To mark Global Accessibility Awareness Day 2021, Google, the sight loss charity RNIB and The Guardian newspaper have teamed up to create Auditorial, an immersive and highly accessible online storytelling experience showcasing how creativity and accessibility can work seamlessly together.
Pete Seeger: The Weavers, la caza de brujas contra la música folk | Cultura elpais.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from elpais.com Daily Mail and Mail on Sunday newspapers.
How birds and animals and have inspired and shaped classical music
How birds and animals and have inspired and shaped classical music Beasts and birds of all shapes and sizes have inspired composers in a remarkable variety of ways. Claire Jackson takes us on a zoological tour Published:
April 19, 2021 at 4:50 pm
‘The duck quacked and, in her excitement, jumped out of the pond,’ gasps David Bowie in his iconic narration of
Peter and the Wolf, recorded in 1977. ‘But no matter how hard she tried to run, she couldn’t escape.’ (Recent modernisations are more light-hearted: Alexander Armstrong and the London Mozart Players’ 2020 lockdown video sees the duck – a dog’s squeaky toy – enjoying a cocktail while reading
Insecta Dance Music: nuevo álbum de Jansky ultimahora.es - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from ultimahora.es Daily Mail and Mail on Sunday newspapers.
Robert Barry
, April 8th, 2021 09:01
The second Claire Rousay release in as many months feels like a revelation, for Robert Barry
Photo: Dani Toral
A snowdrift of long, languorous organ notes. Whistling tones, like swallows arcing through the sky. A rustle of foley. There’s crackling, crinkling – it’s hard to tell exactly what is going on, but there’s a sense of activity, things happening – real things, somewhere in a real place. A flicker of light. Then the whole edifice collapses suddenly, like the air has been sucked out. There’s a breath, the music takes a beat. Then into the clearing – and I mean that literally: picture a forest clearing, or like clearing a desk, just sweep all that clutter out the way – a voice rises up. “I’m trying not to miss you.” It’s Rousay’s ‘own’ voice – but rendered alien, synthesised into virtual life with the familiar stepped trill of autotune software spinning gothic melismas from that third syllable: “not”. A