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Catalogue d'oiseaux ("Catalogue of birds") is a work for piano solo by Olivier Messiaen consisting of thirteen pieces, written between October 1956 and September 1958. It is devoted to birds and dedicated to his second wife Yvonne Loriod .
Musicologists such as Matthew Head and Suzannah Clark believe that birdsong has had a large though admittedly unquantifiable influence on the development of music. [2] [3] Birdsong has influenced composers in several ways: they can be inspired by birdsong; [4] they can intentionally imitate bird song in a composition; [4] they can incorporate recordings of birds into their works; [5] or they ...
The birds surrounded him, intrigued by the power of his voice, and not one of them flew away. [1] The key of the piece is A major , often associated by Liszt with religious sentiment. [ 2 ] The piece contains representations of birdsong, one of the few examples in Liszt's works of onomatopaeia .
Some birds will respond to a shared song type with a song-type match (i.e. with the same song type). [24] This may be an aggressive signal; however, results are mixed. [23] Birds may also interact using repertoire-matches, wherein a bird responds with a song type that is in its rival's repertoire but is not the song that it is currently singing ...
Darren Hayman - bass guitar, piano, electric guitar, Wurlitzer piano, fake strings, backing vocals; Antony Harding - acoustic guitars, electric guitar, drums, conga drums, percussion, vocals, bass, harmonica, mandolin, piano; James Milne - bass guitar (01) (05) Jack Hayter - pedal steel, viola (09) Suzanne Rhatigan - Wurlitzer piano, backing ...
"The Birds of St. Marks" is a song by Jackson Browne. It was originally written in 1967 when he was 18 and returning home to California after a brief stint living in New York where he was recording with Nico. The song was recorded as a demo for Criterion in 1970.
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Forsha reported that Henske learned the song from Wheeler, although Wheeler did not release his own version until 1967, on his album Paper Birds. [3] Forsha said of Henske's version: "the song could be called folk-rock although that wasn't our intent. We took a country-folk song, head-arranged it, and gave it to a jazz combo."