One of those very rare occasions that I sing and play the piano. The boys are so good and such great sports - somebody in the audience requested this song, and I was in a somewhat confident mood, so we obliged.
We hadn't even rehearsed this.
Miss you so much Rohnie Tan Violinist 💜. We must do something together again when you return.
#Rozz
#Music
#Live
#Singer
#Vocalist
#Jazz
#Soul
#DragPerformer
#BeYou
#BeTrue
#BeProud
#NoFear
#PRIDE
#LGBT
#LoveIsLove
#LoveYourself
#BornThisWay
#PurposeBeforeFame
#ServiceBeforeCelebrity
#PhotoOfTheDay
#InstaGood
#IGers
#PicOfTheDay
#Swag
#LifeIsGood
#InstaPic
#InstaDaily
#Selfie
#InstaMood
#BestOfTheDay
同時也有11部Youtube影片,追蹤數超過2萬的網紅Rachell Tan,也在其Youtube影片中提到,The Dyson Corrale is an amazing hair straightener! But is it easy enough for my husband to style my hair for me? I’ve never loved a hair styling tool...
「much obliged」的推薦目錄:
- 關於much obliged 在 Facebook 的最讚貼文
- 關於much obliged 在 Fan-Chiang Yi 范姜毅 Facebook 的最佳解答
- 關於much obliged 在 Leica Camera Facebook 的最佳解答
- 關於much obliged 在 Rachell Tan Youtube 的最佳解答
- 關於much obliged 在 umino ASMR Youtube 的最佳解答
- 關於much obliged 在 竹渕慶 / Kei Takebuchi Youtube 的最佳貼文
- 關於much obliged 在 "Much obliged" — Old-fashioned? Polite? Pedantic? - English ... 的評價
- 關於much obliged 在 DIOP - @kreativelicense much obliged | Facebook 的評價
much obliged 在 Fan-Chiang Yi 范姜毅 Facebook 的最佳解答
🎹鋼琴的大千世界/名家名言:「為何稱我為大師?主人在這裡(指著鋼琴),我只是他的奴才。」
— 李斯特著名的弟子,德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾,演奏李斯特的第十號匈牙利狂想曲:
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾(Alfred Reisenauer)在美國進行數月的巡迴演出,並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版,隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:(見譜例圖四)
Chopin’s next thought was, no doubt:(見譜例圖五)
But with his unerring good taste and sense of symmetry he writes it so:(見譜例圖六)
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:(見譜例圖七)
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
much obliged 在 Leica Camera Facebook 的最佳解答
40 years of LOBA:
1996 – Larry Towell
The images seem to belong to another era: when Canadien photographer Larry Towell made his series about a group of Mennonites, they were living pretty much cut off from the rest of society. In the early nineties, thousands of Mennonites lived in Mexico; however, the tough challenges of the economy there obliged many of the men to head back to the USA and Canada as seasonal workers. Towell won the Leica Oskar Barnack Award in 1996 with his intense black and white series. Read the full series: https://bit.ly/2Z20qM0
#LeicaCameraUSA
much obliged 在 Rachell Tan Youtube 的最佳解答
The Dyson Corrale is an amazing hair straightener!
But is it easy enough for my husband to style my hair for me?
I’ve never loved a hair styling tool as much as the #DysonCorrale before (Sean loves it too) ?
Its design and flexing plates makes it extremely easy to create lasting styles, and I really can’t believe I finally can nail curling my hair with a straightener ? after many years of failing with previous straighteners I’ve owned ?
Plus I like how smoothly it glides down the hair without tugging, & the lowest heat setting is sufficient for styling, so it’s a lot less damaging to our hair!??
Did I also mention you can use it cord-free??
Shop now:
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much obliged 在 umino ASMR Youtube 的最佳解答
Hello, I am umino.Thank you for watching this video.This description uses Google Translate.
People who don't understand Japanese can't understand what I'm talking about in this video. So I will explain it in the summary column.
日本語が分からない人はこの動画で私が喋っていることが全く理解できないと思う。なので概要欄の方で説明をします。
It looks hot in my fleece, but I shot it in winter. When I was wondering what to post, I found this video in my stock. I decided to publish this video because the sound was strong and it sounded nice.
