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El Taller

El Taller was created on 2009 as a core group in the Latin American Popular Music Ensemble, made up of present and former graduate music performance majors, who have had intensive experience and learning the performance of Latin American popular music repertory either just before joining the pet rehab ensemble or via previous years of performing with the LAPME. The people in El Taller help new LAPME members, who may have recently joined up with the ensemble to grow their stylistic musical vocabulary, to learn the nuances of performing Latin American common music styles. El Taller members not just lead to the musical formation of new LAMPE members, however they are also seriously involved with selecting the repertory for the ensemble’s shows as well as recordings, creating plans designed for the ensemble’s instrumentation featuring specific members’ talents, and also conceiving the artistic directionof every project. Efraín Andrés Hoyos-Escobar is really a Colombian guitarist, graduating in 2005 from his Bachelor of Music in the Conservatory “Antonio Maria Valencia” within best friend mobility the city of Cali, Colombia. In 2006 he received a scholarship from the Guitar Department at the Jacobs School of Music in Indiana University to study using the Argentinian guitarist Maestro Ernesto Bitetti. He has worked as an Associate Instructor of Guitar in the Jacobs School of music from 2006-2011. And he has played with the Latin American Ensemble since 2006 and worked with the Latin American Music Center because 2010. Espen Jensen is a local of Norway, guitarist Espen Jensen is a recording artist presently living within the United states of america. As a solo along with a chamber musician, Mr. Jensen has provided performances throughout Europe and the United states of america. The Embassy of Spain has sponsored his solo appearances in several main US cities and he has been invited to give masterclasses and workshops www.dogwheelchairscenter.com at numerous institutions. Ryan Knudsen picked up his initial set of drumsticks whilst in 5th grade, and hasn’t stopped playing. Following performing and teaching all through his high school years, within the fall of 2006, Ryan was awarded a Gates Millennium Scholarship and began his college profession at the University of Kansas, Lawrence, KS. At KU, he studied solo marimba and orchestral percussion with Kevin Bobo, whilst performing locally in Lawrence, Kansas City and Wichita. Within the fall of 2007, Knudsen transferred to the prestigious Jacob’s School of Music at Indiana University, Bloomington, IN. There he continued his research below Kevin Bobo and John Tafoya, but rapidly made the move to studying drum set and globe percussion complete time with instructors Steve Houghton and Michael Spiro. Costa Rican mezzo-soprano Yuriria Rodriguez was a prize winner in the National Society of Arts and Letters voice competition, in Bloomington, Indiana. As a member of El Taller she had the chance to share the stage with prominent guest musicians as well as Jacobs School of Music faculty, like Grammy Award Winners Pablo Ziegler and Sylvia McNairamong many other people. Guido Sanchéz-Portuguez started his musical studies at the University of Costa Rica’s School of Music, where he wheelchairs for pets graduated with honors in 2001, under the guidance of Mario Solera. From 1995 to 2003, Guido was the first guitar of the Guitar Orchestra of Costa Rica, with which he has recorded 5 CDs and toured all over the world. Daniel Stein plays music from old to 21st Century and from Tango to Eastern European music. Mr. Stein has opened and recorded several pieces by American and Brazilian composers. Mr. Stein has appeared in festivals and toured the United States, Brazil, Argentina and Europe, possibilities by which he had the satisfaction of sharing the stage with numerous artists.

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.