Claude Debussy (1862–1918)
Claude Debussy was a French composer and one of the most influential figures in classical music, widely regarded as the father of Impressionism in music. Born on August 22, 1862, in Saint-Germain-en-Laye, France, Debussy’s innovative use of harmony, texture, and tone revolutionized the landscape of classical music, pushing the boundaries of traditional forms and paving the way for modernism.

Debussy’s compositions are renowned for their rich, evocative textures and lyrical expressiveness, often inspired by nature, art, and literature. His most famous works, such as Clair de Lune, Prélude à l’après-midi d’un faune, La Mer, and Arabesque No. 1, showcase his mastery of orchestration and his ability to evoke mood and atmosphere through sound. With a preference for ambiguity and fluidity, Debussy often broke conventional structures, opting for unusual scales such as the whole tone scale, and creating music that defies simple categorization.

A key figure in the late Romantic and early Modern periods, Debussy’s music bridged the gap between the lush emotionalism of the 19th century and the more dissonant, experimental styles of the 20th century. His approach to rhythm, harmony, and tonality has had a lasting influence on generations of composers, including Maurice Ravel, Igor Stravinsky, and contemporary film score composers.

Debussy’s health was often fragile, and he faced personal and financial struggles throughout his life. Despite these challenges, his music continued to gain recognition, and he achieved a prominent position in the French music scene. He passed away on March 25, 1918, but his legacy endures as one of the most innovative and beloved composers in the classical canon.

The Claude Debussy profile on SoundCloud is dedicated to sharing his extensive catalog, offering listeners an opportunity to experience the depth and beauty of his works in a variety of interpretations. Whether through orchestral pieces, solo piano works, or new arrangements, this profile brings together the diverse facets of Debussy’s music for both longtime fans and new listeners to explore.

In Morocco, the Gnawa are descendants of slaves who were deported to Maghreb from sub-Saharan countries (Senegal, Sudan, Ghana, Guinea, etc.). They are the heirs of great rituals and spiritual traditions that combine poetry, music, and dance. The ceremonies (‘lilas’) dedicated to prayer and healing are led by a maalem, i.e. a ‘master of music’.
In recent decades, these very sacred traditions have seen a more secular style of Gnawi music emerge.
Asmaâ Hamzaoui, 20, is the leader of the group Bnat Timbouktou and one of the genre’s few – and youngest – female ambassadors. 

She inherited her passion from her father, the famous maalem Rachid Hamzaoui. From a very young age, she learned to play the guembri, a sort of 3-string plucked lute, which she uses to accompany celebrations.
Since 2012, she has been leading her own group. Bnat Timbouktou remains largely faithful to traditions in terms of style, but topics such as distance, suffering, and the memory of Africa’s past are ever present.
Gradually, they have successfully grown their audience, to the point that they’ve landed a spot at the famous Essaouira Gnaoua World Music Festival in summer 2017.
This is no small feat, given there are so few Gnawa female players in Morocco and around the world: you can count them on one hand! Traditionally, women do not play during ceremonies and can only touch this instrument in private (which is particularly the case for the wife of a maalem, for example). Performing in public is still a widespread taboo.
But from the look of things, anyone thinking to stop Asmâa Hamzaoui from playing hasn’t come along yet.

Purveyor of deep, infectious dance grooves and a feel-good atmosphere.

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FLOORPAN "THE MASTER'S PLAN" (CLASSIC MUSIC):
https://cmc.lnk.to/cmcd141d

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends.

Connecting club culture to the wider world, on screen and irl through parties, film and video.

This is the Official SoundCloud account for Richie Hawtin and contains all audio media from Richie’s career: releases, remixes, DJ mixes, Live shows and interviews. We invite everyone to listen and enjoy what will become the definitive audio history of Richie’s career from past to present. All this material will also be linked into the new richiehawtin.com website that is currently in development.

Please note that we will NOT answer any emails, listen to any demos or tracks, or follow any individuals that are sent to this account. QUESTIONS CAN BE SENT TO info@richiehawtin.com

Thanks and enjoy.

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