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oral tradition, and each performer in a sense interprets the tradition but, more importantly, renews it and transforms it through personal performance.
Issues of tempo, phrasing, dynamics, and, in some types of music, pitches and instrumentation are subject to a performer’s discretion. How hard is it to read an ad that clearly states that this guy is ready, willing able to take your cock in my mouth and in my arse, no strings, no dramas and no fuss… You must be able to accommodate during the daytime on … Up for hugging, kissing, mutual cock n nupple sucking / licking, lots of intimacy and body c… I am a slim crossdresser, very submissive and willing. Dress to the full, wig,heels,lingerie adn false boobs I can travel only, will do just about anything to please. 21 yo, 6ft, 175lbs tattooed bottom here HONESTLY GUYS! Not really into anal, not bothered about your cock size.Because the pleasure people derive from sounds has always been closely related to the pleasure they derive from making the sounds themselves, it is difficult to conceive of the origin of music as separate from an act of musical performance.Models for the establishment of rhythm may be found in heartbeat and breathing, and in the inflections of speech and cries of grief, pleasure, and desire are found the source of what became song.Hang out with who you want to hang out with, do what you want to do, and don't feel obligated to do anything or see anyone you’re just not that into. And rather than mope about the ending of one chapter of my life or try to squeeze in as many dates as possible, I reveled in the new life I was creating for myself.
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Even in the most archaic cultures the singer had a special, defined position.
In early singing there are three classes of sound: the first is called logogenic, in which words form the basis for the wavering musical incantation; the second, called pathogenic, consists of harsh, forceful, percussive, nonverbal sounds emitted to express strong feeling; in the third category, called melogenic, the sounds of the two previous categories combine to form a contour of pitches that pursue a course seemingly dictated by the weight of tensions inherent in the sequence of pitches and hence melodic in effect.
Because composers for so many centuries were in a position to supervise the performances of their music, certain aspects of performance were not notated.
Notation has grown increasingly complex as the dissemination of printed music has become more widespread.
In the latter may be seen the origin of responsorial singing, which continues today and which may be the point of origin for several types of musical phrase structures.