بیوگرافی صنم پاشا


صنم پاشا 25 تیر سال 1357 در تهران متولد شد.خانواده‌ی صنم همه به موسیقی علاقه‌ی زیادی داشتند؛ مادرش تارو سه تار ‌می‌زد وپدرش نوازنده‌ی سنتوربود. مادرِ صنم علاوه بر تار و سه تار آواز سنتی هم کار می‌کرد و برادر بزرگترش نیز پیانو کلاسیک می‌نواخت. صنم از همان دوران کودکی به صورت ناخوداگاه از طریق مادرش ـ زهره نیازمند ـ با ردیف آشنا شد و از 7 سالگی نواختن پیانو کلاسیک را شروع کرد و چون علاقه‌ی زیادی به پیانو داشت، در کنار آن آواز کلاسیک و سلفژ را هم فراگرفت. با گذشت زمان، صنم پاشا از مادرش که از بانوان آواز سنتی ایران هستند، آواز سنتی را به طور کامل یاد گرفت.

 آشنا شدن صنم با یک دوست که بیسیست بود، سبب شد تا به سبک راک علاقه‌مند شود. راک کار کردن را شروع و آنها با هم، هم نوازی می‌کردند.صنم با توجه به علاقه‌ا‌ی که به سبک کلاسیک داشت، تغییرات مدرنی که در سبک‌های گاتیک و دووم بود را جذاب می‌دانست و این دو سبک را با محیط امروزی هماهنگ می‌دید. وی دوره‌ی کوتاهی با یک معلم آلمانی به صورت تخصصی آواز راک و متال کار کرد که تاثیر زیادی در پیشرفتش داشت. صنم با گروه های مختلف راک و متال همکاری کرد. یکی از آنها، گروهِ 5جی آر اس می‌باشد که او وکال استودیو آلبوم های این بند است.

تاثیرِ زیاد سبک‌های سنتی،کلاسیک، راک ومتال بر صنم طوری بود که او همیشه دوست داشت کار تلفیقی انجام دهد و نمونه‌ی این کار تلفیقی او در موزیکی که برای فیلم سنگ باران ساخته بود، کاملا پیداست. اکثر گروه‌های موجود یا راک کار می‌کردند ویا سبک های دیگر و کمتر گروهی بود که کار تلفیقی انجام بدهد و علاقه ی صنم و به شکلی یکی از بزرگترین آرزوهایش این است که بتواند روزی کار تلفیقی از سبک‌های مورد علاقه‌اش انجام دهد. تلفیق به شکل درست.

گروه 5گرم یکی از کارهای متالی است که صنم به عنوان شاعر، وکال و نویسنده‌ی ملودی وکال‌های آن، شرکت داشته است. از فعالیت های دیگر او به نقاشی و تصویر سازی برای موزیک می‌توان نام برد.

او بعد از اینکه از دانشگاه برکلی  مدرک تخصصی آهنگسازی را اخذ کرد به دلیل معدل بالایش، آنلاین بورسیه شد و از این طریق مدرک تخصصی وکال را نیز از همین دانشگاه گرفت.
درحال حاضر صنم پاشا مربی آواز راک است.

 

بخشی از کارنامه‌ی کاری صنم پاشا:

 

شرکت در کنسرتهابه عنوان همخوان از سال 1383

برگزاری سمینار" سبکهای موسیقی بعد از جنگ جهانی دوم" و سخنرانی  در مورد سبکهای مختلف موسیقی

خواندن آوا در تئاتر و شرکت در جشنواره ها از جمله تئاتر فجر و جشنواره آیینها و سنتها

خواندن آوا  و نواختن پیانو در فیلمهای کوتاه و سینمایی از جمله " آرامش در میان مردگان"  به کارگردانی مهرداد فرید و "همیشه پای یک زن در میان است " به کارگردانی کمال تبریزی

خواندن آوا در برنامه تلوزیونی "ایستگاه"

 

آهنگسازی:

آهنگسازی برای تئاتر و شرکت در جشنوارههای تالار مولوی و دارای لوح تقدیر از خانه هنرمندان

آهنگسازی برای فیلم کوتاه "سنگباران " به کارگردانی سمیرا سینایی وشرکت در جشنواره فیلم کوتاه مجارستان

آهنگساری تیتراژ فیلم سینمایی " شبی در تهران" به کارگردانی مهرداد کاظمی

آهنگسازی برای فیلم کوتاه مستند " پدر بزرگ انیمیشن ایران " به کارگردانی طه غنیمی فرد

رتبه ی اول آهنگسازی در جشنواره مزمورMazmour از دیدگاه مخاطبین و مردم

 


Classic Rock

مطالب زیر توسط خانم مهسا پور بخش جمع آوری شده که برای درک بهتر موضوع چند قطعه هم برای دانلود گذاشته اند.



