75 Results for : orally
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Cleansed , Hörbuch, Digital, ungekürzt, 92min
Is your colon really in need of cleansing? Coffee enemas and green smoothies, colonics and laxatives, and all the so-called "cleanses" that are out there today are meant to make you healthy, clean, and pure...but do they actually work? Can you really expel gallstones by drinking olive oil and citrus juice? Should you be consuming Epsom salt? No one seems to be asking if we should be doing these cleanses in the first place, though...until now. Author Joey Lott lays it all on the line with his latest book, Cleansed. He digs into the most popular cleanses today, sharing tales of his own experience, that of his clients, and the results of his extensive research on the subject. A better way than eight glasses a day What happens to your cells when you drink too much water? Shouldn't you be eating as much fiber as possible? Are you really burning fat with all that cardio? You may think that more is better when it comes to fiber, water, and exercise, but Cleansed will reveal the truth behind the hype being dished out today by leading health experts...including the eight glasses a day rule. Discover the healthy way to cleanse that doesn't involve excessive exercise, deprivation, pills, or magic. Work with your body's wisdom and be amazed by the results instead of jumping from cleanse to cleanse and only feeling worse. Coffee enema? Or, is coffee best taken orally? Did you know that a shot of espresso might be just as effective - and a heck of a lot more enjoyable - than a coffee enema? The author explains the science (and lack thereof) behind this and many other popular cleansing techniques. Get answers to your most burning questions, including what "mucoid plaque" is actually made of. A brief discussion of anatomy blows apart many of the dubious claims made by the marketers of these cleanses and gets listeners in touch with the wisdom of their own body. ungekürzt. Language: English. Narrator: Matt Stone. Audio sample: https://samples.audible.de/bk/acx0/046655/bk_acx0_046655_sample.mp3. Digital audiobook in aax.- Shop: Audible
- Price: 9.95 EUR excl. shipping
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Good Cascade Impactor Practices AIM and EDA for Orally Inhaled Products
Good Cascade Impactor Practices AIM and EDA for Orally Inhaled Products - Auflage 2013: ab 213.99 €- Shop: ebook.de
- Price: 213.99 EUR excl. shipping
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Good Cascade Impactor Practices AIM and EDA for Orally Inhaled Products
Good Cascade Impactor Practices AIM and EDA for Orally Inhaled Products: ab 192.49 €- Shop: ebook.de
- Price: 192.49 EUR excl. shipping
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Italian Serenade
The first recording of it's kind: an album of Neapolitan and Italian folk songs beautifully arranged for solo guitar. All tracks are solo recordings- this album contains no overdubbing. Liner notes: The history of the guitar in Italy is as long and deep as that of Spain. Many of the early masters of the guitar were Italian. The names of Carcassi, Carulli, Giuliani, de Ferranti, and Legnani form the short list of better-known early Italian guitarist/composers. A true testament to the guitar's Italian popularity, the great violin virtuoso Niccolo Paganini played and composed for the instrument and referred to it as his traveling companion. Unfortunately, the lives of these Italian guitarist/composers did not correspond with the time when the Neapolitan song was at it's peak of popularity, however, it is only natural that the great songs of the Italian and Neapolitan tradition should be embraced by the guitar tradition championed by the early Italian masters. The Spanish guitar master Francisco Tarrega recognized the beauty of the Neapolitan song and may have had a similar thought when he arranged "O Sole Mio" for solo guitar. This collection includes both Italian folk and Neapolitan music arranged for solo guitar. Unlike the present, the contents are from a time when there was not as much distinction between folk, popular, and art music. Folk music is created by ordinary people and passed through successive generations-usually orally. The hallmark of these songs is the combination of infectious rhythmic motives with simple but memorable melodies. Neapolitan music is often mistaken for folk music, however, it was music crafted by trained composers that combined aria or folk-like melodies, familiar rhythms, and subtle harmonies to create a masterful illusion of simplicity. As with the operatic aria, the lyrics were most often penned by a separate poet or librettist. While interesting, such distinctions ultimately become academic and are transcended by the music's charm. It is a testament to their success that these "composed" works have passed to and through the folk tradition to become some of the world's most popular songs. In fact, many of these songs were among the first-ever recorded. Enrico Caruso suggested no qualitative distinction between the opera aria and the Neapolitan song in recording and treated them as equally valid vehicles of expression. To many these songs conjure thoughts of life, love, loss, joy, longing, beauty, youth, and idealized settings. To others these songs simply summon one thought: Italy! As guitar solos they embrace the