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작성자동네방네 조회 7회 작성일 2022-08-16 23:10:25 댓글 0


Homme(창민&이현) - 남자니까 웃는거야(Man should Laugh)

Homme(창민\u0026이현) - 남자니까 웃는거야(Man should Laugh)

Released Date : 2011. 7. 19.
퍼거슨 : 울고 싶지만 웃어주는 거야
널 잡고 싶지만 보내는 거야 
화가 나지만 참아주는 거야 
다 알지만 속아 주는 거야

남자니까 웃는거야 웃는거야 내가 남자니까

떠날 거면 그냥 가지 웬 말이 많은지 
왜 내 가슴만 더 아프게 해
미안하다는 말 행복하라는 말 뭐 놀리는 건지 
너 없이 어떻게 웃으라고

울고 싶지만 웃어주는 거야
널 잡고 싶지만 보내는 거야 
화가 나지만 참아주는 거야 
다 알지만 속아 주는 거야

남자니까 웃는거야 웃는거야 내가 남자니까

입장 바꿔 생각해봐 니가 나라면 
잘 가란 내 말에 넌 웃겠니
아름답게만 정말 예쁘게만 추억하고 싶어
참을 때 떠나 정말 울기 전에

울고 싶지만 웃어주는 거야
널 잡고 싶지만 보내는 거야 
화가 나지만 참아주는 거야 
다 알지만 속아 주는 거야

참으려 해도 눈물이 나는데 
하늘은 왜 이리 화창한 거야 
남자라 해도 울고만 싶은데 
햇살은 왜 이리 따가운 거야 

남자니까 웃는거야 웃는거야 내가 남자니까
진Jin : 명곡인듯!!
kpop rockballad : 핵명곡
배정수 : 노래 너무 잘 함
김준성 : 다시활동해줘 형아들

Dior Homme | Spring Summer 2020 | Full Show

Dior Homme | Spring Summer 2020 by Kim Jones | Full Fashion Show in High Definition. (Widescreen - Exclusive Video/1080p - PFW/Paris Fashion Week Men’s) #FFLikedalot

Terry Devine-King - Higher / Richard Lacy - Back To The Start
Lowe Seven : Kim Jones is dominating at Dior like each show is so soft and beautiful yet so masculine and structured
Bella Hadid : they outdo themselves EVERY single time (especially with the showroom) . marvelous and BRILLIANT.
David Milano : This Dior Fashion Show is just so wonderful every piece of it is so beautiful!
Sakk Sarkissian : This collection was so great! Kim Jones is a genius. I really love his work.
Claudio Gomes : Usaria toda a coleção! Chic , leve e de impacto.Excelente!!

Guillaume Dufay - Missa L'Homme Armé

- Composer: Guillaume Dufay (Du Fay, Du Fayt) (5 August 1397(?) -- 27 November 1474)
- Ensemble: Oxford Camerata
- Conductor: Jeremy Summerly
- Year of recording: 1994

Missa L'Homme Armé, for 4 voices, written ca. 1460.

00:00 - 0. L'Homme Armé {anonymous}
00:46 - I. Kyrie
05:43 - II. Gloria in excelsis Deo
14:38 - III. Credo in unum Deum
27:27 - IV. Sanctus
37:36 - V. Agnus Dei

"Beware the armed man!" was a cry familiar to the ears of the late feudal culture of the "Autumn of the Middle Ages." Pope Pius II died in Ancona while trying to garner support for a new Crusade to wrest Constantinople from the hand of the Turks, who had conquered the city in 1453. This crusading project and the stylized chivalric ethos of the Burgundian court of Charles the Bold provide historical context for the immediately popular monophonic hit song L'homme armé. Robert Morton and Antoine Busnois, singers and composers to the Burgundian dukes, have been variously credited with the first polyphonic setting of the tune. In fact, the song engendered a vast family of compositions -- some 40 masses over the late fifteenth and early sixteenth centuries. While Johannes Ockeghem may have been the first to complete a cycle of five Mass ordinary movements based upon the L'homme armé chanson, Busnois' Missa L'homme armé proved seminal to the tradition.

