历史频道> 环球风云> 王中王内部开奖资料



  For much of music history, songs were accompanied by an instrument that could act as a foil to the human voice. In recent decades electronics have often taken the place of the lute or piano, with dramatic effects. When the taped sounds contains snippets of the voice itself — recorded either beforehand or sampled live in performance — the distinction between song and accompaniment dissolves.

  But there’s also a risk that this dialogue with technology becomes little more than an echo chamber, too insular and self-validating. On Thursday at the DiMenna Center, the New York Festival of Song presented an evening of works for voice and electronics that sometimes felt sterile and self-absorbed.

  The program was designed by the composer and vocalist Kate Soper and opened with her performing her own “The Understanding of All Things.” The text is by Kafka and imagines a philosopher who snatches spinning tops from playing children in an attempt to understand reality. Ms. Soper’s setting takes a dryly literal approach, with recorded sounds of a spinning top mixing with scrambled phrases and her own live, fragmented, recitation. The attentive sound artist here and throughout the evening was Sam Pluta.

  Electronics can blur the border between human and machine-made sounds in a way that allows artists to play on themes like alienation, objectification and the splintering of the self. The composer Natacha Diels’s “Bahnhof” was a twist on the ancient myth of Philomela, the abused woman who, deprived of speech, turns into a nightingale.

  For this potentially arresting work — the props malfunctioned on Thursday — the soprano Charlotte Mundy donned special gloves outfitted with sensors at the fingertips and tethered with cables to a laptop. Standing, marionette-like, with outstretched arms, she produced wordless vocalizations accompanied by clicks, pops and wet sputters.

  In “quarks” the vocalist Charmaine Lee and Mr. Pluta created a dystopian world of thuds, gurgles and sandy abrasions through extended vocal techniques that were creatively miked, processed and amplified at often brutal volume. (One contact mike was taped to Ms. Lee’s neck with what looked like medical bandage.)

  At the center of a program of caustic sounds two works from the late 1990s formed an oasis of radiant beauty. In three selections from Alvin Lucier’s “Wave Songs,” Ms. Mundy produced long held notes on top of electronic sine waves in such a way that the minute pitch differences created a gently pulsating massage in the listener’s ear.

  Kaija Saariaho’s “Lonh” was a stunning example of the expressive riches that electronics can produce in the hands of a master of tone color. The text, by the medieval troubadour Jaufré Rudel, is the same one that inspired her luscious opera “L’Amour de Loin.”

  Here, the taped backdrop shimmered and bloomed underneath Ms. Mundy’s warm and soft-grained soprano in a way that deepened the sense of a lover drunk on unconsumed passion.

  The concert ended with two excerpts from an opera Ms. Soper is developing that also draws on medieval poetry — the “Romance of the Rose” — but uses texts of her own and by contemporary poets.

  “Shame’s Triple Aria Transformation,” performed with dramatic conviction by Devony Smith, distorts the voice with screechy, serrated effects. Ms. Soper performed the second selection, as an allegory of Reason, in which a neo-Classical piano part adds arch prettiness to a text that cleverly spins variations and puns on the same key words. In the electronic score microtonal dissonances similar to those in Mr. Lucier’s “Wave Songs” add a pale throbbing halo around the voice like a migraine aura. In “Lonh” the taped score drew the listener into a closer state of identification with the character. Here the electronics ensured cool detachment.




“【狼】【人】【禁】【卫】【军】【是】【精】【英】【怪】【的】【话】,【这】【些】【吸】【血】【鬼】【算】【是】【小】BOSS【了】【吧】。”【一】【个】【敢】【死】【队】【玩】【家】【刚】【刚】【说】【完】,【脑】【袋】【就】【掉】【了】,【而】【这】【时】【他】【的】【身】【后】【才】【浮】【现】【一】【位】【吸】【血】【鬼】【剑】【士】【的】【身】【影】。 “【不】【知】【道】【打】BOSS【的】【时】【候】【别】【废】【话】,【死】【了】【吧】。”【身】【边】【这】【位】【刚】【刚】【幸】【灾】【乐】【祸】【一】【声】,【紧】【接】【着】【也】【被】【砍】【死】【了】,【所】【以】【这】【下】【所】【有】【的】【敢】【死】【队】【成】【员】【都】【闭】【上】【嘴】,【悍】【不】【畏】【死】【的】【展】【开】

