In music, a glissando is a glide from one pitch to another. It is an Italianized musical term derived from the French glisser, "to glide". In some contexts, it is distinguished from the continuous portamento; some colloquial equivalents are slide, bend, rip, plop, or falling hail. Prescriptive attempts to distinguish the glissando from the portamento by limiting the former to the filling in of discrete intermediate pitches on instruments like the piano and fretted stringed instruments have run up against established usage of instruments like the trombone and timpani; the latter could thus be thought of as capable of either "glissando" or "portamento", depending on whether the drum was rolled or not. The clarinet gesture that opens Rhapsody in Blue could be thought of either way: it was planned as a glissando but is in practice played as a portamento though described as a glissando; the glissando is indicated by following the initial note with a line, sometimes wavy, in the desired direction accompanied by the abbreviation gliss..
The desired notes are notated in the standard method accompanied by the word'glissando'. On some instruments, discrete tones are audible when sliding. For example, on a keyboard, a player's fingertips can be made to slide across the white keys or over the black keys, producing either a C major scale or an F♯ major pentatonic. Pianists can complete a glissando of two pitches an octave apart. Maurice Ravel's "Alborada del Gracioso" contains notable piano glissando passages in thirds executed by the right hand. Rachmaninoff, Prokofiev and Gershwin have all used glissandi for piano in notable compositions. Organ players—particularly in contemporary music—sometimes employ an effect known as the palm glissando, where over the course of the glissando the flat of the hand is used to depress a wide area of keys resulting in a dramatic atonal sweep. A similar device on the piano are cluster-glissandos, used extensively by Karlheinz Stockhausen in Klavierstück X, which "more than anything else, lend the work its unique aural flavour".
On a harp, the player can slide their finger across the strings playing the scale. Wind and fretted-stringed-instrument players can perform an rapid chromatic scale. Arpeggio effects are obtained by bowed strings and brass the horn. Musical instruments with continuously variable pitch can effect a portamento over a substantial range; these include unfretted stringed instruments, stringed instruments with a way of stretching the strings, a fretted guitar or lap steel guitar when accompanied with the use of a slide, wind instruments without valves or stops, electronic instruments, the water organ, the human voice. Brass and woodwind instruments such as the trumpet or flute can effect a similar limited slide by altering the lip pressure or a combination of embouchure and rolling the head joint, while the clarinet and some models of flute can achieve this by dragging fingers off tone holes or changing the oral cavity's resonance by manipulating tongue position and throat shaping. Many electric guitars are fitted with a tremolo arm which can produce either a portamento, a vibrato, or a combination of both.
A bent note is a musical note, varied in pitch. With unfretted strings or other continuous-pitch instruments such as the trombone, or with the human voice, such variation is more properly described in terms of intonation. Bent notes are played on fretted instruments by bending the string with excess finger pressure, or on free reed instruments such as the harmonica, by using excess air pressure to overblow the reed. On brass instruments such as the trumpet, the note is bent by using the lip. "Indeterminately pitched instruments...produce a pitch or pitch spectrum that becomes higher with an increase of dynamic and lower with a decrease of dynamic."The bent note is found in various forms of jazz and blues. Bend Blue note Blues scale List of ornaments Meend Octave glissando Portamento Shepard tone Staccato Vibrato Boyden, David D. and Robin Stowell. 2001. "Glissando". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
Harris, Ellen T. 2001. "Portamento". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. Hoppe, Frank Rosanowski, Michael Döllinger, Jörg Lohscheller, Maria Schuster, Ulrich Eysholdt. 2003. "Glissando: Laryngeal Motorics and Acoustics". Journal of Voice 17, no. 3: 370–76. Piston, Walter. 1955. Orchestration. New Yo
Samba in Your Casa is the fourth studio album by British pop/jazz/soul/dance band Matt Bianco, released in 1991. It was their first long playing record for EastWest label, came out one year after their first Greatest Hits album for WEA, the UK #49 The Best of Matt Bianco, three years after their third studio work, the UK #23 Indigo, the latter including their UK #11 dance smash hit double A-side single "Don't Blame It on That Girl/Wap-Bam-Boogie". Unlike their jazz and soul early works, the 1991 album was more oriented to Latin pop and electronic music, but did not achieve much commercial success in Europe, instead starting a loyal fan base for the group in Japan and Asia, though it was in fact well received in Germany too, one of the few European countries which never forgot Matt Bianco; the LP was promoted by the single "Macumba", the title track "Samba in Your Casa", which featured as a B side on the second single, a cover version of "What a Fool Believes", which did not get much airplay though - this item included "Say It's Not Too Late", from the previous studio album by the band, the mentioned 1988 Indigo.
