Playlists
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DJ DElberts D D D-4 SPOT RDIO
This is what DJ Dorky Delbert a.k.a sp_ceboy, silverlage, check !t plays at the private parties. Underground Electronik in all forms. Songs that I’d use at a private party.
198 faixas
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Piebald Composers-100
Non Standard, Eclectic, Experimental as well as Renaissance and Baroque Composers. Any genre of music can be entertwined with this tag as long as it is a composed piece of work. The harpsicord, sitar, lute, bagpipes, shennai, cello, bansuri and early electronics have an influence on this tag as well. Adj. 1. piebald - having sections or patches colored differently and usually brightly.
91 faixas
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Qlassical-Rondeau
Not to be confused with Rondo, a form in classical music. For other uses, see Rondeau. A rondeau (plural rondeaux) is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. Together with the ballade and the virelai it was considered one of the three formes fixes, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. It is structured around a fixed pattern of repetition of material involving a refrain. The rondeau is believed to have originated in dance songs involving alternating singing of the refrain elements by a group and of the other lines by a soloist. The term "Rondeau" is today used both in a wider sense, covering several older variants of the form – which are sometimes distinguished as the triolet and rondel – and in a narrower sense referring to a 15-line variant which developed from these forms in the 15th and 16th centuries. The rondeau is unrelated with the much later i…
2 faixas
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Qlassical-Allegro moderato
a little slower than allegro. See also: Moderato Webster's Revised Unabridg http://www.thefreedictionary.com/Allegro+moderato
3 faixas
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Roxanne Wars
https://en.wikipedia.org/wiki/Roxanne_Wars............................................ "Sparky's Turn (Roxanne, You're Through)"[5] by Sparky D, a feisty female who criticizes Roxanne (Shanté, in particular) for being disrespectful toward UTFO, and for being too young, both for them to pursue, and to be an MC. Even though the record defended UTFO, they were reportedly not appreciative of this additional unauthorized response. It was after this that the saga really took off.......................... "Roxanne's Doctor-The Real Man" by Dr. Freshh,[6] who also insulted Roxanne for having no class.................................... "Do the Roxanne" by Dr. Rocx & Co.,[7] which created a dance based on Roxanne. (Referred to Shanté's "cracky wacky voice", as Sparky D had described it in her record). A rare instance of a record in the series not aimed at dissing someone................................................ "The Parents of Roxanne" by Gigolo Tony & Lacey Lace,[8] which answered bot…
15 faixas
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pla5tic 3la5tik-100
[quote]Experimental electronic that is Synthy, Tweaky, Snappy, Pingy -Swirly, Whirlry, Bangy and Shrinky. From classical [tag]cembalo[/tag] pioneers and electronic pioneers to - modern day brilliance. Listen, can you hear it? The focus should 'stay' closer to the pioneers whether modern or classic.[/quote] Clavecin Électrique 1759 The Clavecine Électrique or the 'Electric Harpsichord' is one of the earliest documented electronic instruments built by the Jesuit priest Jean-Baptiste Delaborde in Paris, France, 1759. The instrument was based on simple electrostatic principles and is said to have been a keyboard controlled electro-mechanical instrument rather than a 'synthesiser' . The Clavecine is thought to have produced musical sounds by electronically vibrating metallic tines and stricking bells and clappers. [url=http://120years.net/machines/electromechanical_piano/index.html]Msr Hipps The Electromechanical Piano (1867)[/url] [url=http://120years.net/machines/telegraph/index.h…
85 faixas
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SYNTHOP-50
Heavy synth music much like [url=http://www.last.fm/tag/synthpop]synthpop[/url] except with the hip-hop and somewhat trip-hop beat. [url=http://www.last.fm/tag/electro-hop]Electro-Hop[/url] has a slight influence on synth-hop. Synth-Hop can but does not necessarily have to consist of "emceeing, MCing, spitting, rhyming, display the rhythmic spoken delivery of rhymes and wordplay or freestyle". Also see [url=http://www.last.fm/tag/homeys%20slip-cube%20shindy]Homeys Slip-Cube Shindy[/url], a playlist that represents this sub-genre.
