de Musica

Concert in Jakarta, Evanescence prepare 22 songs

2012-02-20T05:25:00.000+07:00

Band from Little Rock, Arkansas, United States, Evanescence ready to shake her concert in Jakarta in Jakarta 25 February.
Evanescence prepare 22 songs in a concert to be held in Hall A, PRJ Kemayoran, Jakarta. In standing indoor venue with a capacity of 8,000 spectators were, Evanescence will hold a concert for approximately two hours.
The concert titled "LA Lights Concert Evanescence Live in Manila" is part of their world tour concert series in 2012, including Asia and Australia. Concert in Jakarta was the first time they appear in Southeast Asia such as Singapore and Indonesia.

"Looking at the concert preparation has been done, we are optimistic that this concert could provide extraordinary experiences for young adult music lovers, especially fans of Evanescence," said Maya Shintawati, Brand Manager of LA Lights.
Evanescence formed in 1995 by the duo of Amy Lee (lead singer / piano) and Ben Moody (guitarist). This group has a new album recording debut in 2003 through the "Fallen" which sold over 17 million copies worldwide.
The album's success grew when given a prestigious five nominations from the Grammy Awards 2004, two of the major categories: Best New Artist and Best Hard Rock Performance for the song "Bring Me to Life".
Song "Bring Me to Life" itself is one of the legends that helped lift repertoire Evanescence name in world music universe. Recorded in less than a decade since its emergence, Evanescence has released three successful solo album is Fallen (2003), The Open Door (2006) and most new, self titled album, Evanescence (2011).
They were to success when launching a live album titled "Anywhere But Home" is equipped with a DVD at a gig at Le Zenith, Paris in 2004.
Evanescence tickets to a concert in Jakarta starting from Ticket prices Rp500.000 B Festival, Festival A Rp700.000 and VIP for Rp1.200.000.

"Musical Street" Banish Negative Expression

2012-02-17T05:56:00.002+07:00

Intervallo group Chorale, featuring musical street press conference on the sidelines of a campaign titled I Mizone City Project, Ok my town again! De Luca Restaurant in Plaza Senayan,

Young people more active in expressing expression. Unfortunately, many people are more frequent indulgence in negative mood (bad mood) rather than express a good mood. Including through social media like Twitter.

Mizone surveys conducted in collaboration with Media Wave show more people express good mood bad mood than through Twitter. The survey which took place in December 2011-January 2012 through social media searches on Twitter shows, from 2.3 million Twitter users in this period, 2.8 million recorded conversations that indicate bad mood. Meanwhile, from 1.9 million Twitter users in the same period, 2.5 million recorded conversations indicate good mood.

Phenomenon expressed through Twitter this bad mood prevalent in large cities, with the youth as the main actor. Even so, believes young people are able to make positive changes, Mizone design a series of musical performances concept street, through a campaign entitled Project I Mizone City, Ok my town again!

Through this event, the positive spirit of the individual is expected to spread into the environment, from the private and then transmitted to others, and the inhabitants of that city. The main purpose of which gave inspiration to many people as possible to express the positive, repel bad mood and replace it with positive energy. In addition to also invite young people to be wise and observant use social media in a positive way.

Danur Tejawati, Danone Aqua Brand Manager said the event was held for the first time, as well as the enthusiasm of young people responding to the previous activity, the flashmob in 2010. "The target of this activity are young people without age limit. Means those who are young at heart can also be actively involved. Events like this will be carried out every year, with a similar mission to spread a positive spirit, but is packaged differently," explained Danur during a press conference at the Plaza De Luca Restaurant Senayan, Jakarta, Wednesday (08/02/2012).

Spread positive energy through a series of musical events selected street is not without purpose. This event provides a solution by providing a space for young people to channel the positive expression through the performing arts, combined music, dance and acting.

At a press conference, some experts argue about the phenomena and activity. According to Irwan Hidayana, an anthropologist from the University of Indonesia, young people, especially teenagers, need space to express yourself. The absence of public space to make these young people through social media channel expression. He argues, social space is to be created through various activities, to create a new space that is more positive and minimize the negative things.

Meanwhile, psychologist Dr Rose Mini AP, MPsi, believes if a person's mood expressed through social media, this takkkan provide solutions. Precisely how this expression reveals the accumulative impact, especially if the responses given by others through social media tend to be negative.

Dr. Ida Ruwaida, a sociologist from the University of Indonesia, said that the positive energy transmission needs to be done in any way. "Art and media to be an effective way," he said. He added, showed even reveal expression through music can reduce the potential for violence.

Auditions and roadshows

To introduce the concept of musical street as well as spread the positive spirit, Mizone held a variety of activities in three phases. First, a roadshow at 144 points within the campus and high school, starting February 17 to March 17, 2012, presents the musical team of Mizone street. This activity is carried out in Jakarta, Bandung, Yogyakarta, Surabaya, Medan, Malang, Bali, Semarang, Palembang.

The second phase, in the form of auditions and workshops to choose a team of five musical street in the city, lasted from March to April 2012. Auditions involves three judges, to choose the Top 25 which is then filtered into the Top 5 on April 13 to 23, 2012, one team each from Jakarta, Bandung, Yogyakarta, Surabaya, Medan. Last stages of a collaborative team performance in the city last May to July 2012. "Later, the winners received an award for stardom Mizone advertisements," lid Danur.

Indonesia Jazz maestro, Bubi Chen, Has dies

2012-02-17T05:55:00.003+07:00

Jazz maestro Indonesia, Bubi Chen, practicing music together with the doctors who cared for him in the city of Semarang, Java

Indonesia jazz maestro Bubi Chen died on Thursday (2/16/2012) in Semarang, Central Java. News of the death delivered a number of musicians and country music enthusiasts on Twitter.

"RIP jazz maestro Bubi Chen (February 9, 1938 - Feb 16 2012)," wrote analyst Denny Sakrie music on your Twitter account. Denny added, Bubi Chen died at 18:50 pm.

Bubi Chen condolences over the death of directly delivered a number of musicians in the country through the social networking services, among other musicians of Indra.

"My heart is broken ... We just lost the first and greatest Modern Jazz Pianist this Country ever had ... Rest In Peace Uncle Bubi Chen," writes Indra is known to be quite close to the deceased during his lifetime.

Indra expressing the sense of loss over Bubi Chen's departure as long as he considered as his own father. Indra admitted a lot to learn from Bubi Chen to develop his musical career.

Yess, Will be gig in Jakarta

2012-02-16T05:31:00.001+07:00

Good news for fans of progressive rock in Indonesia. Dream Theatre after appearing in the upcoming Jakarta 21 April 2012, the legendary British progressive band, Yes, rumored to be doing his tour of Asian countries including Indonesia.

Yes's Official fanpage on Facebook social network that Yes will appear in the New Selendia, Australia, Japan, Indonesia and Hawaii. Unfortunately, this time on the tour, lead singer of Yes who is also the iconic band, replaced Jon Anderson. Yes previously recruited new singer Benoit David. But while touring Europe in December 2011, Benoit sick, so Isa Benoit was forced to replace the position with a replacement vocalist. Isaiah's message on Facebook read "To avoid the disappointment of fans in Australia in the next round of touring the world, they have found a replacement singer."

Yes the new lead singer's name is Jon Davison. "Jon Davison will join Yes as vocalist for the upcoming schedule in New Zealand, Australia, Japan, Indonesia, and Hawaii, Yes really appreciate Jon Davison join them to round off this tour and this will satisfy all fans of Yes."

There is no certainty who the promoters who will bring in Jakarta Yes. Some of the information circulating on the social networking, Yes will perform at the Ritz Carlton Ballroom Pacific Place, Jakarta, 28 April 2012.

Why Adele song Make Attendance Touched

2012-02-16T05:29:00.001+07:00

Adele in the Grammy 2012

The song "Someone Like You" makes Adele become an icon thanks to his ability to make the audience moved to tears.

Psychologists are finding out things that make Adele, the girl from south London, was able to make the audience laughing with tears.

Researchers have long known that certain parts of the music is consistently able to create a strong emotional effect of the audience.

British psychologist John Sloboda identify this through a simple experiment 20 years ago.

He asked for the music lovers to show parts of the song that made them shiver or tears.

18 tracks were identified and Dr. Sloboda found 18 of the songs that contain "appoggiatura", not a clash with the melody to create dissonance.

"Appoggiatura cause tension in the audience," said Martin Guhn, a psychologist at the University of British Columbia to the Wall Street Journal.

"When the notes back to the melody line, the tension is reduced and lead to a sense of comfort."

It was then that began to feel a sense of chill in the audience. If a clash occurs several times, and side by side, it will create a cycle of tension and relax the trigger stronger reactions.

