Title: Obstinacy (Acoustic) By Infintago
Description: Here is a basic acoustic version of one of our songs, Obstinacy. Joseph is playing lead guitar and Justine is on rhythm guitar and vocals. Feel free to leave comments. Enjoy.

Title: Obstinate
Description: No Remorse

Title: BRAEN'S MACHINE (Umiliani/Alessandroni)-"Obstinacy" (1971)
Description: -From the LP, "UNDERGROUND", Braen's Machine (1971). The mysterious Italian progressive rock band Braen's Machine released two albums; "Underground" (1971) and "Temi Ritmici e Dinamici" (1973). Braen's Machine is actually the film composers Piero Umiliani (organ and more) and Alessandro Alessandroni (guitar and more) 'letting their freak flag fly'! See also: BRAEN'S MACHINE (Umiliani/Alessandroni)-"Description" (1971) http://www.youtube.com/watch?v=pQUhcIaxD3E BRAEN'S MACHINE (Umiliani/Alessandroni)-"Fall Out" (1971) http://www.youtube.com/watch?v=rDaeS64uCf4 Resources: http://www.myspace.com/pieroumilianiofficialspace http://www.myspace.com/alessandroalessandroni http://www.myspace.com/pieropiccioni http://www.myspace.com/eddadell39orso http://www.myspace.com/eddadellorso http://www.enniomorricone.com/ http://www.chimai.com/ http://www.myspace.com/enniomorricone http://www.myspace.com/morriconemood http://www.myspace.com/brunonicolai http://www.myspace.com/armandotravaioli http://www.myspace.com/rizortolani (All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists, the music, and the films.)

Title: (ambient music..1) or (Amber Ambient by .info overload(artist))
Description: ambient music radio....plus a picture of a mountain name of the track : Amber Ambient name of the album : Vilthermurpher name of the artist (track and album both) : .Info Overload language : English release country : Sweden date : 1995 total tracks : 14 track number : 1 track list : # 1. Amber ambient 05' 00'' # 2. Running through a store 04' 21'' # 3. Dark walls 04' 20'' # 4. Psiwogg 04' 53'' # 5. Vhalar 04' 25'' # 6. Nictitatious flirt 05' 04'' # 7. Stringent code 05' 01'' # 8. Sweet insomnia 06' 48'' # 9. Infinity 04' 30'' # 10. Hot cave 04' 56'' # 11. Happygolucky 04' 56'' # 12. Helios 03' 34'' # 13. Millitant veggies 04' 48'' # 14. Vulvamatic 04' 44 Article brought here by the google search : ".InfO OverLoaD" started in 1984 as an audio testing ground with various electronic equipment. In 1986 it was clear that something could form out of the proto-soundscapes created in the early years. Continuing throughout the late 80ies the approach was to make short tracks to be used in computer games and finally in 1990 real sound equipment was bought and used to extend this idea. Having started the music approach from scratch by trying to understand harmonics and playing various instruments and combining the love of sound made progress slow paced and tedious. Finally in 1995 a collection of the best tracks to that date was set a side and polished into a final CD called "Vilthermurpher." The original length of the CD was 18 tracks but it was abbreviated due to some of the tracks not being polished enough. The CD was first mastered in 1997. The material that did not fit on "Vilthermurpher" made it onto the next album "Brain Twister". It was extended by 6 tracks that are fundamental to the albums concept in general. Albeit more harsh in its approach than "Vilthermurpher" it ups the ante in regards to the obstinate sequencing. A three year hiatus due to severe technical problems resulted in the "Brain Twister II" CD that is mostly generic techno and simple mixing and was released in 2000. After 10 years in the making and with many technical difficulties averted, at last a real second attempt to outdo "Vilthermurpher" was released as "Aeiriaoule" in 2006. The concept of the album is "free flight" and although not as polished as "Vilthermurpher" it sounds more" natural." In 2006 there was yet another try to expand on the concept of ".InfO OverLoaD" and it resulted in "Mulieribus." The approach was to create it as a live session with no retakes using an analog electric guitar and rock drums. This was to enhance the edge and harshness of the sound. It is quite different to previous material and darker. Continuing in 2006 a massive undertaking of sound restoration resulted in 9 private release CDs created with most soundscapes and sequences to date. These will stay private until remade from scratch or sound engineering software becomes available to resuscitate the works properly. Late in 2006 the concept of blending opera with industry was on the agenda. It was a result of listening in on the old proto-soundcape tapes and pure fun happening back in 1978-91. The original length of "Rappimummepoppep [Aria et Requiem Apocalypsis]" was over 120 minutes and was shortened to 80 minutes to fit on a single CD. After a while it was apparent that 80 minutes was too much and it was shortened to just above 50 minutes. The release was also cut in three parts to make it more palatable. The "Rappimummepoppep" concept is truest to form to what ".InfO OverLoaD" really is about and may not be as accessible as previous work. Early in 2007 the muse was particularly generous and it resulted in "Tranquilarium" and is a juxtaposition to "Vilthermurpher." Much calmer in its approach than all previous releases and it contains an explosion of various sonic flavors with many melodies. Mid 2007 there was an urge to revisit old methods and forms. It resulted in Xrizetauria which is a portrayal of the musical journey so far. Partially a step back but mostly so that there can be progress. Late 2007 The progress is halted while the concept of Thumpanykah simmers through the veins. Thumpanykah is a foray into composition under panic and the frustration of getting older. Late summer 2008 and after some significant technical hurdles to remake old Amiga Musicraft & Sonix loops with today's technology was finally finished. The concept of "Obstinatus Est" is that of obstinate drive. Musically very formulaic, partially for effect but also to re-live mid to late teen age years when these "compositions" were made. It was soon followed with a more jittery and nerve laden release of "Gastroditune" that is the companion part of the "Amiga R.I.P." duo that these two releases are about.

Title: The true Super Saiyan
Description: This is a response to all those people who keep posting anime with undramatic, pathetic and inferior so-called "aggro nu-metal malcore" music (mostly Americans -those whom I call "United Staters") to prove them that such a great proud character as Vegeta is to be rendered tribute to with a more "supreme" music more akin to his brave, obstinate and determined personality. I seriously consider that the mood of this music accurately plays along the psychological and spiritual characteristics of Prince Vegeta. Although, Goku is the main dude here, and is often depicted as the strongest among his battle mates; Vegeta plays a remarkably more determined role only with his attitude, which is far stronger than that of goofy Goku's. Feel free to critizise my bias, but do not be a retard and do it in a chavalrous way. Enjoy it!

Title: Melissa Indot-Katakanlah (Woman In Love) (Album Eclecticism)
Description: Melissa Indot-Katakanlah (Woman In Love) (Album Eclecticism) Enjoy!!!! If Music be the food of love, play on... An exotic beauty of mixed parentage. A diminuitive pixie with a charming smile. Selectively impulsive, compromisingly obstinate, warm at heart and a stickler for details, Melissa Indot is a walking contradiction. With piercing eyes rimmed in kohl and high cheekbones etched on a near flawless complexion, her lithe frame belies a commanding presence that exudes confidence through her powerful voice. Mysterious, funky and sensitive, Melissa has always been driven by a fierce ambition to achieve her musical goals without losing touch with reality. Her fearless tendency to rebel and break away from the norm has led her from strength to strength in pursuing her dream. Bitten by the music bug at the tender age of three, her passion and ambition are driven towards one thing: her love for the music. Malaysia born and London bred; Melissas influences, tastes and thoughts have been peppered with exposure to both local and international cultures at an early age.

Title: Melissa Indot- Starlight New York Light Remix
Description: (Album Eclecticism) If Music be the food of love, play on... An exotic beauty of mixed parentage. A diminuitive pixie with a charming smile. Selectively impulsive, compromisingly obstinate, warm at heart and a stickler for details, Melissa Indot is a walking contradiction. With piercing eyes rimmed in kohl and high cheekbones etched on a near flawless complexion, her lithe frame belies a commanding presence that exudes confidence through her powerful voice. Mysterious, funky and sensitive, Melissa has always been driven by a fierce ambition to achieve her musical goals without losing touch with reality. Her fearless tendency to rebel and break away from the norm has led her from strength to strength in pursuing her dream. Bitten by the music bug at the tender age of three, her passion and ambition are driven towards one thing: her love for the music. Malaysia born and London bred; Melissas influences, tastes and thoughts have been peppered with exposure to both local and international cultures at an early age.