35 faixas
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Qlassical: Gigue
The gigue (French pronunciation: [ʒiɡ]) or giga (Italian: [ˈdʒiːɡa]) is a lively baroque dance originating from the British jig. It was imported into France in the mid-17th century[2] and usually appears at the end of a suite. The gigue was probably never a court dance, but it was danced by nobility on social occasions and several court composers wrote gigues.[3] In early French theatre, it was customary to end a play's performance with a gigue, complete with music and dancing.[3] A gigue is usually in 3/8 or in one of its compound metre derivatives, such as 6/8, 6/4, 9/8 or 12/8, although there are some gigues written in other metres (for example, the gigue from Bach's first French suite (BWV 812), which is written in 4/4). They often have a contrapuntal texture. It often has accents on the third beats in the bar, making the gigue a lively folk dance...................................https://en.wikipedia.org/wiki/Gigue
1 faixa
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Qlassical: Bourrée
This article is about the dance and its music. For the commune in Ardèche, France, see Borée. For the card game, see Bourré. For the Bach piece, see Bourrée in E minor. Borrèia in Auvernia, early 20th century The bourrée (also borrèia[1]) is a dance of French origin common in Auvergne and Biscay in Spain in the 17th century. It is danced in quick double time, somewhat resembling the gavotte. The main difference between the two is the anacrusis, or upbeat; a bourrée starts on the last beat of a bar, creating a quarter-bar anacrusis, whereas a gavotte has a half-bar anacrusis. It often has a dactylic rhythm. In his Der Vollkommene Capellmeister (Hamburg, 1739), Johann Mattheson wrote of the bourrée, "its distinguishing feature resides in contentment and a pleasant demeanor, at the same time it is somewhat carefree and relaxed, a little indolent and easygoing, though not disagreeable".[2] Composers such as J.S. Bach, Handel, and Chopin used the musical form of the bourrée. The dance su…
1 faixa
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Qlassical: Menuet
Main article: Minuet step The name may refer to the short steps, pas menus, taken in the dance, or else be derived from the branle à mener or amener, popular group dances in early 17th-century France (Little 2001). The minuet was traditionally said to have descended from the bransle de Poitou, though there is no evidence making a clear connection between these two dances. The earliest treatise to mention the possible connection of the name to the expression pas menus is Gottfried Taubert's Rechtschaffener Tantzmeister, published in Leipzig in 1717, but this source does not describe the steps as being particularly small or dainty (Russell 2006, 140–41). At the period when it was most fashionable it was controlled, ceremonious and graceful.................................................https://en.wikipedia.org/wiki/Minuet
2 faixas
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Qlassical: Gavotte
This article is about the folk and court dances and their music. For other uses, see Gavot. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2011) A gavotte dance in Brittany, France, 1878 The gavotte (also gavot or gavote) originated as a French folk dance, taking its name from the Gavot people of the Pays de Gap region of Dauphiné, where the dance originated.[citation needed] It is notated in 4/4 or 2/2 time and is of moderate tempo. The distinctive rhythmic feature of the 18th-century French court gavotte is that phrases begin in the middle of the bar; that is, in either 4/4 or 2/2 time, the phrases begin on the third quarter note (crotchet) of the bar, creating a half-measure (half-bar) upbeat, as illustrated below: Gavotte rhythm.[1] On the contrary, the music for the earlier court gavotte, first described by Thoinot Arbeau in 1589, inv…
1 faixa
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Qlassical: Loure
This article is about the dance loure. For the bowed-instrument technique louré, see Playing the violin. For the bagpipe loure, see Loure (bagpipe). The loure, also known as the gigue lente or slow gigue, is a French Baroque dance, probably originating in Normandy and named after the sound of the instrument of the same name (a type of musette). The loure is a dance of slow or moderate tempo and in ternary meter (6/8, 3/4, or 6/4). The weight is on beat 1, which is further strengthened by the preceding anacrusis that begins the traditional loure. In his Musicalisches Lexicon (Leipzig, 1732), Johann Gottfried Walther wrote that the loure "is slow and ceremonious; the first note of each half-measure is dotted which should be well observed"[1]. Examples of loures are found in the works of Lully (e.g., Alceste) and of Bach (e.g.: French Suite No. 5[2] and the Partita No. 3 for violin solo).......................................https://en.wikipedia.org/wiki/Loure
1 faixa
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Qlassical-Fuga
For other uses, see Fugue (disambiguation). The six-part fugue from The Musical Offering, in the hand of Johann Sebastian Bach. In music, a fugue ( /ˈfjuːɡ/ fewg) is a compositional technique (in classical music) in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation (repetition at different pitches) and recurs frequently in the course of the composition. The English term fugue originated in the 16th century and is derived from either the French word fugue or the Italian fuga. This in turn comes from Latin, also fuga, which is itself related to both fugere ('to flee') and fugare, ('to chase').[1] The adjectival form is fugal.[2] Variants include fughetta (literally, 'a small fugue') and fugato (a passage in fugal style within another work that is not a fugue).[3] A fugue usually has three sections: an exposition, a development, and a recapitulation containing the return of the subject in the fugue's tonic key, though not all fugues have a …
1 faixa