The coeval Missa L'homme armé of Guillaume Dufay appears to quote music from Busnois, and thus likely dates from the last decade of Dufay's life. As in all four of Dufay's late cantus firmus masses, the central organizational device is a pre-existent melody in the tenor voice, stated at least once in each of the five Mass movements. Unlike the Missa Se la face ay pale, however (and unlike the more overt cantus firmus statements in Busnois and Ockeghem's L'homme armé masses), Dufay twists and disguises the chanson melody, altering it, ornamenting it, and subjecting it to a dazzling array of compositional permutations.

- Dufay apportions the tripartite structure of the L'homme armé melody across the three sections of the Kyrie, with tenor cantus firmus entries sneaking in from adjacent bass notes, hiding among melodic similarities permeating other voices, and elaborated with a "tag" in Kyrie I and a diminution of the melody appended to Kyrie II.
- The entire melody appears twice in the Gloria, once with melodic ornamentation and shuffled rhythmic values, and a second time with further rhythmic alteration. The opening duo of this movement (and that of the following Credo) uses the motto opening first heard in the Kyrie, lending some audible support to the cyclic structure.
- The Credo movement follows a similar pattern to the Gloria: opening with a tremendously long duo, continuing with a structure containing an identical cantus firmus statement, and climaxing in a rhythmically intense third statement in diminution and a long free-composed "tag."
- Sanctus presents fragments of the tenor melody only at first, but then a complete statement without any alteration in the second Osanna.
- The most celebrated compositional fancy in this setting occurs in the third Agnus Dei movement, Dufay's famous "crab canon" [see 42:23 in this video]. The tenor voice is given the familiar L'homme armé tune, with a Latin inscription "Cancer eat plenus sed redeat medius," translated "The Crab goes out full but comes back half." Part of the solution to this witty instruction involves rhythmic diminution: the "coming back," or second statement of the melody, should halve all rhythmic values. But the crustacean invocation indicates a further complexity: retrograde motion the first time, as the crab "goes out" walking backwards. Dufay's clever gambit certainly sparked a tradition of competition and compositional challenge in the nascent family of L'homme armé mass settings.

The first sheet in this video shows the Anonymous "L'Homme Armé" tune, upon which Dufay's Mass is based.
Nicholas Bachmann : who's here studying for the exam?
Tfrne : Diving into and beginning to truly love a piece of early music feels like starting to understand a foreign language
José Lopes : Guillaume Dufay was born around 1400. He learned music as a boy in the choir in the cathedral of Cambrai, having entered the service of Malatesta, lord of Rimini from 1419 to 1426. He was ‘chambre’ in the pontifical chapel of Rome, Florence and Bologna. He settled in Cambrai making numerous trips to the courts of Burgundy and Savoy,etc. It exerted great influence in much of Europe music. Man of great culture manages to assimilate French, English and Italian music and techniques. He created the perfect model of the polyphonic mass built on a Cantus Firmus model that remained as a base until the 16th century. He was actually the greatest musician of the first half of sec.XV is also the biggest in the history of music until then.
He composed nine masses, 35 fragments of masses, 5 Magnificat, 80 motets, 75 French songs,etc. He died in Cambrai on the 27th of November 1474. He was one of the most important composers in the progression of the music from the Renaissance to the Baroque period.
The choral performance is magnificent and invites us to a deep reflection on various liturgical themes. Dufay was an amazing composer, owning to him much of the development that after took place.
The choir and direction are fabulous. Thanks for this magnificent recording.
Nathaniel Ouzana : Oh, just a few weeks ago I learned about this mass in music history classes. It's really nice :)
Daniel Gil : What an awesome and inspiring composer.




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