Title: Claire Huangci: "Musica Nara for Piano"
Description: Hamamatsu International Piano Competition has commissioned works from two composers, "Distance II" from Michio Kitazume and "Musia Nara for Piano" from Minako Tokuyama, specifically for the 6th competition event in November, 2006. All the contestants received the scores three months before the competition and were required to play one of these two compositions during the second round of the competition. ** Minako Tokuyama Minako Tokuyama is born in Osaka in 1958. She has won the first prizes in the 5th Prix de Fukui de Musique pour Harpe, and in the Internationaler Wiener Komposition in 1997 as well. ** "Musica Nara for Piano" Musica Nara the music of Nara, or the music of one's home. Nara was once Japan's ancient capital, where the dawns and dusks were greeted by the ringing of temple bells. Guided by the slight and fluttering flight of a butterfly from the past, ancient Nara is revived once again. The tempo quickens as the piece progresses, and within the notes begin to dance the Guardian Deities of the Children, the busy Running Priest, the Laughing Buddha, the comical demon Obstinacy, and the brave Deva King, all summoned into the present. However, with the definitive strike of a great bell, the tempo suddenly returns to the original speed, and with one stroke time has returned to the past. Within the echo of the last note, be sure to catch the faint sound of a Nara that lived over 1250 years ago. Looking at this piece in a different way, one may perhaps be able to call it "Variations on a Theme: Capturing Nara through Melody." But regardless, one of the most important things is to let the butterfly within this piece fly freely. The more you try to express a butterfly exactly as it is, the more it becomes like a mounted specimen - inanimate. Even if you know nothing about Nara, I believe that by portraying the tranquility found in a beloved hometown, the clarity of its air, you can let the butterfly take flight. I am sincerely looking forward to hearing a performance filled with youthful energy and force...... ** Claire Huangci Born in Rochester, New York in 1990, this young lady pianist Claire Huangci is coming from a Chinese American family of scientists. Claire Huangci performed on Concerto Winderstein Munchen's acclaimed 'Klassik Vor Acht' Series at the Herkulessaal, in Ludwigshafen's Matinee, at the Morocco Festival both solo and concerto appearances with the National Orchestre du Morocco, at the Goslar Festival of Germany, twice at the Salle Cortot of Paris, Yamaha Paris and in other European venues. She also made a radio recording for the Bayerische Rundfunk Station of Germany. In March, Claire returned to China where she replaced pianist Yundi Li in performances with the China Philharmonic Orchestra under the baton of noted pianist/conductor Shi Shucheng, performing Grieg's Piano Concerto, which were broadcast nationwide on CCTV. She was also invited to perform with the Sudwestdeusche Philharmonie Orchestre in Konstanz Germany and Schaffhausen, Switzerland the Prokofiev Piano Concerto no. 2 in April of 2007. In May 2007, Claire participated in the Queen Elisabeth Piano Competition where she was the youngest contestant present. American performances include debuts with the New York Sinfonietta Orchestra, Helena Symphony, and Springfield Symphony and recitals at the Yamaha Artists Salon, choenberg Hall, and Kaufmann Center on NYC's 92nd street Y, among many others. Upcoming performances include extensive tours throughout different cities in Japan, China, and Israel, recitals in Hanover, Salzburg, Frankfurt, and Baden-Baden Germany, and concerts in Warsaw, Poland, Bruges, Belgium, and Paris, France.

Title: Melissa Indot- Little Girl MV (Album Eclecticism)
Description: http://www.melissaindot.com/ If Music be the food of love, play on... An exotic beauty of mixed parentage. A diminuitive pixie with a charming smile. Selectively impulsive, compromisingly obstinate, warm at heart and a stickler for details, Melissa Indot is a walking contradiction. With piercing eyes rimmed in kohl and high cheekbones etched on a near flawless complexion, her lithe frame belies a commanding presence that exudes confidence through her powerful voice. Mysterious, funky and sensitive, Melissa has always been driven by a fierce ambition to achieve her musical goals without losing touch with reality. Her fearless tendency to rebel and break away from the norm has led her from strength to strength in pursuing her dream. Bitten by the music bug at the tender age of three, her passion and ambition are driven towards one thing: her love for the music. Malaysia born and London bred; Melissas influences, tastes and thoughts have been peppered with exposure to both local and international cultures at an early age.

Title: CBH Yamanashi Kofu
Description: More harpsichord stuff @ http://www.hpschd.nu A quick and somewhat bumpy handheld pan around the harpsichord exhibition room on arrival day at the 21st Early Music Contest in Yamanashi Kofu, Japan. Cacophony abounds with the young Japanese harpsichord competitors grabbing some last-minute practice on any suitable instrument. Some blank space remains along one wall awaiting the arrival of Toshihiko Umeoka and his fleet of several instruments. Unfortunately, the clouds obstinately refused to part all weekend, so the view through the panoramic windows of Kenmin Bunka Hall of the truly splendid snow-covered peak of Mt Fuji was not revealed.