دانلود پروژه:


تاریخچه ی موسیقی راک


What makes classic rock classic



دانلود قطعه ها:


Bad Company - Bad Company - Can't Get Enough.mp3


Fleetwood Mac - I'm so Afraid


 Bad Company - Bad Company - Bad Company


Green Grass



Punk rock

مطلب زیر توسط آقای امیر وفایی جمع آوری شده است.




Punk rock bands often emulate the bare musical structures and arrangements of 1960s garage rock. Typical punk rock instrumentation includes one or two electric guitars, an electric bass, and a drum kit, along with vocals. Punk rock songs tend to be shorter than those of other popular genres—on the Ramones' debut album, for instance, half of the fourteen tracks are under two minutes long. Most early punk rock songs retained a traditional rock 'n' roll verse-chorus form and 4/4 time signature. However, punk rock bands in the movement's second wave and afterward have often broken from this format. In critic Steven Blush's description, "The Sex Pistols were still rock'n'roll...like the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It's its own form."
Punk rock vocals sometimes sound nasal, and lyrics are often shouted instead of sung in a conventional sense, particularly in hardcore styles. The vocal approach is characterized by a lack of variety; shifts in pitch, volume, or intonational style are relatively infrequent. Complicated guitar solos are considered self-indulgent and unnecessary, although basic guitar breaks are common. Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic sound described by Christgau as a "buzzsaw drone". Some punk rock bands take a surf rock approach with a lighter, twangier guitar tone. Others, such as Robert Quine, lead guitarist of The Voidoids, have employed a wild, "gonzo" attack, a style that stretches back through The Velvet Underground to the 1950s recordings of Ike Turner. Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive "forced rhythm", although some punk rock bass players—such as Mike Watt of The Minutemen and Firehose—emphasize more technical bass lines. Bassists often use a pick due to the rapid succession of notes, which makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared to other forms of rock, syncopation is much less the rule. Hardcore drumming tends to be especially fast. Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders or simple four-track portastudios. The typical objective is to have the recording sound unmanipulated and "real", reflecting the commitment and "authenticity" of a live performance. Punk recordings thus often have a lo-fi quality, with the sound left relatively unpolished in the mastering process; recordings may contain dialogue between band members, false starts, and background noise.

Punk rock lyrics are typically frank and confrontational; compared to the lyrics of other popular music genres, they frequently comment on social and political issues. Trend-setting songs such as The Clash's "Career Opportunities" and Chelsea's "Right to Work" deal with unemployment and the grim realities of urban life. Especially in early British punk, a central goal was to outrage and shock the mainstream. The Sex Pistols classics "Anarchy in the U.K." and "God Save the Queen" openly disparage the British political system and social mores. There is also a characteristic strain of anti-sentimental depictions of relationships and sex, exemplified by "Love Comes in Spurts", written by Richard Hell and recorded by him with The Voidoids. Anomie, variously expressed in the poetic terms of Hell's "Blank Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue", is a common theme. Identifying punk with such topics aligns with the view expressed by V. Vale, founder of San Francisco fanzine Search and Destroy: "Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture, right-wing imagery, sexual taboos, a delving into it that had never been done before by any generation in such a thorough way." However, many punk rock lyrics deal in more traditional rock 'n' roll themes of courtship, heartbreak, and hanging out; the approach ranges from the deadpan, aggressive simplicity of Ramones standards such as "I Wanna Be Your Boyfriend" to the more unambiguously sincere style of many later pop punk groups

source: wikipedia.

بهداشت حنجره ؛ تقویت حنجره و تنفس

مطلب زیر توسط آقای سید محمد موسوی تلاجیمی جمع آوری شده است که برای من به شخصه مفید واقع شد. برای دریافت فایل به لینک زیر مراجعه کنید.



