Marc-Antoine Charpentier was a French composer of the Baroque era. Exceptionally prolific and versatile, Charpentier produced compositions of the highest quality in several genres, his mastery in writing sacred vocal music, above all, was recognized and hailed by his contemporaries. Charpentier was born in or near Paris, the son of a master scribe who had good connections to influential families in the Parlement of Paris. Marc-Antoine received a good education with the help of the Jesuits, registered for law school in Paris when he was eighteen, he withdrew after one semester. He spent "two or three years" in Rome between 1667 and 1669, studied with Giacomo Carissimi, he is known to have been in contact with poet-musician Charles Coypeau d'Assoucy, composing for the French Embassy in Rome. A legend claims that Charpentier traveled to Rome to study painting before he was discovered by Carissimi; this story is undocumented and untrue. Regardless, he acquired a solid knowledge of contemporary Italian musical practice and brought it back to France.

On his return to France, Charpentier began working as house composer to Marie de Lorraine, duchesse de Guise, known familiarly as "Mlle de Guise." She gave him an "apartment" in the renovated Hôtel de Guise – strong evidence that Charpentier was not a paid domestic who slept in a small room in the vast residence, but was instead a courtier who occupied one of the new apartments in the stable wing. For the next seventeen years, Charpentier composed a considerable quantity of vocal works for her, among them Psalm settings, motets, a Magnificat setting, a mass and a Dies Irae for the funeral of her nephew Louis Joseph, Duke of Guise, a succession of Italianate oratorios set to non-liturgical Latin texts.. Throughout the 1670s, the bulk of these works were for trios; the usual trio was two treble instruments and continuo. About 1680, Mlle de Guise increased the size of the ensemble, until it included 13 performers and a singing teacher. In the pieces written from 1684 until late 1687, the names of the Guise musicians appear as marginalia in Charpentier's manuscripts – including "Charp" beside the haute-contre line.

Étienne Loulié, the senior instrumentalist who played keyboard and viole was entrusted with coaching the newer instrumentalists. Despite what is asserted, during his seventeen years in the service of Mlle de Guise, Charpentier was not the "director" of the Guise ensemble; the director was a gentleman of Mlle de Guise's court, an amateur musician and Latinist named Philippe Goibaut, familiarly called Monsieur Du Bois. Owing to Mlle de Guise's love for Italian music, her frequent entertaining of Italians passing through Paris, there was little reason for Charpentier to conceal the Italianisms he had learned in Rome. During his years of service to Mlle de Guise, Charpentier composed for "Mme de Guise", Louis XIV's first cousin, it was in large part owing to Mme de Guise's protection that the Guise musicians were permitted to perform Charpentier's chamber operas in defiance of the monopoly held by Jean Baptiste Lully. Most of the operas and pastorales in French, which date from 1684 to 1687, appear to have been commissioned by Mme de Guise for performance at court entertainments during the winter season.

By late 1687, Mlle de Guise was dying. Around that time, Charpentier entered the employ of the Jesuits. Indeed, he is not named in the princess's will of March 1688, nor in the papers of her estate, strong evidence that she had rewarded her loyal servant and approved of his departure. During his seventeen-odd years at the Hôtel de Guise, Charpentier had written as many pages of music for outside commissions as he had for Mlle de Guise. For example, after Molière's falling out with Jean-Baptiste Lully in 1672, Charpentier had begun writing incidental music for the spoken theater of Molière, it was owing to pressure on Molière exerted by Mlle de Guise and by young Mme de Guise that the playwright took the commission for incidental music for Le Malade imaginaire away from Dassoucy and gave it to Charpentier. After Molière's death in 1673, Charpentier continued to write for the playwright's successors, Thomas Corneille and Jean Donneau de Visé. Play after play, he would compose pieces that demanded more musicians than the number authorized by Lully's monopoly over theatrical music.

