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いThis compilation has been put together to linearly construct 'sonic spaces' we inhabit, and the moods these sounds subject us to. The omnipresent nature of sound involves us in a continuous engagement with the objective world; 'in music' we connect to the subjective self and the sonic universe that surrounds us. It is via these two perceptions that these tracks have been woven together, using field recordings and musical composition, where one suggests and leads the other.

Sound reasons 't0'

4th world Orchestra cosmicomics sonic objects hydrosonic (4th world orchestra rmx) diF 49 percent da-saz RL 137 Back To Frank - Freeze diF blue hour soundSkill peshkar edGeCut last train to Sarai heterogeneouz + electrophonicAnalog shift dub (diF rmx) monoton mini beat (edGeCut rmx) audio pervert audio date dj Spooky + Qasim Virjee maya Saguna 
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Quiet_Music.jpgQuiet Music
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Quiet Music
Quiet Music cover
Compilation album by Steve Roach
Released     1988
Genre     Ambient
Length     72:47
Label     Fortuna Records
Producer     Steve Roach
Steve Roach chronology
The Leaving Time
(1988)     Quiet Music
(1988)     Dreamtime Return
(1988)

Quiet Music (1988) is an album by the American ambient musician Steve Roach. The material on this release consists of the entirety of the cassette album Quiet Music 2 plus the first half of Quiet Music 3.

[edit] Track listing

   1. ”See Things” (5:44)
   2. ”Towards the Blue” (3:17)
   3. ”Something in Tears” (5:16)
   4. ”A Few More Moments” (13:02)
   5. ”Air and Light” (32:00)
   6. ”Dreaming and Sleep” (13:28)


The allure is undeniable.  Six talented, attractive women breathe renewed life into the rich texts of
medieval songs and poetry.  Their hauntingly beautiful music captures the imagination and devotion of
modern audiences.  They are the Mediaeval Baebes, and in ten years they have placed
three studio albums into the top of the UK classical charts and performed before enthusiastic audiences
in the UK, United States, Canada and Europe.

Founding member Katharine Blake is also the music director and lead composer and arranger for the
band. Born in London, Katharine was classically trained at the Purcell School of Music and Richmond
College. In the mid-1990s she met musician Dorothy Carter in Berlin.  Carter was playing hurdy-gurdy
and dulcimer, and Blake was immediately drawn to the sound of the medieval music and instruments. 
Back in London, she and a group of friends got together to sing songs from the Middle Ages purely for their
own enjoyment.  Within a year they had released their first album, Salva Nos, which climbed into the UK’s Classical chart, and became Virgin Classics’ fastest selling debut album.  Their 1998 follow-up album,
Worldes Bylsse, blazed to number one in the Classical Charts.

Pulling lyrics from medieval texts and setting them to original scores using medieval and classical
instruments, the Baebes offer a sound that is unique.  In a 2002 NPR interview, host John Nielsen asked
Blake what specifically drew them to the medieval texts.  Blake replied, “ I think it was one of the last periods
in Western history where mythology and history were inextricably bound.  The people lived in a world where
you thought fairies and dragons were real….that so much fantasy was hardwired into everyone’s daily
thinking intrigues me.  It’s that combination of fantasy and a very gritty, mundane existence which is a
fascinating juxtaposition.”

The Baebes sing in a variety of medieval languages including French, Spanish, English, Italian, Gaelic, and Swedish.  Their original music evokes an earlier time, but is accessible to a modern audience.  And the
medieval themes of nature, the life cycle, love and longing are as relevant in 2008 as they were in 1408.

The Baebes recent contribution to the BBC production of  The Virgin Queen (composed by Martin Phipps) resulted in a deserved Ivor Novello award 2007 for best television soundtrack. 

This year the band welcomed Melpomeni, Esther, Bev Lee into the Baebes sisterhood.  Joining Katharine,
Emily and Claire, the new members diverse backgrounds and talents have propelled the Baebes into an
exciting new creative season of their career.  A new studio album is planned for 2008 and plans are
underfoot for a clothing line as well.

Combining fourteenth century poetry with the talents and sensibilities of twenty-first century women has created
its own force of nature – The Mediaeval Baebes.

