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There are many plants that can be grown in these wetlands like: red maple, silver maple, carpinus carolianiana, quercus phellos etc. No matter which plant you grow, they will definitely serve the purpose of enriching the natural environment and maintaining the ecological balance. The only thing to be kept in mind is that, you must take the proper guidance and also see with what is your aim of doing the plantation.

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As for Aaron's second question -- Is HFH reserving specific homes for musicians only? -- the answer is a resounding YES. The final number will be nearly 3/4 musician-headed families in the core site, with as many of the other musician applicants in the surrounding neighborhood as possible. This depends on musicians, like all of our other applicants, meeting the criteria. With folks bending over backwards to help them, many -- but probably not all -- will succeed.thank you

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There are three general enithc areas associated with music in Venezuela: indigenous (with little Spanish influence or mestizo tendencies), Hispano-Venezuelan (including several traditional Spanish forms being included along with the mestizo forms) and Afro-Venezuelan (largely along the coastal region, and representative of numerous folkloric drumming styles).The indigenous music includes flutes and percussion instruments, and has maintained its more organic role in community life, from the supernatural and ritual to healing. Some of Venezuela's native populations include the Piaroa of the Amazon region, who emphasize the important role of the shaman in their community, each with his own musical repertoire. While many traditional forms were eventually replaced as these tribes absorbed the Christian faith (and music), there still remain a few native tribes who speak their aboriginal languages.Hispano-Venezuelan music encompasses the rich traditions of old Spain as well as the newly formed mestizo genres, incorporating styles such as the malaguef1a as well as the central role of the guitar. Other stringed instruments of European origin were also adapted, including the bandoledn (derived from the mandolin) and the bandola (derived from the Spanish bandurria, a lute-style guitar). Perhaps the most significant offspring in the guitar family is the Venezuelan cuatro, which serves as the premiere instrument along with the arpa (harp) in much of the inland styles. The indigenous instruments used in these genres include the maracas (typically smaller than other varieties), which are played quite vigorously.Referred to as mfasica llanera (music of the plains), this area of Hispano-Venezuelan music includes several rhythms and dances such as the joropo, which is the national dance, and features ornate harp playing. The term joropo became commonly used by the mid-19th century as a way to define the rhythm, the dance, the song and the actual event. It rose to prominence by the 1920s, and is played in a complex rhythmical structure combining 3/4 and 6/8 time.One of Venezuela's most important artistic figures is Simf3n Diaz, who helped to preserve and popularize the country's folk music. A unique aspect of Hispano-Venezuelan music is its functionality on several levels. Many musical forms serve in religious or quasireligious celebrations (also referred to as folk Catholicism ), such as the fuleda (a devotional song in honor of the Catholic Holy Cross celebration) as well as an elaborate series of songs and dances in honor of St. James of Padua known as the tamunangue (which includes indigenous and African influences) from the Lara state in the northwest. The Hispano-Venezuelan tradition also includes children's songs (including lullabies) and work songs—some dating back to old Spain—as well as slave songs from the colonial era.Afro-Venezuelan music features an array of drumming forms along its coastal area, and gave way to numerous folkloric styles primarily of West African origin, generally referred to as mfasica criolla (Creole music). However, unlike Brazil and Cuba, where religious elements were retained through the drumming language, African-derived music in Venezuela did not maintain its traditional role. Instead, Afro-Venezuelan rhythms and dances became an added feature in Catholic celebrations, such as the style known as gaita (originating in the Lake Maracaibo area), which is associated with the Christmas holiday, and features a lively percussion-based music which serves as a social as well as political platform for Venezuelans. The group Guaco has been a frontrunner in the style since the 1970s, fusing modern harmony and contemporary instruments and arrangements into gaita music.Other African-derived styles include the sangueo, the tambor San Mille1n and the culo e' puya, and each style has its own unique drums, dances and call-and-response singing traditions. One of the most important groups in the legacy of Afro-Venezuelan music is Grupo Madera, which avidly performed and recorded these styles with the hope of preserving the colonial-era music and dance tradition.One of the more fascinating traditions in Venezuela incorporates all three of its enithc ancestors: Spanish, indigenous and African. The quitiple1s are bamboo stamping-tube instruments of indigenous origin, but the traditional style of music created when performing with them evolved into a tricultural blend of African polyrhythms and Spanish singing in call-and-response fashion. While the instruments are undoubtedly part of a more ancient practice, the Creole expression of this style shows a clear example of the ever-evolving traditions in Venezuela and throughout South America.1960s, musicians in Venezuela have explored the wealth of the country's numerous traditional forms within a more popular context, as demonstrated by the group Un Solo Pueblo.

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I agree 100% with Rayven. I'm an artist crreuntly signed with Warner Bros I love answering questions like this in hopes that people will spread the word! There's nothing that I despise more than some management company or production company attempting to sale me a song that they have on their myspace, facebook, public websites. Silently Im thinking .. why would I want them after everyone has heard them already????? Duuuuhhh! That's the question that I always ask them in our meetings, and to be honest I don't think they even think about it that way. LOL! If you want to be an artist then I say put the songs on your myspace page. But if you want to sell your music/songs then something like myspace, facebook, twitter etc is not only the WRONG place to go, but a definite dead end to your music/song as far as shopping goes. Perhaps you can keep the song for yourself perform it as your own if its already doing well on your myspace page.

Takeyuki

in country music as a whole from the beninnigg of C W music to today? Doesn't have to be an artist only. Can be a songwriter. Can be a musician.Check the Texas Country Music Hall of Fame list of inductees for possible suggestions. There's no right or wrong answer here.Great answers so far! Anyone on the Cindy Walker bandwagon? How about Lefty Frizzell?

