Italian theater and opera has had a profound effect on Turkish culture in the past century. Like the terminology ofseamanship, the terminology of music and theater derived from Italian. In the argot of the improvisational theater of Istanbul the stage was called "sahano", backstage was referred to as "koyuntu", backdrops depicting countryside were "bosko", the appiause was "furi" and the songs sung between the acts and plays were called "kanto".
It was the Turks who early on discovered the power of military bands to excite fighters while encouraging their warrior spirit, and to maintain discipline in unity during marches in times of peace. While the roots of this tradition reach back to the Hun Empire, Turks used music on the military field in an active and functional way. In particular, the morale of the army was boosted by the incessant beating of the large drum, "kos" (a large kettle drum) and by playing inarches.
These new CDs are not being introduced as a simple addition to the consumer market, as they were produced with the consciousness that authentic Byzantine melody is not music intended for popular consumption, nor can it become an object of commercialization. On the contrary, Byzantine music belongs to the realm of transcendence. It is word [logos] in musical form, the word of revelation and disclosure of truth and the experience of the Church that is not related to the provocation of the senses, emotion, pleasure, or delight. The beauty, therefore, of Byzantine music does not have an aesthetic basis, but rather an ontological one, which imprints and defines this beauty in both an iconic and Eucharistic fashion in the Divine Services.
A capable purveyor of R&B, intimate ballads, or boogie-woogie piano who sang in a high, sweet voice with soul and chutzpah similar to that of Lula Reed, Lil Green or Julia Lee, Viviane Greene made a series of fine little recordings for five different labels in San Francisco and Los Angeles between late 1947 and July 1955. This compilation claims to contain all of her recorded works with the exception of her 1962 Finer Arts material. The most dazzling tracks are without question her instrumentals, for Viviane Greene was a classically trained pianist who developed her chops working steadily at nightclubs in San Francisco, Los Angeles, and Denver, Colorado. "The Unfinished Boogie," based upon Franz Schubert's Unfinished Symphony, is dynamite. "Jades of Greene" was named for the pianist's eldest daughter who was taken away by Lupus disease at the tender age of twelve. Claude Debussy's Clair de Lune appears to be the closest that this artist ever came (on record anyway) to realizing her dream of being a classical pianist. Most of the songs heard here are good time R&B entertainment or sultry love songs, some of which draw upon the standard jazz repertoire.
RPM is the indoor cycling workout where you ride to the rhythm of powerful music. Take on the terrain with your inspiring team coach who leads the pack through hills, flats, mountain peaks, time trials, and interval training. Discover your athlete within - sweat and burn to reach your endorphin high. Like all the LES MILLS programs, a new RPM class is released every three months with new music and choreography.