{"id":1072,"date":"2005-02-20T10:44:00","date_gmt":"2005-02-20T09:44:00","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/o-theotokos-and-virgin-rejoice\/"},"modified":"2023-12-18T08:49:27","modified_gmt":"2023-12-18T07:49:27","slug":"o-theotokos-and-virgin-rejoice","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/o-theotokos-and-virgin-rejoice\/","title":{"rendered":"O Theotokos and Virgin Rejoice"},"content":{"rendered":"<p>Eines der sch\u00f6nsten St\u00fccke von Rachmaninov, \u00fcber Magnatune zu h\u00f6ren als <a href=\"http:\/\/magnatune.com\/artists\/music\/Classical%20After%201800\/Kyiv%20Chamber%20Choir\/Praise%20the%20Lord\/04-Rachmaninof-O%20Theotokos%20and%20Virgin%20Rejoice-Kyiv%20Chamber%20Choir.m3u\" target=\"_blank\" rel=\"noopener\">hi-fi<\/a> oder <a href=\"http:\/\/magnatune.com\/artists\/music\/Classical%20After%201800\/Kyiv%20Chamber%20Choir\/Praise%20the%20Lord\/04-Rachmaninof-O%20Theotokos%20and%20Virgin%20Rejoice-Kyiv%20Chamber%20Choir-lofi.m3u\" target=\"_blank\" rel=\"noopener\">lo-fi<\/a> (2:25 &#8211; mp3), gesungen vom Kyiv Chamber Choir. <\/p>\n<p>Zum Vergleich auch eine Aufnahme des Bayerischen Rundfunkchors als <a href=\"http:\/\/www.nmz.de\/nmz2\/mpeg\/2003\/64\/musik3.ram\" target=\"_blank\" rel=\"noopener\">Real-Audio<\/a> aus der Sendung <a href=\"http:\/\/www.nmz.de\/taktlos\/2003\/takt64.shtml\" target=\"_blank\" rel=\"noopener\">taktlos &#8211; Chormusik<\/a> (3:42 &#8211; Real-Audio).<\/p>\n<p>Da kann man auch mal sehen, was das Tempo in der Musik ausmacht und ebenfalls die Besetzungsst\u00e4rke. <\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=O%20Theotokos%20and%20Virgin%20Rejoice https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Fo-theotokos-and-virgin-rejoice%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Zum Vergleich auch eine Aufnahme des Bayerischen Rundfunkchors als Real-Audio aus der Sendung taktlos &#8211; Chormusik (3:42 &#8211; Real-Audio). Da kann man auch mal sehen, was das Tempo in der Musik ausmacht und [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=O%20Theotokos%20and%20Virgin%20Rejoice https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Fo-theotokos-and-virgin-rejoice%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" 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alt='' src='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=96&#038;d=blank&#038;r=g' srcset='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=192&#038;d=blank&#038;r=g 2x' class='avatar avatar-96 photo' height='96' width='96' loading='lazy' decoding='async'\/>"],"featured_video":null,"jetpack-related-posts":[{"id":469,"url":"https:\/\/www.kritische-masse.de\/logbuch\/taktlos-64-chormusik-die-adorno-legende\/","url_meta":{"origin":1072,"position":0},"title":"taktlos 64: chormusik &#8211; die adorno-legende","author":"huflaikhan","date":"6. Juni 2004","format":false,"excerpt":"Dummerweise ist mir ja einmal das Blog abhanden gekommen. Leider hats da auch Text verschmissen, auf die gelinkt worden ist. Diesen zum Beispiel: taktlos 64 \u0096 chormusik \u0096 martin hufner 4.4.2003 Musik: Eisler: Track 1 Anfang 0:00 bis 0:10 dann unter den Text blenden Sprecher: Die Chormusik in Deutschland hat\u2026","rel":"","context":"In &quot;die Musik&quot;","block_context":{"text":"die Musik","link":"https:\/\/www.kritische-masse.de\/logbuch\/thema\/angriffauf\/diemusik\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":515,"url":"https:\/\/www.kritische-masse.de\/logbuch\/taktlos-79-zukunftsmusik-ii-musikstudium-fuer-taxifahrer\/","url_meta":{"origin":1072,"position":1},"title":"taktlos # 79 &#8211; Zukunftsmusik II: Musikstudium f\u00fcr Taxifahrer?","author":"huflaikhan","date":"6. Juli 2004","format":false,"excerpt":"\u0084Reifepr\u00fcfung = Taxifahrer\u0093 so lautet ein gefl\u00fcgeltes Wort unter Musikhochschulstudierenden in Deutschland. Dahinter steht eine allgemeine Ratlosigkeit der Studierenden, bez\u00fcglich ihrer Perspektiven und der beruflichen Zukunft von Musikern und Musikp\u00e4dagogen. Bilden die Musikhochschulen tats\u00e4chlich blindlings aus, in einen vollkommen \u00fcberf\u00fcllten Arbeitsmarkt? Entsprechen die Studieng\u00e4nge den Anforderungen einer ver\u00e4nderten kulturellen Landschaft?