THE MOZART EFFECT … AND BEYOND BABBITT EFFECT: Child gibbers nonsense all the time. Eventually, people stop listening to him. Child doesn't care because all his playmates think he's cool. BARTÓK EFFECT: Child becomes more and more dissonant. Has trouble maintaining harmony with his peers. BEETHOVEN EFFECT: Child spends far too much time at the keyboard and goes deaf. BRAHMS EFFECT: Child is able to speak beautifully as long as his sentences contain a multiple of three words (3, 6, 9, 12, etc.). BRUCKNER EFFECT: Child speaks very slowly and repeats himself frequently. GLASS EFFECT: Child tends to repeat himself over and over and over and over and over and over and over and over and over and over and over and over and over again. IVES EFFECT: Child develops a remarkable ability to carry on several separate conversations at once. LISZT EFFECT: Child speaks rapidly and extravagantly, but never really says anything important. MAHLER EFFECT: Child continually screams, at great length and volume, that he's dying. And finally ….
5 Artists You Should Know In 2011 The hits just keep on coming — so much excellent music rolls out each week that it can be hard just to keep up. In 2011, Bon Iver, Wilco, Raphael Saadiq, The Decemberists, Gillian Welch, Tinariwen, Elbow, Tom Waits and Fleet Foxes all met high expectations. Shabazz Palaces, James Blake and Wild Flag dropped highly anticipated debuts that lived up to the advance buzz. In 2011, even with more outlets than ever for discovering and sharing new music, it's nearly impossible for even the most dedicated music lover to keep up. uWall.tv | Listen to a Wall of Music © 2021 - Privacy - Terms Ear training online and mobile | Pitchimprover A-Trak Alain Macklovitch, conocido por su nombre artístico, A-Trak (nacido el 30 de marzo de 1982, en Quebec, Canadá) es remezclador, productor y uno de los discjockeys más reclamados y cotizados del planeta. Carrera musical[editar] Conocido por ser el malabarista de los platos que acompaña en directo a Kanye West, el canadiense empezó a pisar el acelerador con quince años, cuando ganó su primer DMC World DJ Championship[1] y desde entonces no ha dejado de trabajar y agrandar su reputación. Instalado en algún punto intermedio entre el hip hop y la música electrónica, A-Trak publicó en 2007 el frenético “Dirty South Dance”. Ha aparecido en la portada de múltiples revistas, incluyendo URB (dos veces), BPM y Status.[7] En 2004 Kanye West lo reclutó como su DJ personal para las giras,[8] y ha trabajado estrechamente con él desde entonces, incluyendo actuaciones junto con el rapero estadounidense en MTV especiales, Grammys y varios MTV Video Music Awards. Ha colaborado en el juego DJ Hero 2.
Getting jazz ears | Developing a vivid aural imagination The extent to which your aural imagination is developed, largely determines: the quality of lines you play, how you play those lines (articulation, swing feel, inflection), and the sound you play with. Nothing has such an impact on your playing than your aural imagination. If there were a secret to improvising, developing your aural imagination would be it. Ok, ok. I didn’t say oral imagination. When we go to improvise, we draw from a well of knowledge. The way we hear is the most neglected aspect of practicing improvisation. We all hear differently. Hear and sing intervalsHear and sing specific chord tones while a chord plays in the backgroundHear and sing the roots of a progressionHear a line from a recording and retain it. And the list goes on. Be excited. As you can see from the list above, good jazz ears are a lot more than simply being able to recognize intervals and chord qualities, although that is a small piece of the puzzle. Raising the volume in your head Back to retention.
