving them for others to sing, and at the same time he was composing and arranging the sung poetry, as far as we know that the singer Ibn Aisha asked him for verses in jest. Where do you say? There are a number of singers who praised his poetry and sang a lot about it, and in the Book of Songs there are many voices of his poetry, and some hadith books devoted pages to him according to what is known from the science of wound and modification by Ibn Hatim and the great history of Imam al-Tabari and acceleration of benefit by Ibn Hajar alAsqalani and among the most famous who narrated from him Abd Allah bin Omar and Obaid Allah bin Omar (may God be pleased with them) as narrated by Imam Malik (may God have mercy on him). Here he presents us with a flirtatious text that is unique in its kind and pious in its performance, and begins with a clear mobilization, because it obeys the sea and the rhyme, and the poem starting is an equation of a true love experience that he embraced and tortured with, either he lived it, or from a figment of the imagination, or he was tormented with this love because there was no matter His heart is something, but he is on his piety and piety. He lived in a society that could not comprehend his position on this love, and for this he had to deal with what he calls (covering), but that his beloved herself fears for him, so she addresses him by doing the matter (hiding) that he loved in his own way. Our poet has loved a pure and chaste love, rather he has risen above the lover when he has not made himself known and who he loves. Love for him - as it is said - is a test and a test from God for people to take themselves with the obedience of those they love, and to be an entrance to a greater love that is the love of God Almighty, and perhaps this confirms it History is ours, and it does not stop us with the one who loves a name or attributes, for it is a state that was expressed as “seeing light for light in light.”

Pygmy blue whale movement, distribution and important areas in the Eastern Indian Ocean

Pygmy blue whales in the South-east Indian Ocean migrate from the southern coast of Australia to Indonesia, with a significant part of their migration route passing through areas subject to oil and gas production. This study aimed at improving our understanding of the spatial extent of the distribution, migration and foraging areas, to better inform impact assessment of anthropogenic activities in these regions. Using a combination of passive acoustic monitoring of the NW Australian coast (46 instruments from 2006 to 2019) and satellite telemetry data (22 tag deployments from 2009 to 2021) we quantified the pygmy blue whale distribution and important areas during their northern and southern migration. We show extensive use of slope habitat off Western Australia and only minimal use of shelf habitat, compared to southern Australia where use of the continental shelf and shelf break predominates. In addition, movement behaviour estimated by a state-space model on satellite tag data showed that in general pygmy blue whales off Western Australia were mostly engaged in migration, interspersed with relatively short periods (median = 28 h, range = 2 – 1080 h) of low move persistence (slow movement with high turning angles), which is indicative of foraging. Using the spatial overlap of time and number of whales in area analysis of the satellite tracking data (top 50% of grid cells) with foraging movement behaviour, we quantified the spatial extent of pygmy blue whale high use areas for foraging and migration. We compared these areas to the previously described areas of importance to foraging and migrating whales (Biologically Important Areas; BIAs). In some cases these had good agreement with the most important areas we calculated from our data, but others had only low (<10%) overlap. Month was the most important variable predicting the number of pygmy blue whale units and number of singers (acting as indices of pygmy blue whale density). Whale density was highest in the southern part of the NW Australian coast and whales were present there between April-June, and November-December, a pattern also confirmed by the satellite tracking data. Available data indicated pygmy blue whales spent up to 124 days in Indonesian waters (34% of annual cycle). Since this area may also be the calving ground for this population, inter-jurisdictional management is necessary to ensure their full protection.

Dibalik Topeng Penyanyi Campursari (Studi Kasus pada Penyanyi Campursari Anjas Gitarani dan Tini Sebloh di Surakarta)

Abstract In facing the intense competition in the music world, a number of singers have made various efforts to maintain their existence in the music world. Singers who face intense competition in the music world include Anjas Gitarani and Tini Sebloh. This research method is descriptive qualitative. The results of this study are: 1) Masks are used as a means to create innovation and creativity, not only as a face covering instrument. Anjas and Tini provide an overview of how creativity and innovation can create creativity to maintain their consistency in singing. 2) Anjas and Tini's vocal quality is actually quite ordinary. However, Anjas and Tini highlighted their stage action by wearing masks when performing on stage. 3). The mask is basically a tool that is used as a face cover. Someone wears a mask so that their real face is not visible. Mask is synonymous with the activity of "covering" so that the face of the singer wearing a mask is not visible. It is no different from Anjas and Tini who wear masks in every appearance. "To close" also implies that a singer must be professional. Whatever the condition is sick, tired, or sad, a singer must stay fit, cheer up, and smile in front of the audience so that the audience feels entertained. Keywords: The Mask, Anjas Gitarani and Tini Sebloh, Innovation, and Creativity

Arytenoid Asymmetry in Relation to Posture, Neck Tension and Glottal Attack in Singers

Objectives: To look at the incidence of arytenoid asymmetry in a group of healthy singers and to investigate whether the asymmetry correlates with posture, neck tension and glottal attack. Materials and Method: The medical records and video recordings of 42 singers were reviewed retrospectively. Posture, neck tension and glottal attack were evaluated in relation to arytenoid asymmetry during adduction. Results: The number of singers was 42, with a male-to-female ratio of 2:1. The age range was 16–38 years, with a mean of 24 ± 4.13 years. The total prevalence of arytenoid asymmetry was 50%, with a predominance in males and on the right side. The most common asymmetry was that of the cuneiform cartilages, accounting for 40.5% of the total sample and 81% of the total asymmetries. There was no correlation between arytenoid asymmetry and either posture, neck tension or glottal attack (p = 0.343, 0.489 and 0.945, respectively). Conclusion: One out of 2 singers is likely to have arytenoid asymmetry during adduction. The presence of asymmetry does not correlate with posture, neck tension or glottal attack.