The first single, besides two different remix versions of "Macumba" by Bobby Summerfield contained a new remix of "Wap-Bam-Boogie" by mixmaster Phil Harding and Ian Curnow. All tracks composed except where noted. "You're The Rhythm" - 4:21 "Macumba" - 4:21 "Let It Whip" - 4:53 "Strange Town" - 4:16 "The Night Has Just Begun" - 3:53 "True Love" - 4:38 "What a Fool Believes" - 4:25 "Lady of My Mind" - 3:53 "You're the Rhythm" - 3:52 "Samba in Your Casa" - 4:50 "Macumba""Macumba" - 3.29 "Macumba" - 4.49 "Wap-Bam-Boogie" - 6.32 "Macumba" - 4.54 "What a Fool Believes""What a Fool Believes" - 4.23 "Say It's Not Too Late" - 4:56 "Samba in Your Casa" - 5.20 Matt Bianco's detailed discography Amazon.com: cover art, track listing and other details of the Samba in Your Casa album
The Lee and Rose Warner Nature Center is an outdoor education facility with a focus on natural history. It is located in Marine on St. Croix, northern Washington County about 30 miles northeast of St. Paul, Minnesota. Warner was the first private nature center in the state of Minnesota. With funding from the Warner Foundation, WNC is the only nature center in the state of Minnesota to still provide free on-site programming to schools. On September 5, 2019, the Science Museum and Manitou Fund announced the Warner Nature Center will be closing, with operations winding down by December 31, 2019. "To build lasting relationships between people and the natural world." The Lee and Rose Warner Nature Center is a 700-acre outdoor school set in undeveloped woodland, lake, grasslands. The site includes a restoration prairie and savanna. There are over six miles of trails on the property but they are not marked and are only for use by groups who have booked a program with the naturalist staff; the center adjoins Wilder Forest and the combined area of the two organizations approaches 2,000 acres.
Warner is the western anchor for the metro greenways corridor which protects a greenway of land for five miles between WNC and the St. Croix River The whole corridor protects 2,400 acres. Warner is home to a wild population of threatened Blanding's Turtles. In part because of their presence, the Minnesota Department of Natural Resources has designated the land Warner sits on as important for species in greatest conservation need and a Regionally Significant Ecological Area with a level 3 designation, the highest possible. WNC is the oldest private nature center in the state of Minnesota and serves about 17,000 people per year, 9,000 of which are school children, with outdoor natural history programming; the first director, Bernie Fashingbauer began work in 1965 as construction began on the main building. The project was initiated by the St. Paul Science Museum, The Amherst H. Wilder Foundation and the Junior League of St. Paul. By the spring and fall of 1966, orientation sessions began for teachers.
The first students arrived on site in the fall of 1967. At the time, the center was known as both the Wilder Nature Center and The Science Museum Nature Center. In 1970, the Lee and Rose Warner Foundation purchased 300 acres of land and the existing nature center buildings from the Amherst H Wilder Foundation to serve as a memorial to founders Lee and Rose Warner of St Paul. Warner Nature Center is still associated with the Science Museum of Minnesota and financially supported through the generosity of the Lee and Rose Warner Foundation. Warner has a strong legacy of volunteerism; when Bernie Fashingbauer told people he was going to use volunteer trail guides to take groups of students out on the trails people told him he was crazy. Forty years over 100 volunteers continue to dedicate their time to students. Warner employs 8 full-time staff, two part-time staff, up to two interns; the Warner Nature Center was recognized with an Award of Excellence by the Mutual of Omaha's Wildlife Heritage Center for displaying leadership and vision in promoting awareness and appreciation of our natural world.
The Warner Nature Center is associated with the Science Museum of Minnesota one of the nations leading science education centers. Warner is a partner with Bird Conservation Minnesota. Warner is a partner site with the Cornell Laboratory of Ornithology on the NestWatch program. Warner staff maintain online camera feeds of nests in the spring. Warner Nature Center Official website Instant Weather Data Live feed of WNC weather station via AWS Clear Sky Chart Astronomy Weather predictions for Warner Nature Center SEEK Description Warner's listing on SEEK-Sharing Environmental Education Knowledge GoCityKids GoCityKids official listing for Warner Nature Center NestWatch Warner's NestWatch page at Cornell Laboratory of Ornithology
Yoke thé is the Burmese name for marionette puppetry. Although the term can be used for marionettery in general, its usage refers to the local form of string puppetry. Like most of Burmese refined art, yoke thé performances originated from royal patronage and were adapted for the wider populace. Yoke thé are always performed in the form of Burmese operas. Burmese marionettes are intricate and their use requires dexterous skills, as they employ 18 or 19 wires for male and female characters and each puppet is controlled by only one puppeteer; the probable date of the origin of Burmese marionettes is given as around 1780, during the reign of Singu Min, their introduction is credited to the Minister of Royal Entertainment, U Thaw. From their inception, marionettes enjoyed great popularity in the courts of the Konbaung dynasty. Little has changed since the creation of the art by U Thaw, the set of characters developed by him is still in use today; until the conquest of Upper Burma by the British in late 1885 during the Third Anglo-Burmese War, yoke thé troupes thrived under royal patronage.
