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In Iceland, Thomas Stankiewicz contemplates the constant flux of the elements. A composer & musician in his own right, he selectively weaves in between soundtracks, classical music, and evocative ambient sounds, symphonically unveiling untold stories from past and future… @tommmasi
There's an old Brian Eno quote that is inevitably referenced when talking about the Velvet Underground - something along the lines of "They only sold 30,000 copies of their first album, but everyone who bought the album started a band". It's slightly inaccurate (they sold a lot more copies), but the message is clear: few bands have had such an outsized, potent, and wide reaching effect on the musicians that followed in their footsteps. Their stubborn desire to continually approach songwriting from the left field, and continuous sonic reinvention reverberated for decades, influencing punk, post-punk, art rock, ambient music, even notably influencing real political revolution in Czechoslovakia. Two hours of The Velvets' best, selected and mixed by Claire Rousay.
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Gong Yi (龔一), born 1941, is a guqin master from Shanghai, presently one of the instrument's leading figures. Born in Nanjing, he trained first under several local players (incl. Liu Shaochun and Xia Yifeng) before proceeding to the Shanghai Conservatory where he absorbed a range of styles from such prominent masters as Zhang Ziqian, Xu Lisun, Gu Meigeng, and Wei Zhongle. Gong Yi has had, since the 1950s, a varied career performing, teaching, composing, and researching under the auspices of several institutions and ensembles, most notably the Shanghai Chinese Orchestra of which he was director and sole guqin player. In guqin circles he is particularly noted for his efforts toward integration of the instrument into the conservatory mainstream.
Gong Yi (龔一), born 1941, is a guqin master from Shanghai, presently one of the instrument's leading figures. Born in Nanjing, he trained first under several local players (incl. Liu Shaochun and Xia Yifeng) before proceeding to the Shanghai Conservatory where he absorbed a range of styles from such prominent masters as Zhang Ziqian, Xu Lisun, Gu Meigeng, and Wei Zhongle. Gong Yi has had, since the 1950s, a varied career performing, teaching, composing, and researching under the auspices of several institutions and ensembles, most notably the Shanghai Chinese Orchestra of which he was director and sole guqin player. In guqin circles he is particularly noted for his efforts toward integration of the instrument into the conservatory mainstream.
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