By 1685, the troop ceased flouting these restrictions. Their capitulation ended Charpentier's career as a composer for the spoken theater. In 1679, Charpentier had been singled out to compose for the Dauphin. Writing for the prince's private chapel, he composed devotional pieces for a small ensemble composed of royal musicians: the two Pièche sisters singing with a bass named Frizon, instruments played by the two Pièche brothers. In short, an ensemble that, with Mlle de Guise's permission, could perform works he had earlier composed for the Guises. By e

The House of Cotoner is a noble house distinguished in the service of the Spanish Monarchy well into the 20th century. The house's origins go back to the Italian city state of Republic of Siena known as "nobile del Cotone'". In the 13th century, 1202, as Montepulciano took Oath of fealty to the Republic of Florence, documented in Florence, contained the signatures of the "nobile del Cotone'", it is documented that in 1237 Abonito del Cotoné was chosen Podestà of Prato. When the Cotoner family grew in numbers, some of its members left Tuscany and established branches in various other places; some went to Ascoli, where they founded and built the Castle of Monte Pastillo and others to Sicily, where they held the principality of Castelnuovo and Santa Caterina, keeping the memory of their Signoria del Cotoné in the Republic of Siena. One of those branches was to become one of the so-called "Nou Cases" in the Kingdom of Majorca, for there were nine "nobilis et Antique familiae'"; these nine families were incorporated into the Nobility governing and legislative bodies, like all the other houses, of the Kingdom but differed by the quality of their lineage.

Bernardo Cotoner is first documented in the Kingdom of Majorca when seting up a "beneficio" for the Parish of Santa Eulalia and the again on 1363, acquiring a farmhouse in Valldemossa. On July 23rd, 1370 Letters patent were issued by Peter IV of Aragon confirming tax exception as well as their nobility for them participants in the conquest and his successors, his son Nicolas Cotoner y Genovard had three sons: Nicolas, Bernardo y Gabriel Cotoner y Saguals, setting up three distinct branches. Bernardo Cotoner y Saguals earned on July 18th, 1463, for his merits and services, privilege for perpetuity in the "braç militar" of the Kingdom of Mallorca, it will be however, the great-grandson of Nicolas Cotoner y Saguals, Antonio Cotoner y Vallobar who will consolidate the influence of the family. Antonio had been acting in the Res publica of his country, having demonstrated special talents and deserving the trust of the sworn representatives of the city and the Kingdom of Majorca to perform an important commission.

Perpetual privilege was issued in October 18th, 1569 knighted 1572 by Philip II of Spain. Of special relevance, is the historic and close relationship of this family with the Knights Hospitaller known as Order of Malta with the ascension of Raphael and Nicolas Cotoner to the sovereign dignity of Grand Masters. Antonio Cotoner y Vallobar, Nuncio or extraordinary Ambassador of the Kingdom of Majorca in 1571, facilitated the royal sanction to establish a "Real Audiencia'" in Majorca, he was issued perpetual privilege to nobility in October 18, 1569 and was knighted by Philip II of Spain own hands in 1572. Bernado Luis Cotoner y Ballester, son of Antonio Cotoner y Vallobar in his second marriage he dedicated his life to the study of law, at the University of Avignon received his Tassels both in Canon law and Roman Law. In good age he joined the Ecclesial Estate. Member of the Dominican Order, he came to be Apostolic Inquisitor of the Kingdom of Sardinia, General Inquisitor in the kingdoms of Majorca, Valencia and in the County of Barcelona.

He died in 1641. Fra' Rafael Cotoner y Oleza. After his death, he was succeeded as Grand Master by Nicolas. Fra' Nicolas Cotoner y Oleza, he was the son of Marc Antoni Cotoner i de Santmartí and brother of the previous Grandmaster, Rafael Cotoner. Marcos Antonio Cotoner y Sureda, was a spanish noble and military. 1st Marquis of Ariany and I Regidor of Palma de Mallorca following the Nueva Planta decrees issued by Philip V of Spain. Fernando Cotoner y Chacón, 1st Marquis de la Cenia, GE, OCIII, KOC, Lieutenant at the Carlist Wars, Governor of Puerto Rico, interim Minister of War and Director general of the Civil Guard. Captain General of the Balearic Islands. Senator for life for the Balearic Islands. Nicolás Cotoner y Cotoner, 23rd Marquis of Mondéjar, 25th Count of Tendilla, 7th Marquis of Ariany, GE, KOGF, OCIII, KOC, OM, was a Spanish nobleman and military officer, head of the Royal Household of Spain under Juan Carlos I, from 1975 to 1990. Wikipedia Wikipedia Notes & Queries, Volume 9: Letters from Charles II of England to Fra' Nicolás Cotoner.