Buxtehude on CD: a tercentenary survey

2007, the 300th anniversary of the death of Dieterich Buxtehude, is a good moment to survey recordings of his music for what they reveal about current trends in performing late 17th-century music. The articlesurveys a cross-section of CDs of Buxtehude ' s organ music, clavier music, instrumental ensemble music and sacred vocal music. Issues discussed include the choice of suitable organs, temperament, registration and the interpretation of the stylus phantasticus , the identity of Buxtehude ' s ' violone ' and continuo scoring, the number of singers and instrumentalists in the concerted music, tempo, pitch and an appropriate style of singing for Buxtehude. A recurring problem is the concept of ' Baroque music ' , which leads to the assumption that there is a common performing style for 17th- and 18thcentury music, and to the unthinking acceptance of an anachronistic style for Buxtehude derived from mid-18thcentury practice.

The problems of “reduced scores” and performing forces at the Chapelle Royale of Versailles during the tenure of Henry Madin (1738–1748)

In spite of extensive research, the performing forces required daily at the Chapelle Royale can only be surmised. This article delves into this important issue by examining the still underappreciated lists of parts to be copied found in nineteen out of the thirty volumes of grands motets Henry Madin (1698–1748) composed for the king's Chapelle. A comparison between these lists and the extant separate parts shows that in most cases the total number of parts to be copied and the actual total number of surviving parts are identical. Thus, it can be ascertained that the great majority of the still existing material is complete, and that the scores were beyond any doubt performed as they are copied, i.e. with a three‐ (or even two‐) part orchestra and a five‐part choir. Madin's motets, therefore, prove to be an excellent starting point in order to reconstruct the necessary forces to perform them—and comparable ones—during his tenure at the Chapelle (1738–1748). Since choristers and soloists performed from their own parts, the total number of singers matches exactly the number of parts still available. Similarly, it can be estimated that Madin had 20–22 instrumentalists at his disposal. These results suggest that all the Chapelle musicians did not serve daily as has been to often thought so far. Finally, they prove that the Madin volumes (and comparable ones) are full scores.

Diurnal Patterns of Behaviour and Group Membership of Humpback Whales (Megaptera novaeangliae) Wintering in Hawaiian Waters

AbstractWe examined the behaviour of humpback whales (Megaptera novaeangliae) in Hawaiian waters in relation to time of day using visual observations from shore platforms and acoustic observations using hydrophones. As humpbacks are not observed to feed in Hawaiian waters, we assumed that the data were free from the influence of diel cycles of prey availability. The majority of mothers with calves were likely to be escorted by one or more male consorts only after 0700 h. The percentage of pods with three or more adults increased across the day and the rates of male‐male agonistic behaviour typical of multiple‐adult pods also increased. Noon observations were characterized by high rates of behaviour such as breaching that may serve as visual and/or acoustic signals. No diel variation in the number of singers was observed, suggesting that the number of singers was independent of the late afternoon peak in male‐male competition within surface‐active groups. The results suggest that the whales were resting in the dawn hours, behaviour related to mating begins shortly after sunrise, and that male‐male competition peaked in the afternoon.

On Jimmie Noone

I would like to offer a few remarks on William H. Kenney III's essay on clarinetist Jimmie Noone in the summer 1985 issue of American Music. Certain of Kenney's points seem to me to need comment and amplification or they might prove misleading. Kenney quotes Gunther Schuller, Andre Hodeir, and John Hammond as among the "esteemed jazz critics and historians" who have written on Noone. Whereas Schuller and Hodeir are certainly critics under the best meaning of that much-abused word, Hammond, as I think he would agree, might better be described by the venerable term impresario, a pioneering and highly valuable one at a time when, as Hammond discerned, an impresario's function with respect to jazz might involve producing recordings above all other activities. Kenney remarks on the number of then-current popular songs and the number of singers with whom Noone recorded. But one should not assume that a jazz musician, and a black one at that, would be free to record what he wanted and with whom he wanted in the 1920s

Britten, Verdi and the Requiem

Verdi's influence on Britten's music is an important one, though recognizable in certain details of texture, accompanimental figures, and orchestration more than in any distinct similarities of melody and harmony. Not surprisingly it is especially prominent in Britten's full-scale operas, but it is in the likenesses between Verdi's Requiem and Britten's War Requiem that we find perhaps the most striking example of it. Both works were written for great public occasions, and in both a sense of public involvement is reflected in the sheer size of the works as well as in the large number of singers and players needed to perform them.