フリースを着てて暑そうだけど、撮影したのは冬だよ。何を投稿しようか悩んでた所、ストックの中からこの動画を発見した。音が強くていい風に聴こえたのでこの動画を公開することに決めた。
I often don't hear good sound right after shooting, but sometimes it sounds good after a while. This is what I call ASMR knowledge. I can't make such discoveries without listening to it when some time has passed. There are too many files and it's a hassle to check everything. Whenever I don't hear a good sound, it never goes out of my life. I don't post too many videos, so I'm worried about having too much stock.
撮影直後はあまりいい音に聴こえないことがよくあるんだけど、少し時間が経つといい音に聴こえることもあるんだ。これを私はASMRの心得と呼んでいる。少し時間が経った時に聴かないとこういう発見はできないんだけどね。ファイルがありすぎて全部を確認するのが面倒なんだ。いつまで経ってもいい音に聴こえない時は一生世に出ることはないんだ。あまり動画を投稿しないのでストックが貯まり過ぎることが悩みです。
There isn't much demand for posting ASMR videos every day. When I started posting videos, I posted them every day, but nobody saw them. that's sad. At that time, people who knew me wouldn't watch my video anymore. that's sad. I'm sad when my old friend was married before I knew it. No, maybe not. Even if a friend gets married, it doesn't matter to my life. Perhaps the saddest thing is what I'm saying. It's a good idea to write in your comments the sad things that everyone has done recently. Let's all comfort each other watching the video.
ASMR動画の毎日投稿ってあまり需要ないよね。私も動画投稿を始めた当初は毎日投稿してたんだけど、誰も見てなかったよ。悲しいね。その頃、私を知ってた人は今はもう私の動画を見てないんじゃないかな。悲しいね。昔の友人がいつの間にか結婚してた時くらい悲しいね。いや、そうでもないかな。友人が結婚しようと自分の人生に変わりはないからね。もしかして一番悲しいのは自分が言っていることなのかもしれない。みんなも最近あった悲しいことをコメントに書くといいよ。動画を見てるみんなで慰め合おうじゃないか。
Now that YouTuber is saturated, it seems that the material for video is already exhausted. I don't know much about YouTuber overseas, but what about the actual situation? In Japan...not to mention...
YouTuberというものが飽和してる今、動画のネタは既に枯渇してるのではないか、という話もしたよ。海外のYouTuberのことはよく知らないんだけど、実際どうなんだろう。日本では…言うまでもないか…。
Isn't it hard to chase someone's video every day? Time is all given equally and you have to use that time to watch the video. Some people may be doing something while watching the video in parallel. I think some people feel obliged to watch videos. Many YouTuber videos are long, and it's hard to see.
毎日誰かの動画を追っかけるのって大変じゃない?時間はみんな平等に与えられるものであって、その時間を切り詰めて動画を見なければならない。何かをしながら動画を見たり、動画を見ることが義務になってる人もいるんじゃないか?YouTuberの動画は長いものも多いし、見る方も大変そうだ。
It's amazing to continue every day. I forget even eating yogurt every day. I could only take the medicine I should take three times a day, twice. You may have experienced such a thing. With it. There is a saying in Japan that continuity is power. It's important to keep going. I poop every day. That is, bowel movements are good. It proves that the intestinal environment supports my daily life. But my sleep is light. Please write in your comments that everyone is continuing every day. Don't write poo. That is because I have already said.
毎日継続することって凄いよね。私は毎日ヨーグルトを食べることすら忘れる。1日に3回飲まないといけない薬を2回しか飲めなかった…そんなこと経験したことがあるだろう。それと一緒だ。日本には継続は力なりという名言がある。どんなことでも継続することが重要なのだ。私は毎日ウンコをしてる。それすなわち快便ということである。腸内環境が私の日々の生活を支えているということを証明してる。だが眠りは浅い。みんなも毎日継続していることをコメントに書いてほしい。ウンコはダメだ。それはもう私が言ったからである。
Good night.
おやすみの。
イヤホンまたはヘッドホンをつけてお楽しみください。もし動画が良かったら高評価を押していただけると励みになります。
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Copyright © 2017 UMINO ASMR All Rights Reserved.