Times of Malta: Cappella Musicale Pontificia, concerti straordinari

The Pleasure Principle is the debut solo studio album by English musician Gary Numan. Released about six months after Replicas, the second album with his band Tubeway Army, The Pleasure Principle peaked at number 1 in the United Kingdom; the Pleasure Principle has been described as featuring new wave throughout. Numan abandoned electric guitar on the album; this change, coupled with frequent use of synthetic percussion, produced the most purely electronic and robotic sound of his career. In addition to the Minimoog synthesizer employed on his previous album, Numan made liberal use of the Polymoog keyboard its distinctive "Vox Humana" preset. Other production tricks included copious amounts of flanging and reverb, plus the unusual move of including solo viola and violin parts in the arrangements. Numan was influenced by Kraftwerk. Notable tracks included "Airlane", the lead-off instrumental. S. hip hop scene. E.", told from the perspective of the last machine on Earth. "Cars" reached number 9 in the U.

S. and number 1 in Canada, helping make The Pleasure Principle Numan's strongest North American showing, but lack of a strong commercial follow-up resulted in him being tagged as a one-hit wonder there. The album was #49 in the Canadian Top 100 of the year. Numan toured throughout the world in support of the album with a huge stage set including banks of neon lights and twin pyramids which moved across the stage via radio control; the live show was captured on record on video as The Touring Principle. The support act on the UK leg of the tour was Orchestral Manoeuvres in the Dark. An expanded version of Living Ornaments'79 was issued on CD in 2005, the final show of The Touring Principle was captured on the CD Engineers in 2008. Numan performed a special gig dedicated to the album at Manchester Academy on 21 November 2009, similar to Numan's previous tours for Replicas and Telekon. Numan had been scheduled to play the 2010 Coachella Festival in Indio, California but was forced to cancel, due to the Icelandic volcano eruption that disrupted air travel.

To make up for this, Numan embarked upon a 16-date mini-tour of the U. S. that August, in which he performed The Pleasure Principle in its entirety. Of the bonus tracks included on CD reissues, "Random" and "Oceans" were instrumental outtakes from The Pleasure Principle sessions issued on vinyl with other unreleased tracks in 1985, while "Asylum" was the instrumental B-side of the "Cars" vinyl single; the live versions of "Me! I Disconnect From You" and "Bombers", which appeared as B-sides of "Complex", were recorded on tour and made available in their original context on the expanded Living Ornaments'79 CD, along with "Remember I Was Vapour" and "On Broadway"; the latter two tracks were first released as a promotional single shipped with early pressings of the album Telekon in 1980. AllMusic's Greg Prato rated The Pleasure Principle 4.5 of 5 stars. He explained that "there is not a single weak moment on the disc" and that "the quality of the songs gets stronger and stronger as the album progresses".

He concluded: "If you had to own just one Gary Numan album, The Pleasure Principle would be it." Robert Christgau rated the album a B, saying that it was where "metal machine music goes easy-listening." He stated, "This time he's singing about robots and isolation. In such a slight artist, these things make all the difference." All tracks are written except where noted. CD bonus tracks"Random" – 3:49 "Oceans" – 3:03 "Asylum" – 2:31 "Me! I Disconnect from You" – 3:06 "Bombers" – 5:46 "Remember I Was Vapour"* – 4:46 "On Broadway" – 4:48 To coincide with The Pleasure Principle 30th Anniversary Tour, a special edition of the album was released on 21 September 2009. Disc one"Airlane" "Metal" "Complex" "Films" "M. E." "Tracks" "Observer" "Conversation" "Cars" "Engineers"Disc two"Airlane" "Metal" "Complex" "Films" "M. E." "Tracks" "Observer" "Conversation" "Cars" "Engineers" "Random" "Oceans" "Asylum" "Photograph" "Gymnopedie No. 1" "Conversation" "M. E."Disc three "Down in the Park" "On Broadway" "Everyday I Die" "Remember I Was Vapour" "Bombers" "Me!