3ab33a39.jpgWe have feeling neither like nor hate about Radiohead .
However,We think Radiohead seems  overrated band.
 Have you ever heared All Radiohead radio station?
Anyway It seems Jeff Buckley could easy get crossing
 line  between various elements.It sounds  mild modal  .
Radiohead tried same attempt but failed to sound modal.
especially when both compared about dealing with jazzy element.
Also about dealing with world music elements,
 we like  called post-rock band like aqurium ,laibach ,saraayers,rasa,
kino,dead can dance, Amberasylum,kolsonzlgn,ofcouse Jeff Buckley ,etc
 rather than Radiohead.Also about dealing with modern or experimental ,
we want no make refference ,reffer it what you want ,for example,cage,
feldman, nono,berio,etc.And then,Thier computer sound is boring for us.
we remember Oval asserts all technology music in poverty.
Ivessitehomepage2.jpgHere's a brief biographical sketch of Ives' remarkable life. You can skip directly to a particular section by clicking on one the links below. (Or you can simply read from top to bottom!) * Childhood & Youth * Student Days at Yale * Businessman * Marriage * Peak Years * Health Problems * Discovery & Lasting Influence For complete biographies about Ives, check out the "Biographies and Oral History" section on this site's Books link. Childhood & Youth Charles Edward Ives was born on October 20, 1874 in Danbury, Connecticut. Ives inherited a gift for music from his father George Ives, who at the age of seventeen had served as the youngest bandmaster in the Union Army during the Civil War. After the war and throughout Charles Ives' childhood, George Ives served as bandmaster and cornet player in several musical organizations in Danbury. By the time Charles Ives was eight years old, he was already playing bass drum in one of his father's bands. In 1888, when Ives was fourteen years old, his father performed one of his son's earliest compositions Holiday Quickstep for theatre orchestra at Taylor's Opera House in Danbury. During that same year, Ives also began performing as a church organist in a church near his home. In 1889, he became the youngest salaried organist in the state of Connecticut when he became the regular organist at the Second Congregational Church in Danbury. Ives musical talents were bolstered by frequent practice (four hours per day at age 14!), but Ives also had wide-ranging interests--a characteristic he would maintain throughout his life. Ives was very athletic and especially loved baseball. When someone inquiring about his music asked what he played, Ives retorted, "Shortstop!" In 1893, Ives began his studies at Hopkin's Grammar School, a preparatory school in New Haven, Connecticut. Less than two years later, when Ives enrolled at Yale and his more formal musical training began, he had already composed several works. Notable among these is Slow March (perhaps Ives' very first composition, dating from 1887), a dirge-like song dedicated to a family pet who died. Ives' most famous juvenile composition is Variations on "America," a work that displays many characteristic qualities that appear in his mature compositions. This work is still frequently performed both in its original organ arrangement as well as in the orchestral arrangement (by William Schuman). Incidentally, Ives submitted this work for publication to publisher William E. Ashmall in 1892. It was rejected. Student Days at Yale In October of 1894, Ives began his studies at Yale University. He suffered a difficult blow when his father died one month later. Throughout his life, Ives would remark on the tremendous influence that his father had upon him. (Stuart Feder explores the influence of George Ives upon his son in his biography Charles Ives, My Father's Song: A Psychoanalytic Biography.) In general, Ives was not a good student. Outside of music and literature courses, he earned a steady stream of "D's." However, at Yale Ives studied under one of the foremost music teachers and composers in America, Horatio Parker. Later in life, Ives downplayed Parker's influence, and the two men were profoundly different by temperament and training. Parker always came up short when Ives compared him to his father. But Parker was a seminal influence on Ives' development. While he was a Yale and studying under Parker, Ives completed his first major works, his First Symphony and his First String Quartet. Businessman After graduating from Yale, Ives did not to pursue a professional career in music. Later in life, he would remark that he didn't want his children to "starve on his dissonances." Instead, Ives began a career in the insurance industry. Not long after graduating from Yale, Ives met Julian Myrick. The two men became close friends, and in 1909 they formed Ives & Myrick Insurance Agency. Ives' innovation wasn't limited to music; he was also a creative, thoughtful businessman. For example, in 1910, Ives printed the first version of a how-to-sell pamphlet that would eventually grow into a publication called "The Amount to Carry--Measuring the Prospect." This guide became extremely influential throughout the insurance industry, and it remains an important early document in the estate planning field. The Ives and Myrick partnership was a successful one, and the business quickly proved to be enormously profitable. By the time that Ives' health began to fail in the late teens, he was already a wealthy man. Even though Ives' choose not to make music his profession, he continued to compose and stay immersed in music. In 1900, he became the organist at the Central Presbyterian Church in New York City. He went on to premiere many of his early sacred works there. (Unfortunately, many of these works are now lost.) By 1902, he had completed his Second Symphony (which he later revised). Other important works from Ives' bachelorhood include "Thanksgiving," completed in 1904 and later incorporated into the Holidays Symphony. Marriage In 1905 Ives met Harmony Twichell, the daughter of the influential Hartford minister Reverend Joseph Twichell. (Samuel Clemens