club fonograma Jazz Ear Training - Master Your Intervals in 28 Days Being able to quickly hear, sing, and accurately identify intervals is essential to developing your improvisational ear. In this article, I’ve put together a plan for you to master your intervals in 28 days. For beginners, this will give you a much needed foundation. And for more advanced players, it will give you a chance to brush up on your intervals and fill in any gaps that might be there. The goal is to be so familiar with these sounds, that it requires very little effort to process them. Getting acquainted with the intervals One of the best ways to get familiar with all of the intervals is to find a tune you already know that makes use of each one. Minor Second Ascending Gene Ammons on I remember You, Miles on Bye Bye Blackbird, & Sinatra on Nice Work If You Can Get It Minor Second Descending Miles plays Stella By Starlight, Sinatra sings The Lady Is a Tramp, and especially for Patrick Bateman we have Whitney Houston singing Joy to the World (sorry I just couldn’t help myself)
györgy ligeti’s artikulation (with score and audio) – The Hum Blog Score for György Ligeti’s Artikulation Following the inexplicable success of my piece focusing on Cornelius Cardew’s Treatise, I thought it might be nice to shine the light on another seminal work from the cannon of avant-garde gestures within Twentieth Century Classical Music – György Ligeti’s Artikulation. Ligeti will be familiar to most. At the time he composed Artikulation, Ligeti had been writing for years, but because most of his early works were lost when he left Hungary, its singularity within his body of work – being one of only a very small number of electronic works he composed, and the fact that it predates his seminal groundbreaking work Atmosphères from 1961, it is generally considered to be one of his “early-works”. One interesting distinction about this work, is the score itself. I leave you know with the work itself. György Ligeti – Artikulation (1956) Like this: Like Loading...
The A=432 Hz Frequency: DNA Tuning and the Bastardization of Music Brendan D. Murphy, Guest GA=440Hz: Not Quite Music to My Ears Humankind is the largely unwitting victim of a frequency war on our consciousness that has been waged for decades, if not millennia. The goal has clearly been to keep us as gullible and subservient as possible, through multifarious means. In modern history in particular, there has been what Dr. The American Federation of Musicians had already accepted the A440 as standard pitch in 1917, and the U.S. government followed suit in 1920. It is interesting, also, to note that in October 1953, despite the British and Nazi push for the arbitrary A=440 standard (which is “disharmonic” vis à vis the physico-acoustic laws of creation governing reality), a referendum of 23,000 French musicians voted overwhelmingly in favour of A=432Hz. The Vibration of Sound Interestingly, the difference between 440 and 741 Hz is known in musicology as the Devil’s Interval. Somehow, Austrian genius visionary Rudolph Steiner (1861-1925) was on to all of this.
Anedonia musicale: questione di ridotta connettività cerebrale Le persone che non traggono piacere dall’ascolto della musica – una condizione specifica chiamata “anedonia musicale” – hanno mostrato una connettività funzionale ridotta tra le regioni cerebrali responsabili dell’elaborazione del suono e quelle collegate alla ricompensa. Questo è il risultato di un nuovo studio dei ricercatori dell’Università di Barcelona e dell’Istituto Neurologico di Montreal e Ospedale della McGill University. Anedonia musicale: lo studio Per capire l’origine dell’anedonia musicale, che riguarda tra il 3% e il 5% della popolazione, i ricercatori hanno reclutato 45 soggetti in salute, che hanno completato un questionario che misurava il loro livello di sensibilità alla musica e li ha divisi in tre gruppi di diverso livello di sensibilità, in base alle loro risposte. Gli anedonici musicali Messaggio pubblicitario Essi, tuttavia, mostravano una connettività funzionale ridotta tra regioni corticali associate con l’elaborazione uditiva e il nucleo accumbens. Bibliografia
The Neuroscience of Bass: New Study Explains Why Bass Instruments Are Fundamental to Music Photo by Sebastiaan term Burg via Wikimedia Commons At the lower range of hearing, it’s said humans can hear sound down to about 20 Hz, beneath which we encounter a murky sonic realm called “infrasound,” the world of elephant and mole hearing. But while we may not hear those lowest frequencies, we feel them in our bodies, as we do many sounds in the lower frequency ranges—those that tend to disappear when pumped through tinny earbuds or shopping mall speakers. In most popular music, bass players don’t get nearly enough credit—even when the bass provides a song’s essential hook. The study’s title perfectly summarizes the team’s findings: “Superior time perception for lower musical pitch explains why bass-ranged instruments lay down musical rhythms.” For louder, deeper bass notes than those used in these tests, people might also feel the resonance in their bodies, not just hear it in their ears, helping us to keep rhythm. Related Content: