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 ….
Southeastern Philosophy: Jason Isbell Opens Up About Alabama, Adulthood and Alcoholism Jason Isbell doesn’t mince words while discussing his battle with the bottle. “Man, I’m an alcoholic,” the Alabama singer-songwriter said of his addiction that involved a dangerously close friendship with Mr. Jack Daniel’s. Isbell laughed, yet knows there’s nothing funny about the damage he caused. Sober since February 2012 right around his 33rd birthday, the thinking-man’s rocker with a soulful sound and a few folk-them-all tendencies hopes that positive turn means he’s not kidding around. In a confluence of events on his way to adulthood, the former guitarist and valuable member of the Drive-By Truckers seemed relaxed talking on the phone from his Nashville home about his progression. Isbell finished the album in late February, the day before his wedding to Amanda Shires, another stirring singer-songwriter whose fabulous touch on the fiddle makes her a true triple threat. Asked what effect these recent changes have had on him, Isbell said, “You know what, I think it’s too soon to tell.
David Byrne on How Music and Creativity Work by Maria Popova “Presuming that there is such a thing as ‘progress’ when it comes to music is typical of the high self-regard of those who live in the present. It is a myth. Creativity doesn’t ‘improve.’” Great times and tall deeds for David Byrne this week: First his fantastic collaborative album with St. Among the book’s most fascinating insights is a counterintuitive model for how creativity works, from a chapter titled “Creation in Reverse” — a kind of reformulation of McLuhan’s famous aphorism “the medium is the message” into a somewhat less pedantic but no less purposeful “the medium shapes the message”: I had an extremely slow-dawning insight about creation. Byrne gives a number of examples from the history of music that illustrate this contextually-driven creation and what it reveals about the nature of creativity: He turns to nature for confirmation of this model: The adaptive aspect of creativity isn’t limited to musicians and composers (or artists in any other media).
From Beautiful Ambient Modern Dance to Dubstep, Gestures to Music in Kinect (Download the Tool) It started as some compelling demos or proof of concept, but it’s plenty real now: the tools for translating movement, gesture, and dance from the body to interactive music march forward. Empowered by Microsoft’s Kinect and an artist-friendly toolchain, even a single, clever developer can do a lot. Sound designer, music producer, and Max/MSP developer Chris Vik of Melbourne has been one of those busy early pioneers, with an incredible tool called Kinectar. So, the tech is cool and shiny and impressive: what about the actual music? And as for you: the software’s alpha, but you can fire up your copy of software like Ableton Live and grab this software for Mac or Windows and try it yourself. At top, Chris shows off an early test of the dance collab. Chris writes: Since April 2011 I’ve been working solidly with the Microsoft Kinect, developing my software, Kinectar, to enable its use as a MIDI controller for performing music live. via Chris’ blog More on the software:
Ear training online and mobile | Pitchimprover zoe keating: avant cello The Hand-Cranked, Antique MIDI Sequencer (High-Res Images, Details) Music, ephemeral and fleeting, to many of us wants tangible embodiment, some physical sense of the tug we feel from its unseen vibrations. We’ve regularly featured the image of the circle as a sequence; even as music software prefers left-to-right piano rolls and scores and tracks, it’s a logical shape. Here, Finnish sound artist Martin Bircher looks to a last-century invention to build a mechanical expression of the sequencer. From an antique music box, comes MIDI, as in the video above. Official description: “Digital Enhancement” is an interactive sound installation consisting of an electrified Symphonion Brevet No. 28, a synthesizer, an amplifier and four headphones. And the original Symphonion in action: Martin tells CDM some more about the music box in question and how he converted it to a new, digital life: The modified musical box Symphonion Brevet No. 28 was produced in the beginning of the last century. Another last-century classic – the Roland Super JV.
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.
Kishi Bashi: Tiny Desk Concert A Guide to Producing an Epic Orchestral Track Although I'm not a huge fan of epic productions, they are definitely the thing that producers/directors/game developers search for nowadays. Now, as a whole, epic orchestral tracks can be heard on movies, TV, commercials, video games, trailers. They always support tension, battle, chase – all of these extremely dynamic moments that always catch the attention of the customer (whether a gamer, listener or spectator, doesn't matter). So, this tutorial is a guide that I do hope will help you create your own epic orchestral track. Let's get started! A good composition is a very, very important part of the music. First of all, I'd very much like to point something out – epic orchestral tracks are really similar. So, in order to get you and your clients happy, you should make something that sounds familiar. There are five things that you should take into consideration when speaking about the composition: Melody is one of the most important things in music. Now, let's sum up: Sounds nasty, right?
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)
Kishi Bashi: Unique Performances In Time hide captionKishi Bashi is the stage name of Japanese-American multi-instrumentalist K. Ishibashi. Jennifer Leigh Kishi Bashi is the stage name of Japanese-American multi-instrumentalist K. Consider this name: Kishi Bashi. Kishi Bashi is also known as K. "If I have a lot of idle time, I'll tinker with the violin a bit," Ishibashi says. The first full-length Kishi Bashi album is called 151a — not exactly Thriller as far as titles go. "It's a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can," Ishibashi says.