much obliged 在 竹渕慶 / Kei Takebuchi Youtube 的最佳貼文
【この動画は、3/20〜21に配信した24時間生配信のアーカイブ(前半)です!
This is an archive of the 24hours livestream we did in March.】
みなさん、お元気ですか?
世界中のあらゆる国で外出自粛やロックダウンが行われ、日本も先日7つの都市への緊急事態宣言が発表されましたね。
この24時間生配信の日からもさらにたくさんの感染者が増え、たくさんの方が亡くなり、家にいることを余儀なくされた、または家にいる選択をする人が増えたと思います。
この24時間生配信のアーカイブについて、とても楽しかったし有意義な時間だったのは大前提として、途中ミスもあり完璧な出来ではありませんでした。なのでとても悩んだのですが、この日々刻々と変わる状況を受けて、アーカイブ全編を公開することは今私達にできることのうちのひとつなのではないかと思い、公開することにしました。
この動画が家に留まるひとつの理由になったり、この状況でも外に出て働いてくれている方々を励ますことができたり、いろいろなことを我慢している中での皆さんのストレスを少しでも和らげることができたらいいなと思っています。
楽しかった!って人、何が叫びたい思いがある人、頑張ろうぜ!って人、コメント欄にコメントしてってね!
そしてこの長い動画に字幕をつけてくれるという強靭な精神をお持ちの方はいらっしゃいませんでしょうか…!
いらっしゃいましたらぜひ、こちらのリンクから…お願いします!
https://www.youtube.com/timedtext_cs_panel?c=UCCIq0QBbH3UeWER_fLBbj2w&tab=2
Due to the spread of the virus, most of us are obliged or choosing to stay home, regardless of where you live. The Japanese government finally declared a state of emergency which will continue for a month starting from today, on 7 cities including Tokyo.
Things are changing and will continue to change day by day, and given this situation, we thought that to share the archive of the 24 hours livestream may be one thing that we can do.
We'd be happy if this video becomes one reason for someone to stay at home, encourages people who go to work for us outside today, and ease the tension under this circumstance.
Thank you as always, and please stay safe and healthy.
If you enjoyed this video, or want to shout your feelings out loud, leave a comment below!!
#卒業 #春ソング
オンラインコミュニティーPATREON ▶︎ https://www.patreon.com/KeiTakebuchiYAMO
【Stream and Download my songs!!】
IN THIS BLANKET ▶︎ https://linkco.re/y4z3tt5V
TORCH ▶︎ https://linkco.re/vYHNVsFs
LOVE ▶︎ https://linkco.re/0Ftr3g1N
Or download for free ▶︎ https://www.dropbox.com/sh/z7b0yxh8kwk78ws/AAABtRgVbMwtE1dbLjLRZyjEa?dl=0
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【竹渕慶 Kei Takebuchi】FOLLOW ME ON
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【YAMO】 (クリエイティブパートナー/Creative Partner)
この生配信は、配信クルーや音響業者を入れずに、友人宅から、自分たちだけで行っています。大規模な人数で集まらなくても発信できるエンタメがあり、つながれる場を作れると証明したかったからです。観ていた皆さまと、それ以上のことを証明できた気がします。Spread love.
This live stream was conducted all DIY by us and some friends. I wanted to prove that even through this isolated time, entertainment can be created, sent out, and bond us. I'm pretty sure we proved much more than that. Spread love.
Twitter ▶︎ https://twitter.com/YAMO_wbsb
Instagram ▶︎ https://www.instagram.com/yamo_wabisabi/
【Other Recommended Videos】
ASMR ▶︎ https://youtu.be/rJe4ebh2AFc
Torch ▶︎ https://youtu.be/y9ltZL5osBI
In This Blanket ▶︎ https://youtu.be/s9MXv28fJsY
「天気の子」Mash Up ▶︎https://youtu.be/ZcT2UOmcwIo

much obliged 在 DIOP - @kreativelicense much obliged | Facebook 的推薦與評價
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much obliged 在 "Much obliged" — Old-fashioned? Polite? Pedantic? - English ... 的推薦與評價
"Much Obliged" is an acknowledgement that the recipient of the kindness or courtesy is now obligated to return the favor, or pass it along to a ... ... <看更多>
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