MUSIC GIFT ® protective masks are more than just fabric masks. We combine the portuguese know-how in design and textile production with the best antibacterial solutions to guarantee an accessory that offers the essential protection and comfort for everyday life. MUSIC GIFT® protective masks are a safe, ecological and reusable solution. NOTE: All products are made from rolls of fabric with a pattern repeat design. This means the design featured on each item will vary.Properties . Three layers of protection . Outer layer with a repellent finish, which makes it difficult for the virus to penetrate. . Intermediate layer composed of an interlining that maintains an armed canopy, which facilitates air circulation. . Interior layer with a repellent finish and with antibacterial treatment to prevent the lodging of the virus. Features . Neutralization of odor . Safety and biological compatibility . High efficiency and durability . Skin sensitivity Advantages . Antibacterial Protection . High efficiency up to 50 washes . Non-toxic, safe and biocompatible materials . Does not create microbial resistance Effectiveness . Effectiveness guaranteed up to 50 washes without losing characteristics and properties Recommendations . Do not use bleach . Do not use for more than 4 or 5 hours without washing the mask . we advise to wash before using Certification . CITEVE (Portuguese Technological Institute) nr 7386/2020 . GOTS (Global Organic Textile Standards)/ Accessoire / Accessoire

Par SCHUMANN ROBERT. These Schumann songs, set to poems by Heinrich Heine, are a deeply psychological and disturbing journey, as they reflect more often than not the bitterness of unrequited love. The most cheerful songs begin asdeceptively happy experiences which ultimately turn sour as they eventually reveal themselves as somewhat despairing looks at love. Written for Low Voice and Piano./ Répertoire / Basse et Piano

Liederkreis, op. 24 u.a.. Par SCHUMANN ROBERT. The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works. It is the aim of the edition to reproduce authentic texts which – having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions – will approach as closely as is possible the intention of the originals. The critical edition will form the basis of accurate performance material for Robert Schumann‘s work. / Date parution : 2022-05-31/ Recueil / Chant

The 'School of Bowing Technique? op. 2 is the second important violin tutor by Otakar ?evcík (1852-1934) and deals with the elementary technical demands of the right hand. Divided into three sections, the tutor contains more than 4,000 systematically arranged bowing exercises in increasing order of difficulty.This new edition of the 'School of Bowing Technique? combines the original six volumes in groups of two. It is largely based on the first edition, published in the early 20th century, and on other sources from ?evcík's estate. The editor, Jaroslav Foltýn, is a professor of violin at the Prague Conservatory, as was ?evcík himself.- New edition of a tutor that generations of violinists have grown up with- Fundamental work by a leading violin educator- Three volumes in increasing order of difficulty: easy - moderate - difficult- Methodological notes by the editor (Cz/Eng/Ger) / Violon

Par REVESZ GEZA. Geza Revesz offers a comprehensive view including an overview of his own extensive often revolutionary, research in both psychology and acoustics. The book is arranged in three parts. Part 1 addresses the physical and physiological bases of sound, hearing and tone. Part 2 deals with the psychology of sound, including the basic elements of musical tone, the theory of intervals, consonance and dissonance, the sense of pitch, and the relation between tone and color perception. Part 3 treats fundamental problems of the psychology of music, including musical talent, the development and inheritance of musical ability and more./ Livre / Livre Musical

for electric guitar, 2 violas and cello. Par BRYARS GAVIN. I had written the Cadman Requiem in 1989 for the Hilliard Ensemble in memory of my friend and sound engineer Bill Cadman, who was killed in the Lockerbie air crash. His death affected me very deeply and, pending a recording of this piece, Manfred Eicher asked if I might like to develop an instrumental work from this, using the same instrumentation for accompaniment and retaining the same opening bars as part of a new ECM album. The piece is 'after' the Requiem therefore in the musical sense of being based on it, in the chronological sense of following on from it, and in the spiritual sense of representing that state which remains after mourning is (technically) over. I wrote the piece in Venice in September 1990 and finished it in Oslo on the day of the recording, where I added the electric guitar of Bill Frisell. This, I felt, blended particularly well with low strings (2 violas and cello). Coincidentally, having used certain distortion effects on the guitar, we found that we were recording on the twentieth anniversary of the death of Jimi Hendrix. Within the music I use one or two modified extracts from the Cadman Requiem itself, and from its common source Invention of Tradition, for which Bill Cadman had done the sound design. The piece is dedicated to the two Bills (Cadman and Frisell)./ Répertoire / Guitare Electrique, 2 Altos et Violoncelle

Play along on drums with 10 rock songs from all-female artists such as 4 Non Blondes, Anastacia and Avril Lavigne . Includes 10 leadsheets with each song broken into logical parts, i.e. intro 1, intro 2, verse, chorus, etc. The CD features a full version and play-along version with a clicktrack to help keep time. Learn with experienced instructor Jorg Fabig who includes, tips, cues and advice on playing the drums. / Batterie

Vol. 3: Dramatic. OperAria is the ideal 'vocal coach' for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. OperAria offers in every book - a well-founded repertoire collection of common audition arias and rarities, which also include pieces from the 20th century - reliable aria texts in performable versions with revised or newly elaborated piano-vocal scores - meticulous comments on every aria (with contents and an evaluation from the singer's viewpoint) - a CD as 'Text and Phonetics Assistant' with the aria texts as audio file in their original language as well as the aria texts in German and English translation The three books for baritone '1:lyrical,' '2: lyrical-dramatic' and '3: dramatic' are placed at the beginning of the project. Altogether 16 volumes are planned- the first books for soprano are currently being prepared for 2016. 'It is my aim to give students a modern, systematically structured, well-informed vocal coach that meets the demands of present-day stage practice. And, of course, a cohesive repertoire and logical presentation of audition arias for every vocal genre.' (Peter Anton Ling)/ Recueil / Baryton

Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her main purpose in life was to compose music. Already during the 1920s, as a student of Lódz Conservatoire, as part of her lessons in harmony and counterpoint, she made attempts at composing, in which she tried to resolve nagging technical problems and impart an artistically satisfying form to them. She grew up in an atmosphere of anti-romantic tumult and the emerging neoclassical style. She assimilated the main attributes of that current in a natural way: the need to forge logical formal constructs based on new harmonic principles, not determined by the major–minor system, and also a freedom in the shaping of textures, a fixed element of which was the combining of homophony with more or less strict polyphonic forms. One example of such a strategy is the String Quartet from her student years, signed with the date 1929–1930, which the composer did not include in her official catalogue of works. In the first movement (Allegro moderato), one can distinguish two principal subjects, served in the form of the incomplete exposition of a fugue. The chromaticised first subject, with its strongly highlighted head motif, appears in the cello, with an answer coming four bars later in the first violin. After a short bridge, the first violin intones the second subject, of a different character (dolce), and the answer appears a bar later and an octave lower in the viola. Both subjects can be heard also in the closing coda, and the space between them is filled by counterpoints based largely on ostinato figures of various sorts – a technique that Bacewicz would hone to perfection in her later work. The middle fughetta (Molto adagio), with a subject stated just once, and in only three parts (cello, first violin, viola), acts as an intermezzo. The third movement (Allegro molto moderato) is a double fugue with strongly contrasting subjects. The first subject, in the form of a chromaticised melodic continuum, exposed by the cello, is initially shown with the traditional arrangement retained (answered by the viola and second violin at a fifth, and by the first violin an octave above). The second subject (energico) is a structure shaped by the opening repetition of a motif of perfect fifths, then octaves combined with staccato-tremolo figurations. As the work unfolds, the two subjects appear simultaneously in original and inverted form, coming together in the closing Cadenza in a uniform idea crowned by strong (fff) chords repeated towards the end. - Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes

Trevor Wye's renowned Practice Books For The Flute have been invaluable for flautists for many years. This Omnibus Edition features books 1-6 in one bumper compendium.Each Practice Book delves into great detail into a different aspect of playing the Flute. Having sold over 1 million copies, the series as a whole is invaluable for amateur or would-be professional flautists, providing in-depth tips on practising and how to overcome specific technical difficulties. The various books within this edition give hugely important information on the following:Book 1: ToneBook 2: TechniqueBook 3: ArticulationBook 4: Intonation and VibratoBook 5: Breathing and ScalesBook 6: Advanced PracticeWhen combined, this Omnibus Edition of the Practice Books For Flute create a wonderfully comprehensive and well-organised way to become a serious flautist. Within each individual book, Trevor Wye goes into an unparalleled level of detail, laying everything out logically and honestly, so that you are guided through the fine details but the practising itself must come from you. This edition represents great value for money, costing a lot less than it would to buy each book individually, and you also gain Trevor Wye's exceptional gift for instruction across all these concepts.For value for money when learning the Flute, you can't do better than this Omnibus Edition of Trevor Wye's Practice Books For Flute. The authoritative and detailed style is perfect for beginners and seasoned professionals, as there is always something that can be learned or improved upon. Pick up these Practice Books today and hear a difference in your playing. / Flûte