【之】【前】【沈】【乐】【接】【到】【了】【重】【庆】【总】【部】【的】【紧】【急】【电】【文】【通】【知】,【得】【知】【罗】【嘉】【纳】,【也】【就】【是】【郑】【嘉】【元】【在】【上】【海】【被】【捕】,【顿】【时】【被】【惊】【吓】【得】【不】【轻】,【他】【急】【忙】【紧】【急】【发】【送】【电】【文】【至】【上】【海】,【命】【令】【情】【报】【线】【切】【断】【与】【之】【关】【联】【的】【所】【有】【联】【系】,【可】【是】【到】【底】【来】【不】【来】【得】【及】,【只】【有】【天】【知】【道】【了】! 【关】【成】【益】【闻】【言】,【心】【情】【也】【是】【沉】【重】,【他】【轻】【声】【问】【道】:“【知】【道】【什】【么】【原】【因】【吗】?” 【沈】【乐】【摇】【头】【说】【道】:“【具】【体】【被】

  【两】【军】【交】【战】,【两】【方】【人】【马】【必】【定】【会】【搅】【合】【在】【一】【起】。【傅】【杨】【的】【武】【器】【又】【是】【杀】【伤】【力】【极】【大】【的】,【所】【以】【只】【能】【在】【交】【战】【前】【或】【者】【是】【主】【动】【挑】【战】【时】【使】【用】。 【而】【敌】【军】【恰】【好】【也】【是】【看】【中】【了】【这】【点】,【一】【来】【也】【不】【啰】【嗦】,【迅】【速】【跟】【大】【庸】【朝】【的】【人】【马】【混】【在】【在】【一】【起】。【一】【开】【始】【时】,【是】【被】【打】【得】【措】【手】【不】【及】,【节】【节】【退】【败】,【但】【时】【间】【一】【长】,【再】【加】【上】【各】【族】【的】【看】【家】【本】【领】【一】【同】【用】【出】,【即】【使】【人】【数】【上】【有】【欠】【缺】,王中王内部开奖资料【被】【宇】【文】【冽】【点】【晕】【了】【的】【两】【个】【侍】【婢】【醒】【来】【后】【发】【现】【屋】【子】【里】【一】【片】【狼】【藉】,【而】【唐】【一】【诺】【和】【落】【尘】【都】【不】【见】【了】,【当】【时】【就】【慌】【了】,【吵】【吵】【嚷】【嚷】【的】【说】【着】【郡】【主】【的】【尸】【体】【被】【盗】【了】,【然】【而】【却】【被】【闻】【声】【而】【来】【的】【南】【叔】【告】【知】【昨】【夜】【刺】【客】【入】【府】,【为】【免】【郡】【主】【遗】【体】【受】【损】,【已】【经】【入】【棺】【了】,【这】【才】【叫】【众】【人】【都】【平】【静】【下】【来】。 【然】【而】【这】【事】【听】【着】【离】【奇】,【只】【能】【欺】【瞒】【一】【些】【没】【心】【眼】【的】【或】【是】【不】【敢】【多】【心】【眼】【的】【老】【实】【人】

  “【中】【央】【电】【视】【台】,【中】【央】【电】【视】【台】,【现】【在】【正】【在】【为】【您】【直】【播】【的】【是】2021【年】【国】【际】【足】【联】***【世】【界】【杯】【决】【赛】,【广】【州】【恒】【远】【对】【阵】【尤】【文】【图】【斯】【的】【下】【半】【场】【比】【赛】。【上】【半】【场】【双】【方】【均】【无】【建】【树】,【比】【分】【依】【然】【还】【是】【零】【比】【零】,【让】【我】【们】【看】【看】【下】【半】【场】【的】【话】,【场】【上】【局】【势】【会】【不】【会】【有】【一】【些】【变】【化】。” “【现】【在】【是】【广】【州】【恒】【远】【的】【进】【攻】,【林】【燃】【拿】【球】,【尤】【文】【图】【斯】【两】【名】【中】【后】【卫】【围】【了】【上】【来】,【让】

  【捏】【了】【捏】【拳】【头】,【叶】【宁】【感】【受】【了】【下】【现】【在】【的】【实】【力】,【满】【意】【的】【点】【了】【点】【头】:“【实】【力】【增】【长】【了】【十】【倍】,【但】【却】【是】【在】【可】【控】【制】【范】【围】,【到】【也】【不】【错】。” 【要】【知】【道】,【以】【他】【现】【在】【的】【实】【力】,【还】【能】【够】【暴】【增】【十】【倍】【的】【实】【力】,【已】【经】【相】【当】【的】【惊】【人】【了】。 “【看】【来】【来】【到】【这】【个】【世】【界】,【是】【来】【对】【了】,【虽】【说】【实】【力】【增】【幅】【只】【是】【十】【倍】,【但】【若】【是】【加】【上】【魂】【环】【的】【话】……【呵】【呵】,【这】【兽】【武】【魂】【最】【终】【能】【增】【加】【多】



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