A Burmese marionette troupe has 27 character figures. A traditional Burmese orchestra known as a hsaing waing provides the music; the puppeteers themselves provide the voices of the characters. The Burmese court was concerned with preserving the dignity of its members, marionettes were used to preserve the esteem of persons who had erred; the king could reprimand his children or his wife in this way by asking the puppeteers to put on a parable warning errant children or careless wives about their reckless ways. While the reprimand would be obvious to anyone, in the know, it would pass unheeded by the people looking on, something that had a great deal of value in a court that could, did, contain hundreds of people. Burmese marionettes served as a conduit between the ruler and his subjects. Many times, people would ask the puppeteers to mention a current event or warning to the ruler in a veiled fashion. Thus, information or popular discontent could be passed on without any disrespect, as marionettes could say things that a human could be punished for with death.
Yoke thé troupes, like most artisans in pre-colonial Burma alongside the Sangha, enjoyed great royal patronage. However, like most forms of traditional arts, patronage vanished upon the colonisation of Upper Burma by the British in November 1885, following the Third Anglo-Burmese War. In the late 1990s, General Khin Nyunt of the ruling junta lent official support to marionette actors and troupes, thus reviving a dying tradition. Nowadays, marionettes are common as tourist attractions and amongst the populace, they have resumed their role of safe political satire reflecting popular discontent. A new genre of yoke thé is emerging, where a character and a real life actor perform the same show with the yoke thé puppets able to mimic and sometimes out-perform their human counterparts. Bruns, Axel: Burmese Puppetry, White Lotus Press, 2006, ISBN 9789744800886 Bruns, Axel: The Burmese Marionette Theater In: Journal of the Siam Society, vol. 82, no. 1, 1994, p. 89–96 Foley, Kathy: Burmese Marionettes: Yokthe Thay in Transition.
In: Asian Theatre Journal, Bd. 18 no. 1, spring 2001, p. 69–80 Maung, Htin Aung. Folk Elements in Burmese Buddhism. London, New York, N. Y.: Oxford University Press. OCLC 378392. Müller, Dominik: Cultural Politics of National Identity and Impacts of Tourism in Contemporary Myanmar – The Case of Yokthe Puppet Theatre. ERASMUS Intensive Programme Southeast Asian Studies, 2007 Singer, Noel F.: Burmese Puppets. Oxford University Press, Singapore 1992 Thanegi, Ma: The Illusion of Life: Burmese Marionettes. Orchid Press, Bangkok 2009 U, Khin Zaw. Burmese Culture: General and Particular. Rangoon: Sarpay Beikman Corporation Press. OCLC 15698412
Le Crime ne paie pas is a 1962 French drama portmanteau film directed and written by Gérard Oury. It consists of four separate episodes, each with its own cast and writers but sharing common themes of beautiful women, jealousy and death. From these dark tales centred on leading actresses, Oury switched to buddy comedies which remain among the most-loved and successful films in the history of French cinema. Louis de Funès, here playing a barman whose English is incomprehensible, starred in them, as did English male leads like David Niven and Terry-Thomas; the writing team of Pierre Boileau and Thomas Narcejac, behind the third episode, had provided the stories for two 1950s masterpieces, Les Diaboliques and Vertigo. Le masque written by Jean Aurenche and Pierre Bost. In Venice in the 1490s, the ageing duchess Lucrezia suspects that her lover Angelo is seeing the younger and more beautiful Francesca, he is arrested by her brother, but is pursued by swordsmen who run him through. In revenge, Francesca smears poison inside the mask.