Diana

Can a band cover a song on myspace music as a mucisian? I'm in a band (unknown) and we are playing the song Sweet Child o' Mine by Guns N' Roses. and we want to know if we can cover the song and post it on our myspace page legaly. so is this illegal if we present the song and band as the original artists ?

Junaid

There are three general eitnhc areas associated with music in Venezuela: indigenous (with little Spanish influence or mestizo tendencies), Hispano-Venezuelan (including several traditional Spanish forms being included along with the mestizo forms) and Afro-Venezuelan (largely along the coastal region, and representative of numerous folkloric drumming styles).The indigenous music includes flutes and percussion instruments, and has maintained its more organic role in community life, from the supernatural and ritual to healing. Some of Venezuela's native populations include the Piaroa of the Amazon region, who emphasize the important role of the shaman in their community, each with his own musical repertoire. While many traditional forms were eventually replaced as these tribes absorbed the Christian faith (and music), there still remain a few native tribes who speak their aboriginal languages.Hispano-Venezuelan music encompasses the rich traditions of old Spain as well as the newly formed mestizo genres, incorporating styles such as the malaguef1a as well as the central role of the guitar. Other stringed instruments of European origin were also adapted, including the bandoledn (derived from the mandolin) and the bandola (derived from the Spanish bandurria, a lute-style guitar). Perhaps the most significant offspring in the guitar family is the Venezuelan cuatro, which serves as the premiere instrument along with the arpa (harp) in much of the inland styles. The indigenous instruments used in these genres include the maracas (typically smaller than other varieties), which are played quite vigorously.Referred to as mfasica llanera (music of the plains), this area of Hispano-Venezuelan music includes several rhythms and dances such as the joropo, which is the national dance, and features ornate harp playing. The term joropo became commonly used by the mid-19th century as a way to define the rhythm, the dance, the song and the actual event. It rose to prominence by the 1920s, and is played in a complex rhythmical structure combining 3/4 and 6/8 time.One of Venezuela's most important artistic figures is Simf3n Diaz, who helped to preserve and popularize the country's folk music. A unique aspect of Hispano-Venezuelan music is its functionality on several levels. Many musical forms serve in religious or quasireligious celebrations (also referred to as folk Catholicism ), such as the fuleda (a devotional song in honor of the Catholic Holy Cross celebration) as well as an elaborate series of songs and dances in honor of St. James of Padua known as the tamunangue (which includes indigenous and African influences) from the Lara state in the northwest. The Hispano-Venezuelan tradition also includes children's songs (including lullabies) and work songs—some dating back to old Spain—as well as slave songs from the colonial era.Afro-Venezuelan music features an array of drumming forms along its coastal area, and gave way to numerous folkloric styles primarily of West African origin, generally referred to as mfasica criolla (Creole music). However, unlike Brazil and Cuba, where religious elements were retained through the drumming language, African-derived music in Venezuela did not maintain its traditional role. Instead, Afro-Venezuelan rhythms and dances became an added feature in Catholic celebrations, such as the style known as gaita (originating in the Lake Maracaibo area), which is associated with the Christmas holiday, and features a lively percussion-based music which serves as a social as well as political platform for Venezuelans. The group Guaco has been a frontrunner in the style since the 1970s, fusing modern harmony and contemporary instruments and arrangements into gaita music.Other African-derived styles include the sangueo, the tambor San Mille1n and the culo e' puya, and each style has its own unique drums, dances and call-and-response singing traditions. One of the most important groups in the legacy of Afro-Venezuelan music is Grupo Madera, which avidly performed and recorded these styles with the hope of preserving the colonial-era music and dance tradition.One of the more fascinating traditions in Venezuela incorporates all three of its eitnhc ancestors: Spanish, indigenous and African. The quitiple1s are bamboo stamping-tube instruments of indigenous origin, but the traditional style of music created when performing with them evolved into a tricultural blend of African polyrhythms and Spanish singing in call-and-response fashion. While the instruments are undoubtedly part of a more ancient practice, the Creole expression of this style shows a clear example of the ever-evolving traditions in Venezuela and throughout South America.1960s, musicians in Venezuela have explored the wealth of the country's numerous traditional forms within a more popular context, as demonstrated by the group Un Solo Pueblo.

Auth

I agree 100% with Rayven. I'm an artist cnulertry signed with Warner Bros I love answering questions like this in hopes that people will spread the word! There's nothing that I despise more than some management company or production company attempting to sale me a song that they have on their myspace, facebook, public websites. Silently Im thinking .. why would I want them after everyone has heard them already????? Duuuuhhh! That's the question that I always ask them in our meetings, and to be honest I don't think they even think about it that way. LOL! If you want to be an artist then I say put the songs on your myspace page. But if you want to sell your music/songs then something like myspace, facebook, twitter etc is not only the WRONG place to go, but a definite dead end to your music/song as far as shopping goes. Perhaps you can keep the song for yourself perform it as your own if its already doing well on your myspace page.

Annett

- Hi Michael. Nice work. I would appreciate your peoimssirn to use a couple of your shots of Liddy Voetberg and her family as they are going to be performing concerts for us at the SW Washington fair for non-profit non-commercial family radio KACS. Can do? I would trust in your judgement as to which would be best. jpegs are fine if you can provide.

Gid

in country music as a whole from the benngniig of C W music to today? Doesn't have to be an artist only. Can be a songwriter. Can be a musician.Check the Texas Country Music Hall of Fame list of inductees for possible suggestions. There's no right or wrong answer here.Great answers so far! Anyone on the Cindy Walker bandwagon? How about Lefty Frizzell?

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