I Disconnect from You" "Conversation" "Metal" "Down in the Park" "Airlane" "Cars" "We Are So Fragile" (

Imran Sardhariya is an Indian choreographer and film director known for his works in the South Indian film industry, a few Bollywood films. He is the son of Late Haji Ayub. Sardhariya is a well known choreographer in South Indian movies, his Life in the Industry for the past ten years has a credit of success more than 250 songs and 100 movies. In addition, he has worked on two Chalaaki, he was trained for five years by Mr. Jai Borade, a winner of the national film award for best choreography in Hum Aapke Hain Koun, he has a Dance School in Bangalore known as Dinky's Music Academy. Imran Sardhariya made his directorial debut with Endendigu in 2015 starring Ajay Rao and Radhika Pandit in lead roles, produced by S V Babu of SV Productions, Edited by Deepu S Kumar, Music by V Harikrishna and Camera by Venkatesh Anguraj, he had been one of the judges of Dance Karnataka Dance, telecasted on Zee Kannada in 2017. He has won several awards for choreography. In addition to his credentials he has garnered awards from ETV, ZTV Kannada, Kasturi Kannada channels for Best choreography Imran Sardariya on IMDb

The Jelebu District is the second largest district in Negeri Sembilan, Malaysia after Jempol, with a population over 40,000. Jelebu borders on the Seremban district, Jempol district, Kuala Pilah district and Selangor. Jelebu is a suburban district with blossoming semi-agricultural industry. Jelebu is a parliamentary constituency of the Dewan Rakyat in the Malaysian Parliament. Kuala Klawang is the principal town of the district. Jelebu has an infamous recorded history of British and Japanese colonization as compared to other parts of Negeri Sembilan. Numerous priceless colonial artifacts were discovered in the small semi-agricultural town of Sungai Muntoh, a once-booming mining town a century ago; these artifacts are now displayed in the state museum. Titi and neighbouring Sungai Muntoh were the most developed towns of all mining sites in Jelebu; the booming tin industry was one of the main reasons of the massacre in Titi, where more than 1,500 people were killed. Altogether, there were about 5,000 people killed under the Japanese-led army during World War II.

Jelebu has the warmest climate in recorded Malaysian history. The southwestern part of Jelebu is arguably the driest place in Malaysia. However, in the morning the temperatures are quite low and visibility is moderate due to the foggy climate. Jelebu District is divided into 8 mukims, which are: Glami Lemi Kenaboi Kuala Klawang Peradong Pertang Triang Hilir Ulu Klawang Ulu Triang The rubber and the mining business made Malaya one of the richest in natural resources during the British colonial period. Jelebu was one of the districts that produced some of steel. Pineapple production there is ranked one of the top in Peninsular Malaysia. For some unknown reasons, Jelebu is home to some of the state's biggest and most advanced rehabilitation centers. Jelebu constituency is represented in the Dewan Rakyat by Dato' Jalaluddin Bin Alias of UMNO, the leading party of the federal opposition coalition Barisan Nasional. In turn, Jelebu contributes 4 seats to the Negeri Sembilan State Legislative Assembly: Chennah.

Sungai Lui constituency is part of Jelebu parliamentary constituency but in district administration it was part of the Jempol District and therefore in the local government level it was administered by the Jempol Municipal Council. List of Jelebu district representatives in the Federal Parliament List of Jelebu district representatives in the State Legislative Assembly Districts of Malaysia

"90s Music" is a song co-written, co-produced and performed by New Zealand recording artist Kimbra, issued as the lead single from her second studio album The Golden Echo. The song has received positive reviews from critics. Jason Lipshutz of Billboard called the song "captivating" when he previewed it in May 2014. Stan Mahoney of The Guardian stated that the song was "manic" and that it was a "self-consciously eclectic single". Jake Cleland of Pitchfork, while giving the parent album a middling rating, called the song "polarizing" and further stated that it is the most coherent track on the album; the official music video for the song was directed by Justin Francis. "90s Music" at AllMusic Lyrics of this song at MetroLyrics