The episode ends with a shot of her palace at a terrible scream. Edwige Feuillère as Dona Lucrezia, the duchess Laura Efrikian as Antonella, her maid Rina Morelli as Teresa, her companion Gino Cervi as Chief of Police, her brother Gabriele Ferzetti as Angelo Giraldi, her lover Rosanna Schiaffino as Francesca Sabelli, his lover L'affaire Hugues written by Henri Jeanson and René Wheeler. In Paris in the 1880s, the combative socialist deputy Clovis Hugues has many enemies but is secure in the love of his beautiful wife Jeanne; as a way of getting at him, a plot by Madame Lenormand uses a venal journalist Morin and a young near-prostitute to blacken Jeanne's name. Humiliated by being called in for questioning, on emerging from the interview she sees Morin in the corridor. Taking a handgun from her bag, in front of several witnesses she shoots him dead. At her trial, all twelve of the jurymen vote her innocent. Philippe Noiret as Clovis Hugues Michèle Morgan as Jeanne, his wife Lucienne Bogaert as Madame Lenormand, blackmailer Claude Cerval as Morin, blackmailer L'affaire Fenayrou written by Pierre Boileau and Thomas Narcejac.
In Paris in 1913, Gabrielle is told by her lover Louis that he is getting married for financial reasons but wants to carry on their affair as before. She starts giving her husband Martin a hard time, forcing him to live in the conservatory to avoid her wrath, she tells Louis that she has banished the man because of his drunken brutality and he must save her, for which she provides a revolver. When Louis tries to use the revolver on the husband one evening, he finds. Martin promptly kills Louis in what the police agree is self-defence; the handsome and unmarried Doctor Mathieu comes round to certify the death and ends up in Gabrielle's bed. He does not leave it, because he and Gabrielle celebrate with a bottle of champagne which Martin had poisoned. Annie Girardot as Gabrielle Fenayrou Pierre Brasseur as Martin Fenayrou, her husband Christian Marquand as Louis Aubert, her lover Paul Guers as Doctor Mathieu L'homme de l'avenue written by Frédéric Dard. On an avenue in Paris one evening in 1961, Philippe Marsais throws himself in front of a slow-moving car.
The driver Roberts, an English army officer, reports the man's death at a police station and volunteers to break the news to his wife. She is not in, he takes her home. Outside, he follows it, she goes to a hospital to ask. He asks her why she thought he was injured in hospital, it emerges that she is Philippe's lover and his plan was not to die but to be knocked down and taken to that hospital, which would gave him an alibi. While he was there, his wife would put. Rushing to the wife's flat, Roberts finds the sofa empty. On storming into the bedroom, he finds her in bed with all the ice cubes in a bag on her aching head. Raymond Loyer as Philippe Marsais Danielle Darrieux as Lucienne Marsais, his wife Perrette Pradier as Hélène, his lover Richard Todd as Major William Roberts Louis de Funès as the barman Le Crime ne paie pas on IMDb Le Crime ne paie pas at AllMovie Le Crime ne paie pas at the British Film Institute's Film and TV Database
Crowded House is a rock band, formed in Melbourne, Australia, in 1985. They were founded by Paul Hester of the New Zealand group Split Enz. Most Split Enz fans shifted their allegiance to the new group, so Crowded House had an established fan base before they had recorded any material; the band has released six studio albums: Crowded House, Temple of Low Men, Together Alone, Time on Earth and Intriguer. The band dissolved in 1996, reformed in 2007. Crowded House has won awards both nationally and internationally, including twelve ARIA Music Awards from the Australian Recording Industry Association, eight APRA Awards from the Australasian Performing Right Association. APRA listed their track, "Don't Dream It's Over," as the seventh best Australian song of all time in May 2001. Crowded House has performed in several venues, have become well known among both fans and the music industry both for their music and the skill of the individual members, their most awarded work is "Don't Dream. The song has earned two ARIA Music Awards, three APRA Awards, a BMI Award, an MTV Music Video Award.
In 1998 it was placed 76th on the Triple J Hottest 100 of All Time. They have had two other songs in annual Hottest 100 lists of best songs from a year. Crowded House won the BRIT Award for Best International Group in 1994. Crowded House has won twelve trophies from 35 nominations since the ARIA Music Awards were first presented in 1987, including being the first winners of the Best New Talent and Song of the Year categories in that year; the group's success has been across several categories. Eight of their ARIA Awards were from their first two albums, Crowded House and Temple of Low Men, with the line-up of Finn and Nick Seymour. Crowded House has won eight APRA Awards in various categories, including three wins in "most-performed" categories from various genres and three wins for either the Gold Award or Song of the Year; the New Zealand Music Awards have been conferred annually since 1965 by Recorded Music NZ. Crowded House has received five nominations in the category of International Achievement, winning in 1992, 1994 and 1995.