At that point, tears began to flow. "Someone Like You" was sprinkled with a kind of ornamental notes appoggiatura.

Dr Adele Guhn explained that modulate the tone at the end of a long note and then immediately go into the next harmony so that more and extend a stronger reaction to a listener.

Together with Dr Marcel Zentner, Dr. Guhn compiled a 2007 study on the effects of emotive music.

According to the study, the music will chill effect if it contains a surprise by volume, timbre and harmonic patterns.

"Someone Like You" is a classic example of that theory. Starting with a pattern, repeated softly, and Adele keep not remain in a narrow frequency range.

Then, when the chorus begins, Adele jumped an octave voice and tone of the series started off as a meningkat.Pada volume at the same time, shifting harmonies and the lyrics became more dramatic.

The next question: if "Someone Like You" make the listener sad, why the song was just so popular?

The team of neuroscientists at McGill University reported last year that the intensity of the music is emotionally flooded the pleasure centers in the brain that release dopamine guess it's center, the same thing happens when we eat, have sex, or using drugs.

The team found that a sense of chill brought about a song related to the amount of dopamine released even though it's a very sad song.

Whitney Houston Dies at Age 48 Years

2012-02-14T20:59:00.000+07:00

Whitney Houston

LOS ANGELES - Veteran pop singer Whitney Houston from the United States died at the age of 48 years, Saturday (02/11/2012). It was submitted by a spokesman for the Christian Foster. However, the cause and location of death was not immediately known.

Whitney, the queen of the pop world, formerly known as users of illegal drugs. Until now, as quoted by the Associated Press USAtoday.com, no detailed information about his death.

At the peak of his career, Bobby Brown's wife is known as a diva in the music industry the world. Since the mid 1980s to the end of 1990, he was one of the best-selling artist.

The stormiest, Not Forgotten

2012-02-10T16:06:00.003+07:00

Evening peak of grace 2012 Grammy Awards to be held on Sunday, February 12th, the committee organizers promised would be a show of music and the human being with full keakbaran and will be forgotten. And will not stop at the level of a mere party title.

Even with confidence, the committee said in its official release if the list is filling his show will prove that the promise of excitement. Including an appeal to music lovers around the world to stand in front of the TV and bersitekun each of the celebration was broadcast live. Or in front of computer screens each for an annual event that has been entered in the implementation of the 54's, claimed to be providing top entertainment. And will also direct broadcast streaming.

Although the committee was impressed exaggerated claims, but as the official page of Grammy Awards 2012, Friday (10/2) committee will present everything to provide a different experience to music lovers worldwide. By presenting a list of performers who have no need to doubt the ability and quality in the music industry.

Of the return of best-selling artist in 2011, reunites the classic band, a duo that would collaborate on two genres of music, including the presence of Beatles legend. Plus the appearance of a country musician, rock, pop and hip-hop. In short, all claimed to be there at the Grammys this time. Not to mention the appearance of two time Grammy-winning singer also worked as an actor; LL Cool J who also will act as host.

So it is not an exaggeration to claim the Grammy committee this time it will become Music's Biggest Night.

Still doubt? The committee asked the singer's name is Adele dipuncak success. Who will be performing for the first time since undergoing surgery with regard to recovery of vocal color, as one of "selling" the primary.

Beyond the name Jason Aldean and Kelly Clarkson. The Beach Boys, who will reunite for the first time over the past two decades, plus the presence of Foster The People and Maroon 5. Not to mention the name of Tony Bennett and Carrie Underwood, Chris Brown, Glen Campbell with the Band Perry, Blake Shelton, The Civil Wars, Coldplay Rihanna.

Excitement will not stop there, in a segment dance / electronica name "hero" like Chris Brown, Deadmau5, Foo Fighters, David Guetta, and Lil Wayne did not want to miss. Plus the action stage, which promises something new from the band Foo Fighters, Alicia Keys and Bonnie Raitt, Diana Krall also do not want to miss.

Not to mention some other sacred name is Bruno Mars, Paul McCartney, Nicki Minaj, Maceo Parker, also an artist who has recently rocked Indonesia after stunning at the Sentul International Convention Centre Katy Perry. Even the name of Bruce Springsteen And The E Street Band, Taylor Swift, and Joe Walsh will further strengthen keakbaran carpet Grammy 2012.

Roxette, That Has Disappeared Will Arrive in Jakarta

2012-02-10T15:26:00.000+07:00

Listen to your Heart, The Look, Joyride, Spending My Time, June Afternoon and How Do You Do, is a partial row of song hits a band from Halmstad, Sweden. Roxette will soon hit the Jakarta on March 3, 2012. Big Daddy Live Concerts as the organizers will hold a show at the Eagle Eye International Stadium (Meis), Ancol, Jakarta.

In the late '80s until the year 90s. Through the song "It Must Have Been Love" Roxette managed to top the Billboard Hot 100 in June 1990. Successful not only tops the Billboard charts, "It Must Have Been Love" also went on to become Original Soundtrack Pretty Woman, starring Richard Gere and Julia Roberts.

Although it has been long absent from the arena of world music, music group established in 1986 consisting of Per Gessle (Vocals / Guitar) and Marie Fredriksson (vocals) has a song-song hits that never cracked the ears of his fans.

In 2002 when Roxette album is preparing compilation CD titled "The Ballad Hits" and a new single titled "A Thing About You", the vocalist Marie Fredriksson fell ill. Diagnosis of the medical team said that Marie Fredriksson fell ill with brain cancer.

Although nearly ten years of Marie Fredriksson resting, in his musical passion never extinguished. Slowly but surely, in the year 2010, Marie started biting back with Per Gessle Roxette strengthen mini tour through Europe. That was the turning point in a jazz duo Roxette back to the world music stage.

Roxette concert is one of the early long-term cooperation between the Big Daddy with Live Nation. Live Nation is an integrated entertainment company in the world who are actively conducting more than 22,000 performances each year, manages 117 venues bernaungnya performances and places of the world's mega-stars, including Madonna, U2 and Shakira.

Big Daddy as a promoter Roxette Live Concerts Live 2012 has been officially release her concert tickets at a price of Rp 1.5 million for the VIP class, Rp 650 thousand for the Festival, as well as Rp 450 thousand for the Tribune.

Roxette Live 2012 concert was the first time they greet fans in Indonesia. Make the fans in Indonesia should be proud, because this time in the tour, Roxette chose first to greet Indonesia rather than Singapore.

Learning Music, That's How People of Afghanistan to Reduce War Wounds

2012-02-10T15:14:00.002+07:00

Prolonged emotional wounds of war does not seem easy to dismiss granted. However, the people of Afghanistan have their own way to reduce injuries, that is through music.

A beautiful atmosphere that floated from the only music academy in Afghanistan. In this place, students are taught to play music in the hope they are more comfortable in the midst of the turmoil of war and poverty.

'' We are committed to rebuilding the shattered lives through music. It became our strength to recover,'' said Ahmad Sarmast, head of the Afghanistan National Institute of Music.

Currently the institute has 140 students. Unfortunately, the teachers here, too, must face the fact that children also have their own obstacles to learning. Understandably, most students are children orphaned or street children.

However, that does not mean they have to give up. '' All obsessed with learning the music,'' said the teacher vocals and trumpet, Mashal Arman.

'' They are very thirsty to learn music and art. It's fun because in the end we see that the country is beginning to change,'' said Mashal, who is also the daughter of famous musician is Afghanistan.

And, gentle music that sounds as if changing the debris destroyed during the war became a beautiful hope for the future.

Jogja Hip Hop Foundation Become a Teacher of Hip Hop

2012-02-07T13:47:00.003+07:00

As a group of nearly 10 years old, Jogja Hip Hop Foundation (JHF) is a place to ask for the hip-hop that thrives in Yogyakarta. In fact, many parents requested a teacher's personnel group for children who want to sing hip hop.

Java-language hip hop group that consisted Marzuki Mohammad alias Kill the DJ, Balan, Lukman, Antok, Mamok, and DJ Vanda.

Last weekend, JHF entertain youth participants Creativity 5th Anniversary, which carries the theme "Investo: Invest Your Energy for the Earth". "Now there are about 250 groups of hip hop. If nationwide, hip hop fade. But not in Yogyakarta, always alive, always comes a new group," said Juki, call Marzuki, who is also the founder JHF.

Some time ago, JHF held angkringan be an excellent hip-hop hip hop group meeting. "It's very exciting, all singing. They sing from 09:00 am until 11:00 at night. We actually just a little singing," says Juki.

Different again with Antok experience. Initially, he found it difficult to introduce hip hop to the public. "Now, many are asking us how to create a song. In fact, there are mothers who asked us to be a hip hop teacher for his son," said Antok.

