Kōdō (香道, "Way of Fragrance") is the art of appreciating Japanese incense, and involves using incense within a structure of codified conduct. Kōdō includes all aspects of the incense process, from the tools (香道具 kōdōgu), to activities such the incense-comparing games kumikō (組香) and genjikō (源氏香). Kōdō is counted as one of the three classical Japanese arts of refinement, along with kadō for flower arrangement, and chadō for tea and the tea ceremony.
The word 香 kō is written in the Chinese Kangxi radical 186 composed of nine strokes, which can also be expanded up to 18 strokes 馫. Translated it means "fragrance", however in this context may also be translated as "incense".
The word 道 dō means "way", both literally (street) and metaphorically (a stream of life experience). The suffix -道 generally denotes, in the broadest sense, the totality of a movement as endeavor, tradition, practice and ethos.
In the search for a suitable term, translations of such words into English sometimes focus on a narrower aspect of the original term. One common translation in context is "ceremony", which entails the process of preparation and smelling in general, but not a specific instance. In some instances, it functions similarly to the English suffix -ism, and as in the case of tea (chadō/sadō 茶道) one sees teaism in works dating from early efforts at illustrating sadō in English, focusing on its philosophy and ethos.
Năpradea (Hungarian: Náprád) is a commune located in Sălaj County, Romania. It is composed of five villages: Cheud (Köd), Năpradea, Someş-Guruslău (Nagygoroszló), Traniş (Kisgoroszló) and Vădurele (Szamosdebrecen).
Coordinates: 47°22′N 23°19′E / 47.367°N 23.317°E / 47.367; 23.317
Kruder & Dorfmeister, named after members Peter Kruder and Richard Dorfmeister, is an Austrian duo best known for their downtempo-dub remixes of pop, hip-hop and drum and bass songs.
In 1993 they released the 4-track EP G-Stoned featuring the hypnotic "High Noon" and a cover mimicking Simon & Garfunkel to critical acclaim especially from the UK. Gilles Peterson played the track at first on his famous now called Worldwide-show.
2010 saw the 16th anniversary of Kruder & Dorfmeister and their record label G-Stone Recordings which resulted in the release of the "Sixteen F**kin Years Of G-Stone Recordings“ compilation and the development of the "K&D Sessions Live“ show. The show included visuals by longtime G-Stone VJ collaborator Fritz Fitzke and MC performances by Earl Zinger and MC Ras T-Weed. With performances at The Big Chill, Berlin Festival and numerous other high profile festivals, the "K&D Sessions Live“ show became an instant success and a world tour ensued.
Wolfgang Amadeus Mozart's Piano Sonata No. 8 in A minor, K. 310/300d, was written in 1778 and consists of three movements:
A typical performance takes about 22 minutes.
The A minor sonata is the first of only two Mozart piano sonatas in a minor key (the other being No. 14 in C minor, K. 457). It was written in one of the most tragic times of his life: his mother had just died. The last movement in particular has an obsessive, haunted quality about it, heightened near the end by the interruption of the relentless drive to the conclusion by repeated and chilling quiet falling passages.
"Leck mir den Arsch fein recht schön sauber" ("Lick my ass right well and clean") is a canon for three voices in B-flat major, K. 233/382d, long thought to have been composed by Wolfgang Amadeus Mozart during 1782 in Vienna, but now thought to be the work of Wenzel Trnka.
In 1988, Wolfgang Plath presented evidence that the composer of this piece, as well as K. 234/382e, was in fact Wenzel Trnka (1739–1791). That Mozart might not be the author of K. 229, K. 230, K. 231, K. 233, K. 234 was already mentioned in the Bärenreiter Neue Mozart-Ausgabe (NMA) in 1974. The Trnka canon's original lyrics were "Tu sei gelosa, è vero," but Mozart set the canon to his own scatological lyrics. Mozart's widow Constanze Mozart submitted the modified canon to publisher Breitkopf & Härtel.
The rediscovered, probably original, text reads:
Shown in Bärenreiter's Neue Mozart Edition is the text as changed either by Johann Christoph Härtel (1763–1827) or by Christoph Gottlob Breitkopf (1750–1800) for the 1804 edition of the canons in Œvres Complettes by Breitkopf & Härtel.
Bardengesang auf Gibraltar: O Calpe! Dir donnert's am Fuße (K. Anh. 25 / 386d) is the title of a fragment for voice and piano composed by Wolfgang Amadeus Mozart in 1782. It was created to celebrate the British Royal Navy's successful relief of the besieged garrison of Gibraltar in October 1782, during the Great Siege of Gibraltar. A British fleet had evaded a joint Franco-Spanish force to deliver supplies and reinforcements to the garrison before returning home safely – an achievement that was widely lauded and soon forced France and Spain to give up the siege. Mozart's reaction to the British victory was to declare to his father that he considered himself an "arch-Englishman". This was an unusually political outburst from someone who was ordinarily very apolitical, perhaps reflecting antipathy towards the French. He was commissioned to set to music a "bardic song" (Bardengesang) by Michael Denis celebrating the British success but gave up after only completing three stanzas. In a letter to his father sent at the end of December 1782, he complained of the poet's "exaggerated and bombastic" style.
Are you breathing what I'm breathing
Are your wishes the same as mine
Are you needing what I'm needing
I'm waiting for a sign
My hands tremble, my heart aches
Is it you calling, is it you calling
If I'm alone in this I don't think I can face
The consequences of falling
(Consequences of falling)
Consequences of falling
(Consequences of falling)
Are you thinking what I'm thinking
Does your pulse quicken like mine
Are you dreaming what I'm dreaming
I can't read your mind
One step towards you, two steps back
It feels like I'm crawling, feels like I'm crawling
If I'm alone in this I don't think I can face
The consequences of falling
(Consequences of falling)
Consequences of falling
(Consequences of falling)
Consequences of falling
My hands tremble, my heart aches
Is it you calling, is it you calling
'Cos if I'm alone in this I don't think I can face
Consequences of falling
(Consequences of falling)
Consequences of falling
(Consequences of falling)
Consequences of falling
(Consequences of falling)