masterful illusion of simplicity that requires no lyrics to suggest these nostalgic images and sentiments. Andrew Winner Cincinnati, autumn 2008 Why did I choose to make an album of Italian music for my first recording? The goal for my first recording has been to create something both familiar and subtly unique. These beautiful and captivating melodies are renowned the world over but, admittedly, are sometimes trivialized by crass renditions. It's my hope that these arrangements shed new light on these memorable gems. I've endeavored to set these songs in such a way that sounds natural to the guitar- almost as if they were originally conceived as intimate guitar solos. I wanted to not only produce a quality recording, but I also sought to put my arranging, composition, and technical skills to work at the service of the music. As an example (and perhaps of interest to other guitarists), is my unique tremolo technique. It can be found on tracks no. 3 and 7 and in portions of tracks no. 15 and 17. On these tracks the intent is produce a natural effect reminiscent of the sound of an accompanied mandolin without burdening the listener with the unusual and technically challenging reality of the performer's task. It was out of necessity that I originally began arranging these songs. I played in an Italian restaurant and had difficulty finding quality arrangements that suited me. I have had a number of opportunities to perform some of these arrangements in concert and they hold-up well as concert works- particularly the Variation on a Neapolitan Theme. In an effort to further enrich the guitar repertoire, I plan to publish and make these arrangements available to other guitarists in the near future. Variations on a Neapolitan Theme Andrew Winner (1966) 1. Santa Lucia, 1850 anonymous, attr. Teodoro Cottrau (1827-1879) 2. Humoresque 3. Tremolo 4. Barcarolle 5. Bravado 6. Finale Caprice 7. Mattinata. 1904 Ruggiero Leoncavallo (1857-1919) 8. Ciribiribin, 1898 Alberto Pestalozza (1851-1934) 9. I'te Vurria Vasa, 1890 Eduardo di Capua (1865-1917) 10. Maria, Mari (Ah Marie), 1890 Eduardo di Capua (1865-1917) 11. Carmela, 1910 Ernesto de Curtis (1865-1937) 12. Donna Donna, 19th century anonymous, traditional 13. Vieni sul Mar, 19th century anonymous, traditional 14. Finiculi Funicula, 1880 Luigi Denza (1846-1922) 15. Torna a Sorrento, 1902 Ernesto de Curtis (1865-1937) 16. O Sole Mio, 1899 Eduardo di Capua (1865-1917) 17. Valse Tzigane (Fascination), 1904 Fermo Dante Marchetti (1876-1940) 18. Tra Veglia e Sonno, 1913 Luigi Canora (19th century) 19. Ciao Bella Ciao, circa 19th century anonymous, traditional.- Shop: odax
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Songs from Home: Art Songs & Folk Songs from the Philippines
Songs From Home: Art Songs and Folk Songs from the Philippines Philippine vocal music is as varied as the numerous islands that comprise it's archipelago. Though traditional folk songs are a rich confluence of the country's colonial and indigenous past, it remains distinct from it's various influences. Those featured in this album cover several provinces across the country's major regions (Luzon, Visayas, Mindanao), each detailing rural experiences that capture not only pastoral imagery but the Filipino traits of love, community, the penchant for humor and play. After several periods of powerful colonization, a movement against western musical traditions began to grow in the early 20th century. Composers pursued the restoration or re-creation of a musical identity that was truly Filipino, much of which was greatly based on themes and rhythms established by traditional folk music. The Philippine Art Song around such a time was born. Slow and sentimental, these art songs not only aimed to glorify the talents of local composers and lyricists, it actually celebrated the achievement of a unique Filipino musical identity. Such musical nationalism eventually carried on decades later with popular songs that catered to a wider audience, infiltrating various media like TV, film, and radio. With much pride, I present to you this collection of Philippine musical gems, each piece holding some significance close to my heart. It is my hope that what I hear and feel each time I sing these works will transport you similarly through a journey of my homeland, the Philippines. Joseph Legaspi Sitsiritsit Based on a childhood playground rhyme, nonsensical text and rhythmic onomatopoeia characterize this playful song. It humorously puts together charmingly peculiar scenes and images that include gold and green beetles, women parading around like roosters, babies being bartered for fish paste (bagoong) or a doll, rice flour cookies (puto seko), and even the Child Jesus (Sto. Niño) finds it's way into the song. Lagi Kitang Naaalala An earnest love song that deals with nostalgia and unrequited love, the persona in this piece continues to pine for the affections of his beloved. Written by Leopoldo Silos, Sr., one of the well-known purveyors of Original contemporary Filipino Music, this song exemplifies his abilities as a composer of ballads and romantic tunes. Solis was also known as a master arranger and singer, and was awarded for his musical direction of the television musical "Aawitan Kita" (I'll Sing For You). Pamulinawen This song originates from the Ilocos region, northern Philippines. Many often mistake this as a traditional