Nidji Will Distribute Album in Australia

2012-02-07T13:47:00.000+07:00

IMAGES: FIL Banar Ardhi

Nidji (only partially visible personnel) appeared in the Kingdom of the Universe Symphony concert grand in order to launch programs on the Screen Compass Kacaa, in the Plenary Hall, Jakarta Convention Center, 9 September 2011 evening.

Nidji, Sleigh-member band (vocals), Rama (guitarist), Ariel (guitar), Run-D (keyboard), Andro (bass), and Adrie (drums), will launch their new album, Victory, in Australia. They assess, it is a big step because all this new work in the Asia-Pacific.

"Actually, go international from the first year are to Asia-Pacific. But first album release in non-Asian countries," said Sleigh when met at FX Plaza, Jakarta, Thursday (02/02/2012). "We, God willing, remove the Asutralia, Japan, Europe continues," he continued.

Nidji publicly promised not to mengecawakan outside Indonesia. In fact, Leads and his friends planned to introduce the traditional music of Indonesia to foreign audiences. "Yes, later on, fitting big international events, we will show that if Nidji band from Indonesia. There may be a musical arrangement Indonesia. If rock music, hip hop, it's amazing," said Sleigh.

Although it will expand, they will not forget the Nidjiholic - Nidji designation for the fans - who are in Indonesia. They will arrange a time to be able to keep indulging their enthusiasts in the country.

Amari: Combine Various Genre Music, Concerts Prepare Amari in the Car Free Day

2012-02-07T13:38:00.003+07:00

PREPARATION OF CONCERTS - Amari personnel training center in Solo Music Concert, Sunday (05/02/2012). Groups of children and youth orchestra will hold a concert when the car free day next February 19. (JIBI / Solopos / Chrisna Chanis Method)

Prepared a special concert dedicated ensemble Music Children and Youth (Amari) Solo in the area car free day (CFD), February 19. Orchestra on the theme of The Street, Amari will draw on various genres of music to be presented in the form of an orchestra.

Presented arranger and conductor Amari, Mursid Hananto, music genres like pop, jazz, rock, keroncong to dangdut Amari will be explored later in the concert. "The concert is our title to enliven the town of Solo birth day-267. In addition, we wanted to get closer to the community orchestra, "he said when met Espos in Solo Concert Music.

According Mursid, Amari will be presenting about 14 songs. Dangdut song that catapulted the singer Ayu Ting-Ting, False Address will be one special presentation at the concert. "Dangdut music and orchestral mix is a new challenge for us. Here, we are required observant and creative work on the rhythm of the song, "he said.

In addition to Address False, he continued, Amari ready to present a row of songs such as Beautiful Symphoni, Idioms Solo City, Indonesia Jaya and Winter Games. "In some songs, we involve the Solo Batik Carnival (SBC) as penyemarak concert," he said.

Related to the concept stage, it said there was no special stage. According to the theme Orchestra on The Street, it will merge with the crowd on the streets. "There is no barrier between us and the audience. Everything is fluid, "he said.

On the other hand, even though the assets could be called the city of Solo, the orchestra formed May 14, 2005 is claimed to lack the attention of the City (City Government). The Secretary expressed Amari, Ambar Pujiastuti, until now Amari still alive with its own pocket. "And we've helped pass it the name of Solo concerts in places such as Mother's Day in Jakarta, last year. There are at least there should be little concern from the municipal government, whether it be money or give a decent training ground, "he hoped.

Held, Clinical Jazz with Trio Fauzi Jeko

2012-02-07T13:35:00.000+07:00

Jazz group from Bali, Fauzi Jeko Trio, will be for-the knowledge and experience in Soedjatmoko Hall, Tuesday (02/07/2012) night.

In addition to holding Jazz Clinic, Fauzi Jeko Trio will hold a concert and latest album promo.

Described the event coordinator who also advocates Solo Jazz Society, Aditya Ong, Solo, it invites the public who wish to know more about jazz music.

"In particular the concept of modern acoustic jazz that is now carried Jeko Fauzi Trio," he told Espos, Sunday (02/05/2012).

Dangdut formations in the United States

2012-02-05T01:42:00.001+07:00

Rhoma Irama. The King of dangdut

Dangdut music filled the room at the Consulate General in Houston, USA. Songs like staying up, Young Blood, to shake about 120 people Distracted Americans and Indonesia in Houston recently. '' They are made up of professionals, entrepreneurs, NGO leaders, 'think tanks' and academics, "said Consul General (Consul General) RI in Houston, Al Busyra Basnur, in a statement.'' They were dancing and swaying to the music and songs sung by the singer the people of Indonesia in Houston,'' he said.

Dangdut music show was held together at the weekend, after exposure of the Indonesia's economic progress by Al Busyra and video views on the economy of Indonesia.

"It was very unpopular dangdut U.S. communities in Houston. They enjoy the music and soluble in typical wobble dangdut," said Consul General after seeing so many invitations that come down to a dangdut dance floor.

"The music dangdut invite people to move a body movement. I'm not used to dancing, but I can now shake hands and contort the body to the rhythm of dangdut," said Tina Ho of Asia Society Texas Center's press release was quoted as saying.

In addition to Indonesia as a venue for music promotion, music dangdut at the Consulate General in Houston is also an early recognition of the reality show "Jason Goes to America" initiated by Dino Patti Djalal, Ambassador to the United States.

The event will feature a number of Indonesia's dangdut artist will be held next March in various cities and regions across the U.S., including Houston.

Ethnic music not die

2012-02-05T01:39:00.004+07:00

Music is a trend that is not everlasting death. Unfortunately, ethnic music slowly closed the frenetic pop music and abroad. Concern and awareness of ethnic music, encouraging students ITB, Archie Grace, making Indonesia the publication of ethnic music.

"Many of the ideas that I want the software developed, ranging from the simple to the absurd," said Archie. But the lack of publication and dissemination of ethnic music, a first priority right now. A net label dedicated to him this kind of traditional music.

The label carries the name of Net Experia, Archie provide avenues of publication and dissemination of ethnic music of Indonesia. Free. This vehicle is located at http://experialabel.wordpress.com since the beginning of construction is not for commercial purposes.

"In addition to preserving the ethnic music of Indonesia, is expected to form an ethnic community of musicians," said Archie. The hope, will bring the community share their culture and bring the appeal to the public.

Angklung Has Hypnotizing Hamburg, Germany again

2012-02-05T01:38:00.001+07:00

For the first time, Technical University of Hamburg (tuhh) held a concert co-operation with Stadtteilschule Harburg. Has registered seven leading music group that is ready to fill the program shows "Just Music" on Saturday, January 14th. One of them, the music group Angklung Orchestra Hamburg (Aho) guidance Prio Adhi Setiawan believed to enliven the inaugural concert.

Since its founding in 2002 by the Indonesian students in tuhh, Aho has become one of Indonesia's cultural ambassadors who actively participated in various cultural events in northern Germany.

The music group currently consists of 30 students aged 13-23 years had a mission to introduce the instrument angklung to German society. No loss of creativity, a wide range of activities have been successfully held, ranging from ngamen in urban centers to work together with the Consulate General in Hamburg to set up a program "Angklung for Kids", for children in kindergartens and primary schools.

Aho appearance at the concert "Just Music" was recorded as their first action in 2012. This time, Aho given the opportunity to become one of the top event is packed in three hours. Rhythm "Kicir-Kicir" who was melodious singing on stage Audimax I with a capacity of 900 people, bringing penoton archipelago as being in nature.

Before the show the permissibility of bamboo musical instruments, juggling Aho song "New York - New York" in his trademark shades. Not hesitate to take care audience, Aho with confidence plays one of his Herbert Grönemeyer, "Demo - Letzter Tag". Terminated by the ultimate weapon "Mission Impossible", Aho again get hectic festive tremendous applause from the audience.

Prof. Liese as moderator concert enthusiastically commented that "the angklung can turn any song into a unique, adding a distinctive flair." In a brief interview on stage, the duo Chairman Aho Ihsan Nuraha and Hanif Sudarbo shows how easy it is to play angklung and team-building aspects that can be achieved in berharmonisasi.

With this, Aho again proved that the angklung music is an example of a universal culture of Indonesia and very interested in German society. Aho appearance always filled with lots of praise and applause from the audience. Budweg Anna, one of the audience "Just Music", was deeply impressed and amazed at the cohesiveness of the group and the greatness of a simple musical instrument native to Indonesia who can play any kind of music.

Sekar Mayang W. Wahjudi

Angklung Hamburg Orchestra Public Relations

Free, Pianist France Concert in Jakarta and Bandung

2012-02-04T06:01:00.000+07:00

Celebrating 150 years of legendary French composer Claude Debussy, Institut Francais, Indonesia presents a classical music concert in Jakarta, Bandung, and Balikpapan. Young French pianist Marie Vermeulin presents a series of works by Debussy recital.