Title: Paul Kletzki/Gustav Mahler Symphony No.4 in G Major Part4-7
Description: ================================ Gustav Mahler Symphony No.4 in G Major 1. Bedächtig. Nicht eilen Parts1&2&3 2. In gemächlicher Bewegung. Ohne Hast Part4 Slight pips at the start of the Ruhevoll which shouldn't distract from a very good recording. 3. Ruhevoll Parts5&6 4. Sehr behaglich "Wir genießen die himmlischen Freuden" (Emmy Loose) Part7 Philharmonis Orchestra/Paul Kletzki Emmy Loose, soprano 4th movement only ================================ Related information: In 1899 and 1910 he conducted his revised versions of Schumann's Symphonies Nos. 2 and 4.[2] In ten years at the Vienna Opera, Mahler transformed the institution's repertoire and raised its artistic standards, bending both performers and listeners to his will. When he first took over the Opera, the most popular works were Lohengrin, Manon, and Cavalleria rusticana; the new director concentrated his energies on classic operas of Christoph Willibald Gluck and Wolfgang Amadeus Mozart, and, in collaboration with the painter Alfred Roller (Brno 1864-Vienna 1935), created shadowy, transfixing productions of Fidelio, Tristan und Isolde, and Der Ring des Nibelungen. In Mahler's day Vienna was one of the world's biggest cities and the capital of a great empire in Central Europe. It was home to a lively artistic and intellectual scene. It was home to famous painters such as Gustav Klimt and Egon Schiele. Mahler knew many of these intellectuals and artists. Mahler worked at the Opera for nine months of each year, with only his summers free for composing; these summers he spent mainly at Maiernigg, on the Wörthersee. In that idyllic setting he composed his fifth through eighth symphonies, the Rückert Lieder and Kindertotenlieder (Songs on the Death of Children), both based on poems by Friedrich Rückert, and Der Tamboursg'sell, the last of his 'Des Knaben Wunderhorn' settings. Later years Gustav Mahler in 1909In June 1901, he moved into a new villa on the lake in Maiernigg, Carinthia ([3]). On March 9, 1902, Mahler married Alma Schindler (1879 --1964), twenty years his junior and the stepdaughter of the noted Viennese painter Carl Moll. Alma was a musician and composer, but Mahler forbade her to engage in creative work, although she did make clean manuscript copies of his hand-written scores. Mahler did interact creatively with some women, such as viola-player Natalie Bauer-Lechner, two years his senior, whom he had met while studying in Vienna. But he told Alma that her role should only be to tend to his needs. Alma and Gustav had two daughters, Maria Anna ('Putzi'; 1902 -- 1907), who died of diphtheria at the age of only four, and Anna ('Gucki'; 1904 -- 1988), who later became a sculptor. The death of their first daughter left Mahler grief-stricken; but further blows were to come. That same year he discovered he had a heart disease (infective endocarditis), and was forced to limit his exercising and count his steps with a pedometer. At the Opera, his obstinacy in artistic matters had created enemies, and he was also increasingly subject to attacks in anti-Semitic portions of the press. His resignation from the Opera, in 1907, was hardly unexpected. http://en.wikipedia.org/wiki/Gustav_Mahler ================================ *Note:Support the artist, their families and their legacy by purchasing their music.