was a close family friend of the Twichells.) Love and intimacy grew between Charlie and Harmony, and somehow she came to understand the meaning of Ives' innovative music. In June 1908 they married, after two years of courtship and romance. Ives' relationship with Harmony had an immediate electric effect on his efforts as a composer. For the first time in his life since the death of his father, Ives had someone in his life who believed in his music. Their relationship seemed to clarify Ives' aims as an artist and human being. In a letter to Ives shortly before their wedding, Harmony wrote to Ives articulating a vision of their relationship and Ives' art: I think, as you say, that living our lives for each other & for those with whom we come in contact generously & with sympathy & compassion & love, is the best & most beautiful way of expressing our love...but to put it too in concrete form of music or words would be a wonderful happiness, wouldn't it? I think you will & that will be doing it for both of us, my darling... Later in his life, Ives would remark, "One thing I am certain of is that, if I have done anything good in music, it was, first, because of my father, and second, because of my wife." Ives' marriage signals the end of his apprenticeship and the beginning of the period in which he would compose his greatest music. Peak Years The years 1908 to 1920 saw Ives create an immense, incredibly innovative body of music, even though he was only composing part-time--on weekends, in the morning and evening, and on vacations. Remarkably, during this time Ives composed in near-complete isolation. With a few exceptions, Ives never heard his music performed publically. He was too busy working or composing, and his few encounters with established musicians usually turned out badly. Despite these limitations, consider some of the works that Ives composed during this time: * "The Robert Browning Overture" * Piano Sonatas Nos. 1 & 2, "Concord" * Symphonies 3 and 4 * "Washington's Birthday"; "The Fourth of July"; "Decoration Day" * Orchestral Set Nos. 1 & 2 * Violin Sonatas 3 & 4 * String Quartet No. 2 * Many songs Ives rarely began work on a composition and saw it through to completion before beginning on another. He usually worked on several pieces simultaneously, and, over relatively long periods of time, he would assemble multi-movement works, whether symphonies, sonatas, or "sets." For example, during one prolific year (1911), Ives worked on portions of the Second String Quartet, "The Fourth of July," "The Robert Browning Overture," the Fourth Symphony, the Second Piano Sonata, and various songs! Health Problems In 1918, Ives suffered a severe heart attack, and he never fully recovered from it, despite the fact that he would live many more years. In retrospect, Ives probably also suffered from diabetes. Most likely, this disease was the underlying cause of the heart attack and many other maladies that Ives continued to experience for the remainder of his life. As Swafford points out, Ives' poor health led to focus on two new priorities: One, to build up his income to provide for his family in case he died...; two, to get his music before the public while he could still see to it himself. His doings from 1919 onward, especially during the next decade, must be seen in the context of those two priorities and their corollaries. Now getting out what he had written had to take precedence over producing new work...He decided to print the Concord Sonata, the Essays, and a book of songs, and to mail them to hundreds of strangers in hopes that somewhere they would take root (288). By the middle twenties, Ives would also stop composing, although he tinkered with works that he had written earlier. Discovery & Lasting Influence It is a fairly common sentiment that Ives had absolutely no interest in having his music heard by a wider public, that he was indifferent to any audience. This is a misconception. In 1921 he published his Second Piano Sonata and in 1922 he published his 114 Songs. Both of these were private printings at considerable expense. Clearly, he wanted his music to be heard. Ives' efforts to publicize his music had their intended effect, but it happened slowly. Several notable individuals contributed to growing awareness about Ives and his music. The composer Henry Cowell had an enormous impact on Ives' musical legacy. Cowell published New Music magazine, and many of Ives' compositions were first published in the periodical. (Ives also made considerable financial contributions to the magazine.) Later Cowell and his wife would publish the first book-length biography of Ives. The conductor Nicolas Slonimsky premiered Orchestral Set No. 1: Three Places in New England in 1931. He also premiered other Ives' works, and took Ives' music on several tours all over the world. In 1938, John Kirkpatrick premiered the first complete version of the Second Piano Sonata. Kirkpatrick's performance was extremely influential in bringing Ives' music before the public. Kirkpatrick went on to become an Ives scholar, cataloging his music at Yale University. In 1946, Lou Harrison conducted the premiere performance of Ives' Third Symphony. One year later, he served as the editor when the work was published. The work was awarded the Pulitzer Prize for 1947. Leonard Bernstein also helped bring even greater recognition to Ives. He premiered the Second Symphony in 1951, three years before Ives' death. Like Ives' paradoxical music, his influence is difficult to pin down. In many regards, Ives is a maverick, a one-of-a-kind. But others argue that his music belongs squarely in a European art-music tradition. Within the world of classical music, some critics regard him as an interesting aberration whose musical ideas are more interesting on paper than in performance, while others do not hesitate to call him America's greatest composer. One thing is certain: nearly 50 years after his death, Ives' influence is greater now than it has ever been.Link
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