Hai cercato la traduzione di listening to music da Portoghese a Inglese

and listening to music.
and listening to music.

and i'm listening to music.
and i'm listening to music.

"to music" foi publicado em inglês em 2009.
"to music" was published in english in 2009.

* "listening to grasshoppers: field notes on democracy".
isbn 978-0-670-08207-0* "listening to grasshoppers: field notes on democracy".

"the oxford companion to music" (oxford e nova york: oxford university press, 2002).
"the oxford companion to music" (oxford and new york: oxford university press, 2002).

" one particularly infamous example as head's confidence and unflappability occurred when he was listening to a female patient's heart.
" one particularly infamous example as head's confidence and unflappability occurred when he was listening to a female patient's heart.

a música foi apresentada na edição de 2010 dos brit awards, onde williams recebeu o "outstanding contribution to music award" a 16 de fevereiro.
the song was also performed as part of a greatest hits medley at the 2010 brit awards where williams won the prestigious outstanding contribution to music award on 16 february.

em 2003 atb lançou addicted to music, que incluiu hits como "i don't wanna stop" e "long way home".
==="addicted to music": 2003===in 2003, atb released "addicted to music", which included hits such as "i don't wanna stop" and "long way home".

“i’ve already refused listening to radio and watching tv about the rants of how the dry spells are affecting everything from the rise of electricity to cloud seeding to global warming.
“i’ve already refused listening to radio and watching tv about the rants of how the dry spells are affecting everything from the rise of electricity to cloud seeding to global warming.

* scholes, percy a, "the oxford companion to music, tenth edition", oxford university press, oxford, 1970 isbn 01931130661.
* scholes, percy a, "the oxford companion to music, tenth edition", oxford university press, oxford, 1970 isbn 0193113066.

in his memoirs, speer described the familial but numbing lifestyle of hitler's intimate companions who were forced to stay up most of the night—night after night—listening to the nazi leader's repetitive monologues or to an unvarying selection of music.
in his memoirs, speer described the familial but numbing lifestyle of hitler's intimate companions who were forced to stay up most of the night—night after night—listening to the nazi leader's repetitive monologues or to an unvarying selection of music.

== referências ==* denis arnold (editor), (1983), "new oxford companion to music", oxford university press.
==see also==*cornett*crumhorn*recorder*sackbut*shawm*tenor cornett*trombone==references==*denis arnold (editor), (1983), "new oxford companion to music", oxford university press.

bob geldof formed the punk group boomtown rats in 1975. during the band's existence, it moved from the pure energy and aggression of hits like "looking after no. 1" to the more sophisticated but still provocative "i don't like mondays" (its title derived from the answer given by a san diego schoolgirl when asked why she'd killed her classmates). the band became a moderate success in the u.k., though it never really broke through in the u.s. in the fall of 1984, geldof watched a bbc documentary on ethiopian poverty and was inspired to co-write, with ultravox frontman midge ure, the charity single "do they know it's christmas?" it featured a large number of british pop stars performing under the name band aid and became the best-selling single in u.k. history. michael jackson and lionel richie repeated the feat the following year in the u.s. with "we are the world." by then geldof was involved in plans for a massive charity concert that eventually became live aid, two marathon shows held july 13, 1985, at wembley stadium in london and at jfk stadium in philadelphia, featuring a who's who of pop/rock talent. millions were raised and distributed to the african poor. geldof was nominated for a nobel prize and knighted, and his autobiography is that all? became a u.k. best-seller. in 1986, the rats split and geldof launched a solo career, again with greater success in england than in the u.s. deep in the heart of nowhere appeared that same year; however, geldof's signature lyrical intellect wasn't up to par. he fared a bit better on 1990's the vegetarians of love. instead of using an all-star cast found on his previous two albums, geldof put a band together for the solid 1993 release happy club. for the rest of the decade, geldof continued his fight against world hunger, specifically african famine. he joined wyclef jean, bono, and others such as bryan ferry, jimmy page, stereophonics, and sean "puffy" combs for netaid in october 1999. three stadium concerts, which took place in new york, london, and geneva, were simulcasted live on the internet, radio, and television, staging a multimedia event that aimed to help end world poverty. in the new millennium, geldof returned to music for 2002's sex, age & death. in 2004 he was asked to participate in dmc records' under the influence series, a project that compiles songs that influenced the chosen performer's career, with extensive liner notes from the artists themselves. during the mid-2000s, geldof devoted himself to charity work, most prominently re-teaming with midge ure for 2005's live 8 concerts, which were designed to showcase the various social ills affecting africa. geldof did not return to pop music until 2011, when he released the full-length how to compose popular songs that will sell in february. ~ william ruhlmann
traductor de googlebob geldof formed the punk group boomtown rats in 1975. during the band's existence, it moved from the pure energy and aggression of hits like "looking after no. 1" to the more sophisticated but still provocative "i don't like mondays" (its title derived from the answer given by a san diego schoolgirl when asked why she'd killed her classmates). the band became a moderate success in the u.k., though it never really broke through in the u.s. in the fall of 1984, geldof watched a bbc documentary on ethiopian poverty and was inspired to co-write, with ultravox frontman midge ure, the charity single "do they know it's christmas?" it featured a large number of british pop stars performing under the name band aid and became the best-selling single in u.k. history. michael jackson and lionel richie repeated the feat the following year in the u.s. with "we are the world." by then geldof was involved in plans for a massive charity concert that eventually became live aid, two marathon shows held july 13, 1985, at wembley stadium in london and at jfk stadium in philadelphia, featuring a who's who of pop/rock talent. millions were raised and distributed to the african poor. geldof was nominated for a nobel prize and knighted, and his autobiography is that all? became a u.k. best-seller. in 1986, the rats split and geldof launched a solo career, again with greater success in england than in the u.s. deep in the heart of nowhere appeared that same year; however, geldof's signature lyrical intellect wasn't up to par. he fared a bit better on 1990's the vegetarians of love. instead of using an all-star cast found on his previous two albums, geldof put a band together for the solid 1993 release happy club. for the rest of the decade, geldof continued his fight against world hunger, specifically african famine. he joined wyclef jean, bono, and others such as bryan ferry, jimmy page, stereophonics, and sean "puffy" combs for netaid in october 1999. three stadium concerts, which took place in new york, london, and geneva, were simulcasted live on the internet, radio, and television, staging a multimedia event that aimed to help end world poverty. in the new millennium, geldof returned to music for 2002's sex, age & death. in 2004 he was asked to participate in dmc records' under the influence series, a project that compiles songs that influenced the chosen performer's career, with extensive liner notes from the artists themselves. during the mid-2000s, geldof devoted himself to charity work, most prominently re-teaming with midge ure for 2005's live 8 concerts, which were designed to showcase the various social ills affecting africa. geldof did not return to pop music until 2011, when he released the full-length how to compose popular songs that will sell in february. ~ william ruhlmann