Vermeulin who are graduates of the various competitions internasionaldengan can quickly establish his trademark in the world of French piano. His style is brilliant and full of color gives a nice impression in presenting a diverse repertoire.

Pianist who was born in 1983 has been studied for six years in Paris with the famous French pianist, Jacqueline Dussol. In 2001, he not only receive a Diploma in Music (Diplome dEtudes Musicales) in the School of Music in Boulogne-Billancourt, France, but also the winner of the highest degrees for penjurusan Piano.

Brilliant results were then opened the way to the High School of Music and Dance in the city of Lyon. Thanks to attending various music master classes, he had the opportunity to meet directly with many musicians / composers known as Zoltan Kocsis, Jean-Claude Pennetier, Akiko Ebi, Gérard Fremy, Jean-François Heisser, and Abdel Rahman El Bacha.

With so many music awards that have been achieved, he appeared frequently in France, Italy, Spain, Lithuania, and Germany. He also often gave piano recitals at many music festivals in Europe.

Marie Vermeulin open early in 2012 by organizing a tour of Southeast Asia and the theme is warning of Debussy. Indonesia became the first country to get a chance to enjoy the skill of this young pianist. The next destination is Hanoi and Ho Chi Minh in Vietnam, then in the city of Manila and Cebu, Philippines.

Marie Vermeulin tour began in Jakarta in Indonesia on February 1, located in Jakarta GoetheHaus. In Bandung appear on February 3 at the Auditorium IFI Bandung. In both cities, the concerts are free.

As in New York City was held on February 5, 2012 at Hotel Le Grandeur. In this city, Adult admission price of Rp 100,000 ($12), under 16 years of Rp 40,000 ($4,9) and Rp 20,000 ($2,5) for students

Bollywood music is feared will turn off the Music Genre in India

2012-01-29T08:23:00.002+07:00

Subha Mugal have no problem with the music of Bollywood, but the veteran singer says that if everyone continues to create songs Bollywood masala in the industry, it could be threatening other musical genres in Indian culture.
"Right now we can see, that the Bollywood music played in each house, one of the biggest reasons is, because these songs are easily accessible. I have no problem with Bollywood music, because I really enjoyed it. But in the process, we lose other species. it's tragic, if the music is extinct, it will not appear again, "said Subha told IANS in an interview.
Star is 53 years trying to do a little effort to popularize and preserve various types of music, and streams, through his show, 'Baajaa Gaajaa', during the last three years.
Now he is preparing the fourth edition of the event, scheduled to be held in Pune, on February 10 to 12.

10 Months After Ariel will free from prison

2012-01-29T08:18:00.002+07:00

Ariel freedom of their sentences in Rutan Kebon Waru, Bandung, West Java, can not be predicted. Therefore, the review sought was refused and remained in the original decision of the court.
"Indeed we have put forward a review, the results are already out and keep to theoriginal decision," said Soeratman, manager of Peterpan, when contacted by telephone on Saturday (01/28/2012).
Inevitably, Ariel just expect freedom faster than his sentence was, of remissionLebaran and the Republic of Indonesia's Independence Day which falls every 17August. "That's what we're after. Hopefully, we can be a maximum remission," he explained.
Peterpan frontman Soeratman predict it will breathe fresh air in October 2012. With notes, Luna Maya's lover, get the maximum remission. "If it can be a lot resmisi,perhaps in October 2012 to get out," he said.
As a manager and friend, Ariel Soeratman want to be free as soon as possible. "If itcan be hell tomorrow. But do not know," he said.
Ariel should be serving a prison sentence after he was found guilty by a court in the case of a video nasty involving two famous celebrities, Cut Tari and Luna Maya.Ariel sentenced to 3.5 years for the charges for distributing a video nasty.

Athlete and The Lemonheads added to thelondonpaper HEADLINERS

2009-08-24T15:19:00.000+07:00

Athlete, The Lemonheads and Official Secrets Act join the bill for the inaugural thelondonpaper HEADLINERS event in and around Soho, this September.

Helping to revitalize the live music scene in the area, it also recognizes its rich history as a vibrant location for live music. The newly confirmed artists join an exciting and eclectic bag of established and new acts, including Biffy Clyro, Doves, Ben Howard, Sophie Ellis Bextor, The Magic Numbers, A Flock of Seagulls, and Daniel Merriweather.

Bands will be appearing across thirteen venues, from Orchid and Punk clubs in the heart of Soho to a seated theatre in Leicester Square. Wristbands entitle its wearer access into all venues. The complete list of venues includes the legendary 100 Club, Bar Rumba, Fopp, Heaven, HMV, ICA, Leicester Square Theatre, Madame JoJo’s, Orchid, Punk, Sound, Borderline and The Fly.

As well as these venues, there will be more entertainment happening in and around Soho including pop up gigs taking place at Sister Ray Records on Berwick Street, the backdrop to Oasis’s 'What’s The Story (Morning Glory)’ album cover. Other unusual spaces include The Arts Theatre Club on Frith Street, The Coach and Horses on Great Marlborough Street, The Social on Little Portland Street and Walkabout on Shaftsbury Avenue.

Wristband holders are encouraged to explore the area and discover new parts of the city, new venues and new favourite bands, though we have now revealed where some acts will be performing. With some acts appearing on both days, including Doves, and with a number of acoustic and secret performances with special guests also planned, it’s a real chance to experience music right on your doorstep.

On the night of the event, you exchange your purchased ticket for a wristband at the official wristband exchange venue (TBC) which allows you access to all of the venues (subject to capacity).

General tickets are on sale for £20 for one night or £40 for both nights. You can still get discounted tickets at £17.50 for one night and £30 for both nights, exclusively through www.thelondonpaper.com/headliners or taking your paper to any participating HMV stores.

Wednesday 16th September:

Doves
Athlete
The Magic Numbers (100 Club)
The Lemonheads (LST)
Daniel Merriweather
Official Secrets Act
MPHO
Danny and the Champions of the World
Tom Allalone and the 78s
Kurran and The Wolfnotes
The Boxer Rebellion
Magistrates
Ou Est Le Swimming Pool
The Loose Salute
Tommy Sparks (Madame JoJo’s)
Ghostcat
Raygun
Dolly Rockers
Chipmunk (Punk)
Ghetts
Alex Roots
Gabriella Cilmi
The Loose Salute
Riz MC
Stricken City
Catherine Tran

Thursday 17th September:

Doves
Biffy Clyro
A Flock Of Seagulls (Bar Rumba)
Sophie Ellis-Bextor (Sound)
Ben Howard
VV Brown
Fink
Animal Kingdom
Fryars
MPHO
A. Human
Just Jack (Heaven)
Tommy Reilly
Flood Of Red
Dot Allison
The Boy Who Trapped The Sun
DJ Yoda (Orchid)
Beardy Man
Dan Black
Dimbleby & Capper
Sinead and the Dawnbreakers
We Fell To Earth
White Belt Yellow Tag
Young Fathers
Black Cherry

www.thelondonpaper.com/headliners

25 great music-making tips from musicians

2009-07-15T11:51:00.000+07:00

In the results of the Music to make you happy survey in February, the things that impressed me most were the answers to the question "What's the best piece of advice about making music that you've ever heard?" Within the 1,100+ responses are hundreds of great tips - some old, some new, some obvious, some arcane. Like these, for starters...

Like Kraftwerk, have a non-music day every week or so (Anonymous computer musician)
If things go wrong, just maintain that you were playing jazz (Max/MSP enthusiast)
Play less (Guitarist, and lots of other people)
When learning to play a piece of music, play it first so slowly that you don't get a single note wrong. Then slowly increase the speed. Then, play louder than normal at the proper speed and you'll play more confidently (A bass player and a synth tweaker)
When editing, don't cut the breath off before someone starts talking or singing (Guitarist)
Finish the first draft (Bass plyer)
It's essential to begin every recording by asking 'Are we Recording?' (Guitarist - is that you, Peter?)
Before you start for the day, go for a long walk (Computer musician)
Listen. Listen very carefully. No. REALLY listen. (A guitarist, although 115 people used the word 'listen' in their tips)
Wear earplugs (Drummer)
Hit it hard, ye massive ponce (Drummer)
Grab some string and bend it. If it doesn't sound right move up a fret and try again. (Guitarist)
Start now, don't wait (Keyboard player)
Get into the groove / Boy, you've got to prove / Your love to me (Guitarist)
Retune your guitar, so you don't know the notes, then try making music with only your ears as guides (Keyboard player)
Tune your guitar, play in time (Guitarist)
Do it in triplets! (Programmer)
Make, go sleep and check again tomorrow... (Synth tweaker)
You may think you're playing your instrument, but what you're really playing is the audience (Studio engineer)
Keep your cigarette lighter away from my drummer - He'll set fire to anything that burns (Nord Modular enthusiast)
Do something every day. Even if all you do is make a beat or write some lyrics or a bassline or whatever, do something. Even if you just have a few minutes a day to spare, the material you have quickly builds up (Field recordist)
"Play more things that make me dance around and less things that make me sit and look miserable in a plastic chair" - Brian Eno (Guitarist)
Learning any instrument is about scales. Scales. Scales. Scales. The trick is to make learning the scales interesting. Which is hard. And I've never done it. Which is a shame (Studio engineer)
Never listen to the same loop for longer than 10 minutes (Beat maker)
Write as many songs as you can and pick the best (Guitarist)

2009-07-13T14:36:00.001+07:00

Hey gang! This week we are coming on strong with some jams that leave no doubt that we are as serious as lions. Lions playing synthesizers….oh brother, can I go home now? No? Okay…in that case, we’ve got some weird disco, strange post-funk, a p-rock marching band, a retro-Native Tongue rapper and plenty of the usual happy robot noise to make you happy and maybe learn you a thing or two. Happy jamzing!

TenderLions
This San Francisco disco-tech crew makes flashy tunes of their own and also does wonderful things to other’s work - check their decon of Jay Z’s 99 Problems.

Débruit
This French producer calls his kinetic sound “post-funk,” but descrptions like “if Aphex Twin and Dilla had a baby” work too.

Neon Indian
Extremely warped, sweetly melodic, completely wonderful bedroom disco.

Deru
Silverlake’s instrumental hip-hopper Deru crafts sounds that are fragile yet streetwise, and more than a little ominous — a perfect fit for Mush Records, in other words.

Breakbot
Hot as monkeys Parisian remixer who does fancy things to songs by Metronomy and Sebastien Tellier among others.

Muccapazza
Punk rock marching band from Chicago…no more to be said.

Deer or the Doe
Surprise! More great Portland indie rock.

Songs for Moms
Their name seems to indicate that your mom will like it.

ULTRNX
Glitch-meisters Phil de Gap and Ahoi Boi are giving Justice a run for their money.

Mux Mool
After moving from Ghostly International to Brooklyn’s Moodgadget, Brian Lindergren gets all synth-sexy with it.

Micah James
Remember Native Tongues? Micah does.

Also, it’s time for the Perculator!

From : http://blog.allmusic.com/2009/7/10/hot-damn-jamz-21-its-time-for-the-perculator/

Live Feed: Bonnaroo 2009

2009-07-13T14:31:00.000+07:00

Patterson Hood, the Drive-By Truckers

The sunburns have begun to heal. The ears have stopped ringing. But the memories of Bonnaroo 2009 — which saw nearly 80,000 people flocking to Tennessee for a weekend of live performances and varying weather patterns — don’t fade so easily.

This was my fourth time at the festival, and some things never change. There will always be mud. There will always be harsh, unrelenting heat. As the festival wraps up on Sunday evening, a combination of substance abuse and sleep deprivation will inevitably take their toll on Bonnaroo’s most adventurous attendees, resulting in a subdued atmosphere and a sea of passed-out bodies.

Bonnaroo is America’s premier festival, however, and no event earns that title without a steady stream of upgrades. This year introduced a number of new traditions: the presence of golf-cart taxi cabs, a renewed emphasis on environmental activism, and some flashy neon-looking signs (all of which sported the Back to the Future font) marking the festival’s three tents.

THURSDAY
The cab drivers paid their dues on Thursday afternoon, when short bursts of rain turned Bonnaroo into a muddy, Woodstock-worthy mess. Wheels churned in the dirt, sending mud and sludge onto every moving vehicle. Most of the cabbies remained in good spirits, though, particularly a young dreadlocked driver who had converted his cart into a pirate-themed taxi. A sign reading “Arrrr! Tips be good for curing me scurvy!” flapped in the wind as he barreled past us, while his lone passenger – a person clad in a green, full-body ninja suit – hooted at the pedestrians.

After setting up our camp in the rain, we headed into Centeroo to check out the first crop of bands. Janelle Monáe kicked things off in The Other Tent, but we bypassed her futuristic R&B in favor of the White Rabbits’ sweaty indie rock. The Rabbits took a percussive approach to their set, which featured two drummers and occasional percussion from singer/pianist Stephen Patterson. Meanwhile, songwriter Erin McCarley commanded the stage at the cozy Troo Music Lounge, where her band blew the soundboard’s power during their first song. Whoops.

We headed over to That Tent (if you think those names are confusing now, try puzzling things out after three days of Tennessee humidity) to catch the Low Anthem, whose debut album had been released two days prior. The musicians cooled things off with atmospheric folk songs and gorgeous harmonies, but the evening’s strongest vocals arrived during Chairlift’s set. Dressed like a high-school teen queen on her way to the Homecoming Dance, singer Caroline Polachek wailed like the opera-trained offspring of Bjork and Aimee Mann. The band even strutted their way through a cover of Snoop Dogg’s “Sexual Seduction,” although few audience members recognized the song in its slow, Depeche Mode-styled arrangement.

Passion Pit closed out the night as heavy rain soaked everything in its path. The canvas roof of This Tent provided shelter for the crowd, but our own tents weren’t so lucky, and we headed back to the campsite to move them beneath a tarp.

FRIDAY
Mud. So much mud.

As we walked toward Centeroo, making our way past the food booths and t-shirt stands that lined the road, we saw vendors laying straw in front of their makeshift storefronts. Some had resorted to bailing out the biggest mud puddles with a bucket. Few tricks worked, and even though the rain had stopped during the night, the ground squished all the way to the festival gates.

Inside, Kaki King busied herself with a mix of folk songs and guitar virtuosity. We left the gape jawed crowd behind in favor of catching the Animal Collective show, which attracted a larger crowd than most daytime concerts. The band played multiple tracks from their acclaimed Merriweather Post Pavillion, but the show seemed to lack the album’s rhythmic drive, an issue that may have been the soundman’s fault.

Up next were the Yeah Yeah Yeahs, whose impending presence caused a large portion of the crowd to stay in place during the set change. Karen O eventually took the stage in a multi-colored kimono and launched into her patented, charismatic antics: shrieking into the microphone, brandishing it like a sword, and momentarily swallowing it like a banana. Tuning problems forced the group to abandon “Maps” during the first verse, but Karen and Nick Zinner quickly brought out the acoustic guitars in order to do the song “Nashville style.” It was a tender moment in an otherwise raw, raucous set, and Karen’s vocals were gorgeous. Above our heads, some lucky patron watched the band’s encore from a hot air balloon.

Several hours later, the Beastie Boys brought Nas onstage for a performance of “Too Many Rappers,” a new track from the band’s forthcoming record. Meanwhile, David Byrne sported a tutu at the Which Stage, Phish jammed their way through the first of two headlining performances, Phoenix played a criminally short 45-minute set, and Girl Talk kept the party rolling until 4 a.m.

SATURDAY
For the second year in a row, the Drive-By Truckers braved the weekend’s hottest weather and soggiest humidity. Unlike last year, they were joined onstage by Booker T., who added flashes of organ to the Truckers’ songs while also promoting his own release, Potato Hole. The ensemble wrapped things up at 4:15 p.m., just in time for Govt. Mule to take the stage. I’ve never been a fan of Govt. Mule’s long winded improvisation, but you’ve gotta give it to Warren Haynes — the man may be the only jam band leader who can really, really sing.

Bryan Poole, Of Montreal

Indie pop flexed its cute little muscles that afternoon, when Jenny Lewis and Of Montreal performed on opposite stages. Joined by boyfriend Jonathan Rice, Jenny Lewis peppered her set with songs from Acid Tongue and dedicated “See Fernando” to a large, inflatable duck. Even so, her sprightly songs paled in comparison to Of Montreal’s sonic spectacle, which included crazy costumes (seriously — guitarist Bryan Poole looked like Dee Snider circa Stay Hungry), smashed guitars, fog machines, and oodles of off-kilter pop songs.

It was a hard act to follow, perhaps, but the Decemberists managed to keep the spirit going during their follow-up set. The Hazards of Love was recreated in all of its bombastic, operatic glory, and the band’s two guest vocalists — Shara Worden (who sounded like Ann Wilson) and Becky Stark (who looked like the Virgin Mary relocated to the “Lord of the Rings” movie set) — sang everybody else under the table.

Becky Stark, The Decemberists

The Mars Volta played an abbreviated set that evening, which would’ve been heartbreaking if we hadn’t already planned on decamping to the main stage to prepare for Bruce Springsteen. The Boss took the stage at 9 o’clock, flanked by his famed E Street Band and heralded by the cries of an immense audience. The show took awhile to gain momentum — only a small portion of the audience seemed to know Springsteen’s general catalog, and an even smaller portion managed to stomach the eight-minute cowpie known as “Outlaw Pete” — but the rocky start only fueled Springsteen’s fire. He launched himself into the crowd, snatched up all the handmade signs he could find, announced “It’s request time!” with all the zeal of a preacher at a tent revival, and began playing the band’s greatest hits. Best moments: Nils Lofgren’s solo during “Youngstown” (which ended with the guitarist spinning in circles on one foot), a truly standout performance of “Born to Run,” and a guest performance by 18-year old drummer Jay Weinberg, who replaced his Dad midway through the set and turned “Radio Nowhere” into the evening’s fastest, hardest-hitting number. In summary, Springsteen and company killed it.

We soldiered on into the late hours, catching NIN’s theatrical set (which, according to frontman Trent Reznor, was apparently the band’s final show in America ever) and watching Yeasayer amble through a blend of tribal indie rock and hippie psychdelia. MGMT closed out the evening with a surprisingly strong (and surprisingly crowded) show, culminating in a string of hits from Oracular Spectacular and a cover of ‘Til Tuesday’s “Voices Carry” with Caroline Polachek on lead vocals.

SUNDAY
We spent our last day immersing ourselves in hip-hop and country acts — considered strange bedfellows by much of the music-loving world, perhaps, but perfectly compatible companions inside the Bonnaroo gates. Erykah Badu took the stage in a Public Enemy shirt and a bowler hat while Neko Case watched from the wings, and Snoop Dogg played a wide swath of his own hits — as well as a cover of House of Pain’s “Jump Around” — during his subsequent set. Meanwhile, Merle Haggard sounded a bit tired while meandering through an afternoon performance, and Neko Case turned in the festival’s most technically proficient show, even if her siren vocals couldn’t quite make up for a lackluster stage presence. (And let’s not talk about her onstage duet with Triumph the Insult Comic Dog. That was more painful than “Outlaw Pete.”)

After riding the festival’s very own Ferris wheel, we rolled up our tents as Phish closed out the festival with another headlining set, punctuated by Bruce Springsteen’s cameo on “Mustang Sally,” “Bobby Jean,” and “Glory Days.” Our exit from the festival grounds was quick, and we headed back to Ann Arbor during the early morning, dreaming about hot showers and flushable toilets. Bonnaroo is never an easy festival to attend — it’s too hot, too rainy, too exhausting for that — but it’s always been worth the trip.

from : http://blog.allmusic.com/2009/6/19/live-feed-bonnaroo-2009/

Babies Learn Music While Sleeping

2009-07-09T14:49:00.001+07:00

ScienceDaily (Feb. 27, 2009) — Early screening and treatment for infants with hearing problems, and the ability to computer-generate musical scores, are two very different possible outcomes of some “off-the-wall” research.

Until recently, little has been known about the perceptions humans have when they enter the world.

Although adult perception has been extensively researched, how, or even if, the brains of newborn babies perceive patterns in the world remained a mystery.

That mystery has been at least partially solved by an EU-funded research project, EmCAP, which brought together what many would consider an unlikely consortium, comprising both neuroscientists and music technologists.

What project coordinator Susan Denham describes as “blue-sky thinking” on the part of her and her colleagues when they initially proposed the project led to experiments involving playing music to newborn babies.

Scanning sleeping babies

In the experiments, sleeping babies were hooked up to an encephalograph (EEG), an instrument able to measure brain activity using electrodes placed on the scalp.

The babies were then played music – to be more exact, simplified tone sequences – to test what sort of patterns they were sensitive to and whether they would predict what was coming next based on what had gone before.

“The babies were presented with sequences of sounds of different tone colour – different musical instruments, if you like – but all of the same pitch. Occasionally, you play a sound of a different pitch and watch the EEG to see if they produce a distinctive reaction to this deviant sound,” explains Denham. Similar tests were done to see if babies were sensitive to rhythmic and melodic patterns, too.

Denham says while this sort of technique has been used for many years on adults to measure pre-conscious detection of unexpected events, it has seldom been used with newborns. The big advantage is that it can work even when somebody is unconscious. So the babies being asleep was not a problem.

Rocking in the cradle

The results were exciting, demonstrating newborns had a sense of pitch from birth, and this was not something learned through experience as had previously been thought. The experiments showed they are even sensitive to the beat in music.

“The bottom line is we come into the world with brains that are continually looking for patterns, and telling us when there is something unexpected we should learn about,” says Denham.

István Winkler, who conducted the baby research, concludes this capability allows babies to learn about their environment and the important actors within it.

The discoveries may be applied to developing early screening techniques and treatments for cognitive hearing problems. The screening currently in use simply measures how hard of hearing people are as opposed to the nuances of their actual perceptions.

“Research is needed to determine the norm – and how much variation there is from it – to prevent false diagnoses when a baby is simply developing slowly,” Denham says. But then it should be possible to spot defects at a very early stage and treat them while the brain is still malleable.

New light on music cognition

The research has thrown new light on music cognition and brought practical benefits to the music technologists involved in the project.

“While it remains unclear whether a capacity for music is rooted in nature, rather than nurture, it is clear that musical competence is a special human capacity, shared across ages and cultures.” says project partner, Henkjan Honing.

Although the ability to detect musical patterns is present from birth, music cognition develops throughout life. However, music cognition is influenced not so much by musical expertise, as by experience. According to Honing, “Frequent listening to a certain musical genre allows listeners without formal musical training to become experts in that musical style.”

Computers mimic the brain

Details revealed by the experiments about the way the brain checks and adjusts its expectations made it possible to develop computer programs that mimic these processes.

Researchers in EmCAP developed a generic algorithm, basically a bit of smart software, able to detect violations of expected pitch and rhythmic structure, with tonality soon to be added to the list.

“We did the modelling at two levels, one trying to emulate brain function and perception in a simplified but still fairly detailed way, and the other tailored more for practical use in music processing systems,” Denham says.

What this will mean in practise, is the future development of artificial cognitive music systems able to “listen” to music and produce a score in real time showing which instruments play which notes. Project partner Xavier Serra suggests that the next generation of music processors will be based on algorithms that imitate how humans process music.

Further projects are planned on the back of EmCAP, including one starting in March 2009, which will use sounds to detect behavioural patterns of living creatures.

EmCAP was funded under the Future and Emerging Technologies (FET-Open) scheme of the EU's Sixth Framework Programme for research.

Adapted from materials provided by ICT Results.

The Orchestra Audition - How to Audition

2009-07-09T14:43:00.000+07:00

by Brad Howland

The competition these days to get into an orchestra is fierce. It is not unusual to have 50 players try out for a single position in an average orchestra, something paying in the range of $25-30,000/year. A prestigious orchestra in the United States can draw up to 300 people. Faced with these numbers, audition committees try to eliminate as many as possible in the opening rounds. Here's how improve your chances of winning that first job.

Careful preparation is essential for success. You must have a plan. Choose from the following suggestions whatever seems helpful to you. Come up with a strategy, and write it down!

Learn everything you can about the excerpts. Go to the music library and listen to them in the context of the entire piece. Use a score to find out what is going on in the rest of the orchestra. Read the program notes to get a sense of the composer's intentions. Remember that you have to convince a majority of the audition committee that you are experienced, and have performed these works many times, even if you haven't.

Practice multiple repetitions of the excerpts to program your "automatic pilot," and simulate the stress of the audition. Practise at different tempos. When you get tired, practise the excerpts down the octave.

Play mock auditions, making them as realistic as possible. Reserve a large room, and ask several friends, musicians, or teachers to come and be the committee. Dress up in your audition clothes. Assign a personnel manager. Have your "committee" make notes for future reference.

• Mentally rehearse the audition. Visualize yourself playing really well.

• Record yourself a lot! See how close the actual performance comes to the mental image.

• Draw the excerpts from a hat and play in random order. Get yourself ready for anything.

• Whenever possible, play the excerpts with a section.

I'm drawing on my experience here of listening to dozens of brass auditions for our orchestra. Believe it or not, to get past the first round, you don't have to be great! So many people crack up in the first round that if you can basically play the music on the page, without missing too many notes, and with decent intonation and rhythm you will probably get voted to the next round.

It's in the final rounds that your advanced musicianship must be displayed. Here the committee is listening for more subjective things, like phrasing and sound quality. So few brass players phrase that if you do anything at all you will sound great! You can't predict what kind of sound they are looking for, but here's a tip: never, never play too loud ! If you lose control you are toast.

If you are asked a question by the committee, or asked to play something a certain way, listen carefully and make sure you do it. If you don't understand the suggestion ask for clarification. Do what they want, even if it means sacrificing something else in your playing. Just do it!

If the music director comes down to conduct you through an excerpt, play from memory and look him/her right in the eyes (this happened to me – I did this and won the audition).

Focus on the strong aspects of your playing and work to bring them across. Have an "ace in the hole."

Be realistic. Don't give up if you don't get anywhere the first few tries. It takes a while to achieve that special "audition awareness," and to learn to cope with the stress. Playing an orchestra audition is possibly the hardest thing you will ever do.

The Physics Of Sound

2009-07-09T14:40:00.000+07:00

Including Auditory Range, Piano Range, Loudness, Fundamentals Overtones Harmonics and Combination Tones, Beats, Scales, Physiological Effects Of Sound

Auditory Range

The range of human hearing is from around 2Hz (2 cycles per second) to 20,000Hz (alias 2KHz) although with age one tends to lose acuity in the higher frequencies so for most adults the upper limit is around 10KHz.
The lowest frequency that has a pitch-like quality is about 20Hz.
A typical value for the extent to which an individual can distinguish pitch differences is 05-1% for frequencies between 500 and 5000Hz. (Differentiation is more difficult at low frequencies). Thus at 500Hz most individuals will be unable to tell if a note is sharp or flat by 2.5-5Hz (ie an 'allowable' pitch range for that note might be from 495Hz to 505Hz maximum.

Piano Range

The lowest note on the piano 'A0' is at 27.5Hz, whilst the highest, C8, has a frequency of 4186Hz.
'Concert pitch' has been internationally accepted to be based on a frequency of 440Hz for A4, that is A in the fourth piano octave.

Loudness

The quietest sounds that can be heard have a power (measured in Watts) of 10 to the -12 W/m2, whilst the loudest that can be withstood have a power of 1 W/m2. The range is therefore in the order of 10 to the 12, or one million million times.
One decibel is a leap by a factor of 10, so that 0Db is the quietest noise, and 120Db is the loudest.

Fundamentals, Overtones, Harmonics And Combination Tones

A note played by most ordinary acoustic intruments is not 'pure', it is in fact a spectrum of frequencies which largely give the note it's characteristic quality. The most significant components of this spectrum are the overtones. Overtones may be inharmonic (ie dissonant, sounding bad) or harmonic (ie consonant, sounding good).
The 'natural overtone series' is the set of harmonics which are particularly prominent in the spectrum of frequencies for notes played by acoustic instruments, and which are also produced by producing waves in a string, where there are successive integer values for the number of 'crests' of the wave, ie 1,2,3,4,5,6,7,8 and so on.
Taking 1 crest as the 'fundamental' note, then 2 produces a frequency an octave above. 3 produces a frequency of a '12th' interval (ie the fifth above the octave). 4 produces a frequency of the second octave above. 5 produces a frequency of a major third above that. 6 produces a frequency of the fifth note in this third octave. 7 produces a frequency of the flattened (minor) seventh in this octave. 8 produces a frequency of the fourth octave. 9 produces a frequency of the second interval in the fourth octave. (et cetera...) The increments between notes becomes successively smaller the further into the series you go, such that soon there are semitone intervals, then quarter- tone intervals, then even smaller fractional intervals.
Also, there is less and less congruence between harmonics and the 'proper' frequencies of the equitempered scale the further into the series you go. (But maybe in some forms of music this is NOT a 'problem' od course).
In the first octave there are no overtones, in the second there is one, in the third there are three, and in the fourth octave there are lots. Overtones which are 'harmonic' are at frequencies equal to the fundamental frequency multiplied by AN INTEGER: eg to find the fifth harmonic of C4, multiply it's frequency of 261.63 by 5: the result is a frequency of 1308.15, close to (but NOT the same as) the frequency of 1318.5 given for E6 (the fifth harmonic of C4) in the equitempered scale.
Overtones which are inharmonic (dissonant) are non-integer multiples of the fundamental frequency.
The constituent frequencies of a note can be ascertained with a wave analyser, which uses the equations developed by Fourier.
If you filter out the fundamental frequency of say 200Hz from a note with overtones of 400Hz, 600Hz, 800Hz and 1000Hz (say, played on a piano), the brain will recreate the fundamental such that it appears to be present even when it is not there.
The ear can be far more subtle still, however, in 'creating' sounds which are not actually there in received vibrations. When a tone of frequency f causes the eardrum to vibrate, the full harmonic series of tones 2f, 3f, 4f, 5f, 6f etc is apparent to the listener, these harmonics being produced by the eardrum itself.
'Combination' tones are additional, new tones produced when two frequencies, f1 and f2 are sounded together, and these combination tones are also 'manufactured' by the ear, this time from combinations of the first frequency and the harmonics of the second, and from the second frequency and harmonics of the first. (Note 3f2 is notation for 'the third harmonic of the second frequency'). The series of combination tones will be:

2f1 - f2 2f2 - f1 3f1 - f2 3f2 - f1
3f1 - 2f2 3f2 - 2f1 4f1 - 3f2 4f2 - 3f1 and so on.

Whereas combination tones can be ascertained by subtracting one value from another, 'summation' tones, also manufactured by the ear, can be found by adding values together, ie

f1 + f2
2f1 + f2 2f2 + f1 3f1 + f2 3f2 + f1
3f1 + 2f2 3f2 + 2f1 4f1 + 3f2 4f2 + 3f1 and so on.

Interestingly, however, the resulting frequencies of these combination and summation tones turn out to be dissonances when played with the notes of the equitempered scale since the frequencies do not exactly match.
It is possible to contrive a scale from difference tones. For example, if C4 is played together with Eb4, then a difference tone of 311.1 - 261.6 = 49.5Hz is created. This value of 49.5Hz is almost the frequency of Ab1. Other notes in the 1st octave can then be contrived in a similar manner from frequencies around the fourth octave.
These sort of difference tones, however, might be called 'first-order' difference tones. A 'second-order' difference tone can be found in the difference between the frequency of a first-order difference tone and the frequency of the fundamental, so that in the example above, we have a first- order difference tone of (almost) Ab4, at 49.5Hz, and subtracting this from the frequency of the fundamental, we find 261.6 - 49.5 = 212.1 which is close to the frequency of Ab3. And so on.
Here are some examples of combination and difference tones that can be demonstrated on a piano.

C4+Eb4 produces Ab1 first-order difference tone.
C4+Eb4 produces Ab3 second-order difference tone.

Beats

Beat frequencies are produced when two different sounds are produced which are very close to each other in frequency. In such a situation the crests and troughs of each wave are generally slightly out of phase. But because the two notes have differing frequencies, after a certain repeating interval of time the crests of one wave will be aligned with the crests of the other, when a pulse or beat appears to the listener.
Research has found that any two notes of different frequencies tend to sound good together (ie consonant) if there is an absence of beat frequencies between 8 and 50 Hz produced. Beat frequencies of 2-8Hz have been found to be pleasing, while beat frequencies above that level are generally though to be unpleasant.
The beat frequency produced by any two notes is found by subtracting the value of the higher from the lower, ie Fbeat = Fhigher - Flower. Thus beat frequencies are a subset of difference tones -the 'beat' sensation occurring when the beat frequency value is low, say from 0.5Hz (1 beat every two seconds) to say 20Hz (the lowest frequency that has a pitch-like quality) J.Askill, in 'The Physics of Musical Sounds) says 'in general beat frequencies of 2-8Hz are considered pleasing, whereas if the beat frequency is above 15-20Hz, an unpleasant or dissonant effect is produced'. Personally I am curious about the range in the middle, say 8-12Hz which is also the frequency of 'alpha' brain-waves.

Scales

The scale used extensively in the West has 13 notes from octave to octave and 12 intervals. In order for a scale to 'work' there should be:

* a minimum of dissonance when different notes across the whole range of pitches are sounded together
* an effective mapping of the harmonics of low notes onto higher notes, and an effective mapping onto the harmonics of higher notes
* the possibility of key modulation which does not result in further frequency mismatches.