بهداشت حنجره    ؛ تقویت حنجره    و تنفس


DELTA BLUES

مطلب زیر پروژه ی ترم خانم هاله هوشمند است.




The Delta blues is one of the earliest styles of blues music. It originated in the Mississippi Delta, a region of the United States that stretches from Memphis, Tennessee in the north to Vicksburg, Mississippi in the south, Helena, Arkansas in the west to the Yazoo River on the east. The Mississippi Delta area is famous both for its fertile soil and its poverty. Guitar, harmonica and cigar box guitar are the dominant instruments used, with slide guitar (usually on the steel guitar) being a hallmark of the style. The vocal styles range from introspective and soulful to passionate and fiery. Delta blues is also regarded as a regional variation of country blues.

 

Origin


Although Delta blues certainly existed in some form or another at the turn of the 20th century, it was first recorded in the late 1920s, when record companies realized the potential African American market in Race records. The earliest recordings were by the 'major' labels and consist mostly of one person singing and playing an instrument, though the use of a band was more common during live performances. Freddie Spruell is reckoned to be the first Delta blues artist to record, as he waxed "Milk Cow Blues" in Chicago in June 1926.[1] Some of these early recordings were made on 'field trips' to the South by record company talent scouts, but some Delta blues performers were invited to travel to northern cities to record. According to Dixon & Godrich [1981], Tommy Johnson and Ishman Bracey were recorded by Victor on that company's second field trip to Memphis, in 1928. Robert Wilkins was first recorded by Victor in Memphis in 1928, and Big Joe Williams and Garfield Akers also in Memphis (1929) by Brunswick/Vocalion.

Son House first recorded in Grafton, Wisconsin (1930) for Paramount. Charley Patton also recorded for Paramount in Grafton, in June 1929 (and again, at the same location in May 1930). In January and February 1934 Patton visited New York City for further recording sessions. Robert Johnson traveled to San Antonio (1936) and Dallas (1937) for his ARC, and only, sessions.

Subsequently, the early Delta blues (as well as other genres) were extensively recorded by John Lomax and his son Alan Lomax, who criss-crossed the Southern US recording music played and sung by ordinary people helping establish the canon of genres we know today as American folk music. Their recordings number in the thousands, and now reside in the Smithsonian Institution. According to Dixon & Godrich (1981) and Leadbitter and Slaven (1968), Alan Lomax and the Library of Congress researchers did not record any Delta bluesmen (or women) prior to 1941, when he recorded Son House and Willie Brown near Lake Cormorant, Mississippi, and Muddy Waters at Stovall, Mississippi; however, this claim is disputed as John and Alan Lomax did record Bukka White in 1939, Lead Belly in 1933 and most likely others.

 

Style


Scholars in general disagree as to whether there is a substantial, musicological difference between blues that originated in this region and in other parts of the country. The defining characteristic of Delta blues is instrumentation and an emphasis on rhythm and "bottleneck" slide;[citation needed] the basic harmonic structure is not substantially different from that of blues performed elsewhere. "Delta blues" is also a style as much as a geographical appellation: Skip James and Elmore James, who were not born in the Delta, were considered Delta blues musicians. Performers travelled throughout the Mississippi Delta, Arkansas, Louisiana, Texas, and Tennessee. Eventually, Delta blues spread out across the country, giving rise to a host of regional variations, including Chicago and Detroit blues

.

Themes


The Mississippi State Penitentiary at Parchman Farm was an important influence on several blues musicians who were imprisoned there, and was referenced in songs such as Bukka White's 'Parchman Farm Blues' and the folk song 'Midnight Special'. Delta Bluesmen also typically sang songs in the first person about sexuality, the travelling lifestyle and the tribulations resulting from leading this lifestyle

.

Influence


Many Delta Blues artists moved to Detroit and Chicago such as Big Joe Williams creating a pop influenced city blues style, however, this was displaced by the new Chicago blues sound in the early 1950s pioneered by Delta Bluesmen, Muddy Waters, Howlin' Wolf and Little Walter, harking back to a more delta influenced, yet electrified sound. This Delta style blues folk music also inspired the creation of British Skiffle music, from which eventually came the persons and bands of the British Invasion, while simultaneously influencing British Blues which led to the birth of early hard rock and heavy metal.