<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/">
	<channel>
		<title>SubmitYOURArticle.com - latest quality free reprint articles from Mike Shaw</title>
		<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051</link>
		<description>The latest quality free reprint articles from Mike Shaw at SubmitYOURArticle.com</description>
		<lastBuildDate>Mon, 01 Dec 2008 21:59:19 +0000</lastBuildDate>
		<item>
			<title>The Rise Of Opera</title>
			<description>The first experiments in the construction of an opera had their origin in circumstances in themselves of no very great importance, and only remotely connected with music. In 1579 Bianca Capello was married to Francisco de Medici, son of Cosmo, Grand Duke of Tuscany. The wedding took place in Venice amid elaborately devised festivities, among which were dramatic representations accompanied with music.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/classical-music-opera-18187.php</link>
			<pubDate>Sat, 11 Aug 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>The Renaissance - Part 2</title>
			<description>The great principles underlying all Renaissance work was that of faithfulness to nature, as opposed to faithfulness to tradition, which had been the sheet anchor of pre Renaissance art and letters.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/renaissance-art-18137.php</link>
			<pubDate>Wed, 08 Aug 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>The Renaissance - Part 1</title>
			<description>The compositions of Palestrina, and the reforms he was able to effect in Church music, may be said to mark the culmination of the early ages of Christian musical art. We have now come to an important turning point in musical history, but before going further, it will be useful to take a rapid survey of the period we are leaving behind.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/renaissance-art-18004.php</link>
			<pubDate>Sun, 05 Aug 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>Playing The Piano - Part 2</title>
			<description>The damper of the piano is the only means of stopping the string's vibrations, which would otherwise continue, longer than is wanted. In violin playing, the same stoppage of tone takes place when the player stops drawing the bow across the strings.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/piano-playing-18001.php</link>
			<pubDate>Thu, 02 Aug 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>Playing The Piano - Part 1</title>
			<description>The peculiarities of the mechanism of any instrument constitute in all cases a law for the application of the energy to be expended upon that mechanism. In so far as energy is correctly applied, the machine or mechanism should give back an equivalent of work done; but if the power applied is lacking or weak, then the results obtained will also be the same.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/piano-playing-17695.php</link>
			<pubDate>Sun, 29 Jul 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>The Key Mechanism Of The Piano - Part 2</title>
			<description>When a key on the piano is pushed down, and then kept down, it will be noticed that the tone continues sounding for a considerable time after the push has taken place, and ceases whenever the key is allowed to rise.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/piano-key-17435.php</link>
			<pubDate>Wed, 25 Jul 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>The Key Mechanism Of The Piano - Part 1</title>
			<description>The piano, while similar in some of its features too many other kinds of musical instruments, differs materially in several important points from all other kinds.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/piano-key-17434.php</link>
			<pubDate>Fri, 20 Jul 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>The Physical Action Of Playing The Piano</title>
			<description>In examining the nature of the hand, it will be necessary at this stage to exclude any consideration of it other than as something to be acted upon. It will afterwards, in its relation to the keyboard, be considered as an agent.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/piano-playing-17315.php</link>
			<pubDate>Wed, 18 Jul 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>How To Play The Piano Expressively - Part 2</title>
			<description>But before any accurate observations can be made of what the hand is doing, it is necessary that the eye should know what to look for, as it can see only that which it brings the power of seeing. &#8220;No man can learn what he has not the preparation for learning.&#8221;</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/playing-piano-17235.php</link>
			<pubDate>Sat, 14 Jul 2007 00:00:00 +0000</pubDate>
		</item>
		<item>
			<title>How To Play The Piano Expressively - Part 1</title>
			<description>The aim of these series of articles will be to help the piano student arrive at a clear idea of how to acquire that which is necessary in piano playing, namely, a good tone-production. It will be necessary for the piano student to observe, fully and precisely, as much of the mechanism of the piano as possible.</description>
			<link>http://www.submityourarticle.com/articles/Mike-Shaw-2051/piano-sheet-music-17079.php</link>
			<pubDate>Wed, 11 Jul 2007 00:00:00 +0000</pubDate>
		</item>
	</channel>
</rss>