A compilation of awesome stage moments performed by Queens of the Stone Age frontman Josh Homme. "Never heckle Joshua Michael Homme", indeed. Clips (in order of appearance): www.youtube.com www.youtube.com www.youtube.com www.youtube.com www.youtube.com www.youtube.com www.youtube.com www.youtube.com www.youtube.com www.youtube.com www.youtube.com www.youtube.com (again) www.youtube.com
petite vidéo et présentation de tomb raider 3 dans la demeure de Lara, par la suite je montrerai certain niveau du jeux qui pour moi sont très intéressants.
Perhaps a native of the Vermandois region of Picardy, he was a singer at Milan Cathedral in 1459, remaining there until December 1472. By July 1474 he was one of the 'cantori di capella' in the chapel of Galeazzo Maria Sforza. Between 1476 and 1504 he passed into the service of Cardinal Ascanio Sforza, whom he probably accompanied in Rome in 1484. His name first appears among the papal chapel choir in 1486 and recurs sporadically; he had left the choir by 1501. In this Italian period Josquin reached artistic maturity. He then went to France (he may also have done so while at the papal chapel) and probably served Louis XII's court. Although he may have had connections with the Ferrara court (through the Sforzas) in the 1480s and 1490s, no formal relationship with the court is known before 1503 when, for a year, he was maestro di cappella there and the highest-paid singer in the chapel's history. There he probably wrote primarily masses and motets. An outbreak of plague in 1503 forced the court to leave Ferrara (Josquin's place was taken by Obrecht, who fell victim in 1505). He was in the north again, at Notre Dame at Condé, in 1504; he may have been connected with Margaret of Austria's court, 1508-11. He died in 1521. Several portraits survive, one attributed to Leonardo da Vinci. Josquin's works gradually became known throughout western Europe and were regarded as models by many composers and theorists. Petrucci's three books of his masses (1502-14) reflect contemporary <b>...</b>
Antoine Busnoys (c.1430-1492), sometimes spelled Busnois, was the leading songwriter of the late Burgundian style. Along with his unique stature in the courtly chanson genre, Busnoys was at least partly responsible for important innovations in sonority during the Ockeghem era. Based perhaps on his own skill as a singer, Busnoys extended the range of individual vocal parts, and pioneered contrapuntal textures in which each part operates in its own range and without interference from others. His use of extended lines, and especially sequence & imitation, proved decisive for the next generation of composers. In this, Busnoys' music illustrates the trends of the mid-to-late-1400s most clearly, and indeed his formal schemes were the most imitated by other composers. That Busnoys' music is relatively unknown today is an accident not in keeping with his contemporary reputation. Busnoys may have been born in Busnes, and although much of his career is documented in some detail, his early life and training remain a mystery. By the 1450s, he was associated with the French royal court in the Loire valley, and by 1465 he held a post at St. Martin of Tours where Ockeghem was treasurer. He moved immediately to a post at Poitiers, leaving there by 1466. By 1467 he was in Burgundy, first in loose association with the court, and then in formal positions from 1470. There, he must have accompanied Charles the Bold's huge retinue into battle, and continued to serve Charles' daughter's husband <b>...</b>