Title: Sonata by HIRAO - 1st Movement
Description: Sonata by Hirao - 1st movement...played by dondon resurreccion during his graduation recital in hiroshima japan... Sonate pour Hautbois et Piano Kisho Hirao Kishio Hirao (1907-1939) composed a number of significant works in his short life span of 46 years. While studying at the premedical course of Keio university he studied harmony and solfegio from Ryutaro Hirota and Satoru Onuma with a view to become a composer. After finishing his German literature course, he went over to France to study harmonics and counterpoint at Schola Cantorum in Paris. He moved to Ecola Cesar Frank, in where he studied composition, and graduated in 1936.Sonata for Oboe and Piano had been completed in order to be performed at the fourth "Chihijin-Kai Concert" in October 1951 and was performed for the first time by Seizo Suzuki on oboe and Taeko Hirao on piano. This piece was the last work of Hirao Kishio apart from arranging or translating jobs. In those days, his older daughter was majoring in oboe at the Tokyo University of Fine Arts and Music, and her teacher Seizo Suzuki was the one who urged him to compose music for the oboe.Generally, oboe is regarded as a delicate instrument and yet it is obstinate. But Hirao viewed it as the instrument with the best expression power among all the woodwind instrument. It is presented to its mysteriously fascination of its sound and sharply line contrasting with mechanical sound impression of piano. The 1st movementIt begins with a pentatonic lyrical first theme in Moderato (in common time).The second theme is like a serenade, quiet and calm.The development is sensitive both carefully and strong.In the recapitulation, only the first theme is been used. The piano is the one who finishes the movement while the oboe playing a G# long diminuendo note.This section is written in sonata form. The 2nd movementThe first theme is bright and lively, and led by the piano rolling rapidly.The second theme follows in both graceful and subtle swaying. And out of nowhere, another melody- like folk songs was been used.In the development section, the oboe and the piano are playing a Musical scale motion, and then the recapitulation appeared faithfully.This movement is in compound-ternary-like sonata form. The 3rd movementIt is in rondo allegro sonata form. The melody was first introduced by the piano, until the oboe takes over. The second theme has an elegant Arabian-like motive, in which the oboe is playing five- quarter notes against four of the piano.At the end of the piece, the first theme was recapitulated in much faster tempo. This sonata has a lot of difficult passages that requires a lot of time to practice.The first movement is the one that caught my attention because of its lyrical and melodious motif. It is like a soul that singing quietly and gradually it grows to climax and end in loneliness.

Title: Sonata by Hirao - 2nd movement
Description: Sonata by Hirao - 2nd movement...played by dondon resurreccion during his graduation recital in hiroshima japan... Sonate pour Hautbois et Piano Kisho Hirao Kishio Hirao (1907-1939) composed a number of significant works in his short life span of 46 years. While studying at the premedical course of Keio university he studied harmony and solfegio from Ryutaro Hirota and Satoru Onuma with a view to become a composer. After finishing his German literature course, he went over to France to study harmonics and counterpoint at Schola Cantorum in Paris. He moved to Ecola Cesar Frank, in where he studied composition, and graduated in 1936.Sonata for Oboe and Piano had been completed in order to be performed at the fourth "Chihijin-Kai Concert" in October 1951 and was performed for the first time by Seizo Suzuki on oboe and Taeko Hirao on piano. This piece was the last work of Hirao Kishio apart from arranging or translating jobs. In those days, his older daughter was majoring in oboe at the Tokyo University of Fine Arts and Music, and her teacher Seizo Suzuki was the one who urged him to compose music for the oboe.Generally, oboe is regarded as a delicate instrument and yet it is obstinate. But Hirao viewed it as the instrument with the best expression power among all the woodwind instrument. It is presented to its mysteriously fascination of its sound and sharply line contrasting with mechanical sound impression of piano. The 1st movementIt begins with a pentatonic lyrical first theme in Moderato (in common time).The second theme is like a serenade, quiet and calm.The development is sensitive both carefully and strong.In the recapitulation, only the first theme is been used. The piano is the one who finishes the movement while the oboe playing a G# long diminuendo note.This section is written in sonata form. The 2nd movementThe first theme is bright and lively, and led by the piano rolling rapidly.The second theme follows in both graceful and subtle swaying. And out of nowhere, another melody- like folk songs was been used.In the development section, the oboe and the piano are playing a Musical scale motion, and then the recapitulation appeared faithfully.This movement is in compound-ternary-like sonata form. The 3rd movementIt is in rondo allegro sonata form. The melody was first introduced by the piano, until the oboe takes over. The second theme has an elegant Arabian-like motive, in which the oboe is playing five- quarter notes against four of the piano.At the end of the piece, the first theme was recapitulated in much faster tempo. This sonata has a lot of difficult passages that requires a lot of time to practice.The first movement is the one that caught my attention because of its lyrical and melodious motif. It is like a soul that singing quietly and gradually it grows to climax and end in loneliness.

Title: The Obstinate Muse
Description: In From the Rain www.richardzarou.com

Title: Saga Frontier 2 - Melody
Description: Overture (Vorspiel) Outside World (Aussenwelt) Majesty (Majestät) Obstinate Person (Trotzkopf) Shame (Schmach) Archenemy (Todfeind) Flame (Flamme)