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Kondo was given complete creative freedom over the soundtrack of Super Mario Bros., and would collaborate with Shigeru Miyamoto, the game's director, through their daily interactions. Miyamoto would share his records and music scores of the type of themes he liked with Kondo, but did not tell him exactly what he wanted. [6]
Sheet music, primarily vocal music of American imprint, dating from the 18th century to the present, with most titles in the period 1840–1950. John Hay Library at Brown University: ART SONG CENTRAL: downloadable, IPA transcriptions, vocal: 1,000 Printable sheet music primarily for singers and voice teachers—most downloadable.
Print/export Download as PDF; ... Pages in category "Mario (franchise) music" The following 11 pages are in this category, out of 11 total. ... Super Mario Bros. theme;
Koji Kondo (Japanese: 近藤 浩治, Hepburn: Kondō Kōji, born August 13, 1961) is a Japanese composer and senior executive at the video game company Nintendo.He is best known for his contributions for the Super Mario and The Legend of Zelda series, with his Super Mario Bros. theme being the first piece of music from a video game included in the American National Recording Registry.
The Union Underground is an American nu metal band based out of San Antonio, Texas. Original band members included Bryan Scott, Patrick Kennison , John Moyer and Josh Memolo. They released one major label album, ...An Education in Rebellion , in 2000 which featured the hit single " Turn Me On 'Mr. Deadman' " and Revolution Man.
Theme music & 9 episodes 1982 Marco Polo: Miniseries: 1983 The Scarlet and the Black: Television film: 1985 Via Mala: Miniseries: 1985-95 La Piovra: Theme music & 36 episodes 7 d'Or for Best Music. 1986 C.A.T. Squad: Television film: 1987 The Secret of the Sahara: Miniseries: The Betrothed: Theme music & 7 episodes 1988 Gli indifferenti ...
Original Underground Music from the Mysterious South is an album by American guitarist Norman Blake and the Rising Fawn String Ensemble, released in 1982. [ 2 ] Track listing
Sean Stangland of the Daily Herald described "Underground" as a "pop ballad that climaxes in a gospel celebration." [2] Similarly describing the song as "a joyous rave-up that starts out as synth-pop before transitioning to a gospel barnstormer", David Brusie of The A.V. Club noted that it had a similar production style to Bowie's 1983 Motown-influenced song "Modern Love".