_intervalos-musicais-na-prtica-124-identificando-os-intervalos-no-brao-do-instrumento-124-aula-preview-1.jpg "Intervalos Musicais na Prática | Identificando os intervalos no braço do instrumento | Aula from intervalo a arte de cozinhar 02 01 1993 tv parte 1 Video Screenshot Preview 1")
Gallery_intervalos-musicais-na-prtica-124-identificando-os-intervalos-no-brao-do-instrumento-124-aula-preview-3.jpg "Intervalos Musicais na Prática | Identificando os intervalos no braço do instrumento | Aula from intervalo a arte de cozinhar 02 01 1993 tv parte 1 Video Screenshot Preview 3")
Gallery_intervalos-musicais-na-prtica-124-identificando-os-intervalos-no-brao-do-instrumento-124-aula-preview-hqdefault.jpg "Intervalos Musicais na Prática | Identificando os intervalos no braço do instrumento | Aula from intervalo a arte de cozinhar 02 01 1993 tv parte 1 Video Screenshot Preview hqdefault")
GalleryPlay Video:
(Note: The default playback of the video is HD VERSION. If your browser is buffering the video slowly, please play the REGULAR MP4 VERSION or Open The Video below for better experience. Thank you!)
Jump To Video Parts
⏲ Duration: 20 minutes 28 seconds
👁 View: 29.7K times
Play Audio:👁 View: 29.7K times
Description:
Marcos Lima Violão
Marcos Lima Violão
Share with your friends:
Whatsapp | Viber | Telegram | Line | SMS
Email | Twitter | Reddit | Tumblr | Pinterest
Related Videos
_intervalo-musical-tudo-sobre-a-teoria-dos-intervalos-musicais.webp "Felipe Scagliusi")
_o-que-so-os-intervalos-musicais-e-como-reconhec-los.webp "Posso Tocar com Daiany Dezembro")
_kapwani-kiwanga-trinket-92-canadian-pavilion-at-venice-art-biennale-2024.webp "Kapwani Kiwanga: Trinket / Canadian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia. Venice (Italy), April 19, 2024.<br/><br/>Official description: Kapwani Kiwanga is a multi-disciplinary artist concerned with forms of power: their suppressed histories and quotidian effects. The artist transforms the Canada Pavilion by way of a site- specific sculptural installation on the building’s interior and exterior, turning it into a large-scale tableau. Shapes shift, dissolving distinctions between inside and outside. As one moves through the coil-like architecture, it unfolds, multiplying perspectives. The installation principally consists of conterie (seed beads), historically employed as both currency and items of exchange. Conterie were dispersed globally from the Venetian island of Murano and incorporated into various material cultures. Kiwanga uses these tiny glass units to construct the monumental out of the minute, each bead acting as a witness to past transactions that changed the socioeconomic landscape of the sixteenth century and beyond. The work addresses the often-destructive history of commerce and how the trade of these beads shaped the world. Other materials related to the trade of conterie are also included. They rise from the pavilion’s floor onto the walls and spill out into the courtyard. As they meet the beads, they formalise a place of exchange, prompting reflection on issues of value, aesthetics, and global economic relations.")
_o-que-diminuta-aumentada-justa-entenda-os-intervalos-musicais-graus.webp "Descomplicando a Música")
⏲ 23 minutes 27 seconds 👁 402.9K
_nigrum-theatrum-footage-from-the-depths-no-3.webp "https://facebook.nigrum-culina.de<br/>https://instagram.nigrum-culina.de<br/>https://youtube.nigrum-culina.de<br/>https://nigrum-culina.de")
_intervalos-na-prtica-guitarra-e-violo.webp "joseph abrahão")
_acordes-abertos-como-fazer-seus-acordes-bsicos-soarem-muito-mais-bonitos-no-violo.webp "Marcos Lima Violão")
⏲ 25 minutes 2 seconds 👁 85.4K
_open-group-repeat-after-me-ii-92-polish-pavilion-at-venice-art-biennale-2024.webp "Open Group (Yuriy Biley, Pavlo Kovach, Anton Varga): Repeat after Me II / Polish Pavilion at Venice Art Biennale 2024. Venice (Italy), April 19, 2024.<br/>Official description: Repeat after Me II is a collective portrait of witnesses of the war in Ukraine. The protagonists of two films from 2022 and 2024 are civilian war refugees who speak of the war as recalled through the sounds of firearms, and then invite the audience to repeat after them. The artists use a karaoke format. The accompaniment here is not hit tunes: it is shots, missiles, howling, and explosions—and the lyrics are descriptions of deadly weapons. This is the soundtrack of a war that the witnesses try to recreate. The ability to recognise these sounds can save their lives, and we are invited to learn the language of their experiences. The audience can repeat the sounds of the weapons or withdraw into the safe space designed to resemble a karaoke bar. Yet this is no ordinary bar, like the ones we know: it is an instructional karaoke venue forecasting an even more militarised future. This spectre will remain with us for so long as nationalist imperialist policies will be accepted as part of a diplomatic compromise.")
_intervalo-musical-tudo-sobre-a-teoria-dos-intervalos-musicais.jpg)
_o-que-so-os-intervalos-musicais-e-como-reconhec-los.jpg)
_kapwani-kiwanga-trinket-92-canadian-pavilion-at-venice-art-biennale-2024.jpg)
_o-que-diminuta-aumentada-justa-entenda-os-intervalos-musicais-graus.jpg)
_nigrum-theatrum-footage-from-the-depths-no-3.jpg)
_intervalos-na-prtica-guitarra-e-violo.jpg)
_acordes-abertos-como-fazer-seus-acordes-bsicos-soarem-muito-mais-bonitos-no-violo.jpg)
_open-group-repeat-after-me-ii-92-polish-pavilion-at-venice-art-biennale-2024.jpg)
![[+]](/images/menu.gif){kind=small}