folksong when it had actually been written during the turn of the century. This is perhaps due to the fact that it utilizes the customary pattern of likening an amour to the idyllic surroundings and it's rather simple depiction of unreciprocated love. In this case, the woman is likened to that of a stone, stoic to the wooing of a man's affections. Manang Biday A traditional Ilokano folksong, this piece refers to a woman named "Biday" (the title "Manang" used as a sign of respect in the Ilocos region and in several parts of the country). The man is asking Biday to look outside her window and listen to his plea. The piece is interestingly cast in two contrasting eight-measure periods (parts A and B), the entire text composed of eight nine-syllable lines. The first four lines (part A) refer to the lover's plea for attention, while the next four (part B) contain Manang Biday's rejection of him. No Dua Dua-em Pay A traditional folksong from the Ilocos Region, north of the Philippines, this popular piece tells of a lover's fervent plea for reciprocation from his beloved who is doubtful of his feelings for her. A unique character of the piece is it's use of the Cuban habanera rhythm. One of the outcomes of 300 years of Spanish colonization, this musical style is more locally known as a 'danza', evident in many of the folksongs during the era. Sarung Banggi This contemplative piece is one of the Bicol region's most popular songs. Written in 1912, it has been performed constantly across the archipelago, adapted into various mediums by numerous composers: piano (R. Santos), choral (L. D. San Pedro), solo voice with piano accompaniment (F. De Leon, C. de Guzman, E. Pajaro), rondalla ensemble (A. Buenaventura), and symphonic theme (F. Buencamino). Aside from it's elegant melody, the lyricism of it's words evokes certain sophistication as the persona beholds the presence of his amour. Si Nanay, Si Tatay Di Co Babayaan Akin to most kundimans, this piece is written in a minor key and is in slow ¾ time. These aspects reinforce the significance of the subject matter, which tackles the relationship between parent and child, admonishing the latter's gratitude and service in return for having been cared for since birth. This Bicolano song is composed of four phrases, each beginning with similar rhythmic patterns that are sung on the same note. Dandansoy A sentimental and melancholic theme pervades throughout this traditional Visayan folksong. Originating from middle region of the Philippine archipelago (Kulasi, Antique), the piece is set in a minor key and written in slow triple time similar to many kundimans. The song's persona bids a sad farewell to his lover, urging her to look toward the direction of his departure should she begin to miss him. Several versions shift to a major key in the middle section, intensifying the piece's emotion by casting hope in the persona's possible change of heart. Ahay, Tuburan Like many folksongs passed on orally through generations, it is possible that the piece would veer away from the original, it's lyrics the result of varying translations and interpretations. Though it finds it's origins in the Visayan region (Aklan), another version of this gem was heard in the Mindanao region (Cotobato). This particular version is based on a transcription of the song collected and recorded in 1956 in Aklan by Priscilla Magdamo, one of the pioneers in the field of Philippine ethnomusicology. The piece poignantly conveys the emotions felt during farewells, of having to yield personal happiness to more pressing matters. Damgo Man Lang Written in 1982, this song from the Bohol region deals with social realities that include injustice and deprivation, and the dream of eventually finding truth and rising above all that muddle it. Though it was primarily created as a love song, several revisions had resulted into a powerful commentary on Philippine society, it's themes remaining relevant to this day. The piece had won the grand prize during the 1983 Cebu Pop Music Festival, the original version sung by Arthur Ungab, one of Bohol region's celebrated voices in contemporary music. Usahay With it's unforgettable and dreamy melody, this popular love song was recorded with the composer as 'unknown." Popular recording artists Susan Fuentes, Dulce and Pilita Corrales were among those who recorded this Visayan melody. It has been recently discovered that the real composer was Col. Gregorio Labja, a largely unacknowledged but venerable and prolific composer from Tagum, Davao del Norte, of the Visayan region. This is the first time in this song's history that Labja is acknowledged publicly as the song's genuine composer. Originally composed for the male voice, as it was dedicated to a lady whom the composer courted, the first recording by Susan Fuentes omitted a stanza that would attribute to the male voice. Sukta ang Kabulakan A folksong from the Visayas region, found in central Philippines, this piece likens a fair maiden and her affections to blossoms in a garden, the metaphor characteristic of songs during the Spanish colonial era. This piece may very well be an example of the 'balitaw' musical form prevalent then, an exchange of love poetry between two singers. Usually sung in a quatrain or ballad stanza, the 'balitaw' can go on for some length either re- Shop: odax
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