\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1564,"url":"https:\/\/www.kritische-masse.de\/logbuch\/taktlos-94-vielfalt-statt-multikulti\/","url_meta":{"origin":1072,"position":2},"title":"taktlos # 94: Vielfalt statt Multikulti","author":"huflaikhan","date":"30. Dezember 2005","format":false,"excerpt":"Ein h\u00fcbscher Beitrag f\u00fcr taktlos aus dem letzten Jahr. Zum Nachh\u00f6ren als Real-Audio. \u00dcbelriechende Selbstbewusstseins-Tr\u00fcbungen soll ich gefunden haben. Musik: Smells like Teen Spirit (Bad Plus) (Von Anfang an, dann dr\u00fcber) Sprecher: \u0084Kultur vermittelt Heimat, Identit\u00e4t, das Wissen, wo man herkommt und wo man hingeh\u00f6rt. Kultur verleiht Selbstbewusstsein, das in\u2026","rel":"","context":"Mit 2 Kommentaren","block_context":{"text":"Mit 2 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/taktlos-94-vielfalt-statt-multikulti\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":546,"url":"https:\/\/www.kritische-masse.de\/logbuch\/tadeusz-sudnik-realtime-electronics-sampler\/","url_meta":{"origin":1072,"position":3},"title":"Tadeusz Sudnik (realtime electronics, sampler)","author":"huflaikhan","date":"14. Juli 2004","format":false,"excerpt":"Es scheint zu sein wie bei den Schwimmern die Disziplin Delphin. Die H\u00e4nde m\u00fcssen jedes R\u00e4dchen am Rande erreichen und den gew\u00fcnschten Klang zu stimulieren. Hier Tadeusz Sudnik bei der Probe zu seinem Aufritt mit DIGIVOOCO bei taktlos 60 - Jazz, zwischen Chaos und Charisma. Ausschnitte aus dem Auftritt von\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"Tadeusz Sudnik - realtime electronics, sampler","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/07\/20040714-geraete.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1546,"url":"https:\/\/www.kritische-masse.de\/logbuch\/ich-werd-dir-was-lernen-du\/","url_meta":{"origin":1072,"position":4},"title":"Ich werd\u2019 Dir was lernen, du \u0085","author":"huflaikhan","date":"2. Dezember 2005","format":false,"excerpt":"Warum regieren so wenig Frauen? Emmieze Schwarzer gibt Auskunft: Sch\u00fclern der 4a, Grundschule Hengersberg, Bayern. (Real Audio) Mehr News gibt es hier.","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":292,"url":"https:\/\/www.kritische-masse.de\/logbuch\/taktlos-72-bricht-der-klassikmarkt-zusammen\/","url_meta":{"origin":1072,"position":5},"title":"taktlos 72: Bricht der Klassikmarkt zusammen?","author":"huflaikhan","date":"17. Dezember 2003","format":false,"excerpt":"Nachfolgend mein Beitrag zur Ausgabe 72 der Sendung \u0084taktlos\u0093 des Bayerischen Rundfunks und der neuen musikzeitung. Zu Gast waren Stefan Piendl (BMG Classics), Stefan F. Winter (Winter & Winter), Thimo Br\u00fcll (Leiter der CD-Abteilung des partiellen Kulturkaufhauses Ludwig Beck) und Gregor Wilmes (Chefredakteur der Fachzeitschrift Fono-Forum). Die Diskussionen, die man\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/1072","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=1072"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/1072\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=1072"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=1072"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=1072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}