The scale which has been widely adopted to fulfil these criteria is based on mathematics, such that the ratio of the frequency of any note to the frequency of the note a semitone above is constant. This is particularly useful in the extent to which it allows key modulation. However, this 'equitempered' scale is a compromise solution, because the frequency ratios of all intervals except the octave differ slightly from the 'perfect' intervals that the human ear really expects to hear.
The 'exact' interval of a fifth, for instance, is found by multiplying the frequency of the fundamental by 3/2, the fourth is found by multiplying the fundamental frequency by 4/3, and the major third interval is found by multiplying the fundamental frequency by 5/4. (Other intervals involve slightly less obvious fractions).
The problem with a scale built on fractional values like this, however, is that the increments from note to note are not constant (eg 5/4 - 4/3 does not equal 4/3 - 3/2) which creates difficulties when the required key for a piece is different to that of the fundamental from which the scale is constructed. For example, if we move up an octave from C by adding a fifth, and then adding a fourth, then the resulting high C will have a different frequency to that arrived at if our key is F, and we try to arrive at the same high C by adding a major third and then a minor third to that fundamental F. So in the equitempered scale all semitone increments have been 'tempered' such that they are always a little flat, or a little sharp.
The constant value on which this scale is based is 1.0594630915, such that if we call this value S, then the semitone above a fundamental note is found by multiplying the frequency of the fundamental by S to the power of 1.
The second above the fundamental is found by multiplying it's frequency by S to the power of 2, and so on until the octave above the fundamental is found by multiplying it's frequency by S to the power of 12. The value of the constant S is the 12th root of 2, since in order to find the twelve equal divisions between two notes an octave apart, where the frequency of the octave is twice that of the fundamental, the 12th root of 2 is the value we are looking for.
Other divisions of the octave have been proposed, such as a 19-step octave, and a 53-step octave. The maths for these 'works' although these 'scales' may be harder to use effectively. The maths for the 53-division scale is particularly elegant in fact, and closer to a 'perfect' musical scale than the 13-note scale which we currently use. (In that case the constant value for each successive interval is found by using the 53rd root of 2, ie 1.013164143).
The 'exact' scale, built on the 'perfect' intervals that the ear expects to hear, has much to recommend it if one key is kept to. This scale, however, has fifteen intervals and fourteen notes, since in the first octave there are all the notes of the equitempered scale (at slightly different frequencies) but there is also both a 'major whole tone' and a 'minor whole tone', and both an 'augmented fourth' and a 'diminished fifth'. (In the second octave there is both an 'augmented octave' and a 'dimished ninth' and also both an'augmented eleventh' and a 'diminished twelfth'). Thus successive octaves above the fundamental differ from each other in the way that they are put together. Furthermore, however, when we look at the extent to which the frequencies of harmonics of exact-scale notes match notes higher up in the exact scale, we see that we can list the intervals octave, fifth, fourth, major third, major sixth, minor third, minor sixth in terms of increasing dissonance, so that in the case of the minor sixth, if we look at all harmonics up to the twelfth, only one 'matches'.
The mathematical elegance of the 53-division scale should make it a more appropriate scale for dealing both with key modulation, and a preoccupation with harmonics.
The 53-interval scale uses eneven 'chunks' of these 53rd-of-an-octave division to create the notes of the diatonic scale. The size of each incremental chunk is as follows:

C->D: 9
D->E: 8
E->F: 5
F->G: 9
G->A: 8
A->B: 9
B->C: 5
and with the semitones:
C->D: 4+5=9
D->E: 4+4=8
E->F: 5
F->G: 4+5=9
G->A: 4+4=8
A->B: 4+5=9
B->C: 5

The Physiological Effects Of Sound

The accepted view of researchers into the physiological effects of sound is that 'no non-auditory [ie physiological] effects are noted until the loudness exceeds approximately 120Db.' [J.D.Kryter, quoting NASA research]. 120Db is VERY loud, in fact it's at the limit of what can be heard before physical damage is caused to the ear. However, research has been carried out into the extent to which vibration at frequencies within the audible range can be transmitted through the body. Different parts of the body have differing optimum resonance frequencies. Some of these are: (The first one is conjecture, the rest are documented).

The eyeball: 5Hz. (Low frequencies such as this are known as 'infrasound').
The jaw: 6-8Hz.
The chest, nose and throat cavities: somewhere in the region of 10-75Hz.
The whole skull: 200Hz.
The front and the back of the skull: 800Hz, where the front and back parts vibrate in opposite phase.
The front, left side, back and right sides of the skull: 1600Hz. At this frequency each of the four sides vibrates independently of the others. [Bekesy 1932 and Kirikae 1959]. The exact frequencies for skull resonance vary from individual to individual due to variations in skull size, however; in fact all values given here can only be approximate averages.
The bones of the middle ear (the 'ossicular' system) resonate at 2000Hz. [Carhart 1950].
The air within the middle ear resonates at 2500Hz. [Groen].
The resonant frequency of the outer ear is 3150Hz. (Sounds in the surrounding frequency range, from about 3000Hz to 3500Hz are amplified several times by this effect).
There is some evidence to suggest that the middle ear when exposed to ultra-sound (ie sound above the threshold of audible frequencies) creates subharmonics within the audible range.

from : http://www.feedback.nildram.co.uk/richardebbs/music/musictipntrik.htm#thephysicsofsound

Singing Tip

2008-09-24T15:51:00.000+07:00

Today we look at the same exercise as last week but this time using the word down instead of down.

On a scale C, D, E, F, G, F, E, D, C, sing the word down! That is down, down, down, down, down, down, down, down, down. Or later, down, down, down, down, down, down, down, down, down, down, down, down, down, down, down, down, uuudown on C, D, E, F, G, A, B, C, D, C, B, A, G, F, E, D, C

At first, sing it without paying any attention to it. Just do it as you normally sing. Then speed it up. If you compare this with the correct delivery of the "up" exercise, you will notice that the diaphragm does not activate as much as when the "up" wprd is used. When you sound "up" it is the vowel that engages the diaphragm. You may recall last week that when you started to sing "pup" instead of "up" the diaphragm was less active. The "d" in down is acting similarly to the "p" in "pup." it interupts connectivity with the diaphragm.

Try the "down" exercise again, but this time, let the "d" be thought of as non existent and the ".own" be the dominant. By giving less "d" and really pulling out the ".own" you will start to feel ths diaphragm engage itself with greater strength. Once again, an exercise to naturally engage the diaphragm without force but needing more of your attention to do so.

If you revise all of these exercises (pinga ponga, dibbidy dibbidy, bobada bobada and up and down, it should become clearer to you that consonants and glottal attacks on vowels are what interferes with diapragmatic engagement. Over pronounced diction includes glottal vowel attacks and forced consonants. LET the words be much freer and loose in their sounding and you will find that even though they may feel sloppy in speech, when sung with the naturally engaged diaphragm, they gain clarity and end up on breath instead of in breath. In this position, singing becomes easy. It just takes a little time to get there.

As you achieve this, add to it the thought that the "ow" of the word down, opens outward even before it starts to sound as distinct from pressing inward. Every time we sound a consonant we should think of it being drawn outward and wide not inward and focused. Each time you sing "down," bring each of your fingers and thumb of the one hand to the forefinger of your other hand as if to gently grip the point of the that forefinger (index) finger. That is, grab the point of the index finger every time the "u" is about to sound. Notice as you do this, the production of the letter"d" inside your mouth. It might feel as if the "d" is focused inward to a point in the hard palate above the top teeth behind the base of the nose, pinpointing the consonant.

Now, simply think that the "d" in fact can be sounded as if it separates itself opening away from the finger or opening in the region of the nose, not closing or grabbing. Once again, this will create greater space and increase diaphragm involvement. It can also show you once again what "letting go" feels like. Don't given in to the sound production wanting to close inward as the notes get higher. Concentrate on opening even further as the notes become higher.

Enjoy. Any queries, email.

Make contact or ask a question.
Email: bg@briangilbertson.com.au

A Well Rounded Musical Education Includes Theory

2008-09-16T14:18:00.000+07:00

Within the musical community, there is a debate about the value of music theory that will probably never ends. Is it important to study music theory scales, or is it much better to just dive into the music and experience it viscerally. The proponents of learning the theory regarded it as an essential part of knowing how to play music. You can learn by trial and error, they say, but you would do much better to benefit from the knowledge of other people. Not learning music theory when you play music is like refusing to learn arithmetic when you are studying math.

The other side, however, has just a strong of an argument. They claim that music theory worksheets are stifling. The point of music, they argue, is creativity. You should dive into it and experience it viscerally. Learning the theory of music too early on can stifle the imagination. Although it is alright to learn music theory chords later on, it is much less important than having some experience actually playing music.

I used to be on the latter site, but I have recently switched opinions. You see, I learned music without music theory. I didn't even know music colors theory, much less the more formal and rigorous stuff. To me, you see, playing music was almost a physical experience. I could feel the sounds and textures around me. I didn't really need someone telling me what the structures meant. I could tell what they meant with my entire soul.

As I have matured as a musician, however, I have seen the use and the need for music theory. I have even begun to use music theory worksheets, and I hope to understand it pretty thoroughly within the next couple years. You see, the most important thing about theory is that it gives you a good vocabulary to talk about music.

I believe that you can learn to play anything without music theory. What you can not do, however, is to talk to other people about it. If you don't know the names of the chords, the different scales and progressions, and the rhythmic patterns that define various forms of music, how can you tell other musicians what you want? Learning about music is almost as important as learning language if you really want to collaborate with other people. Without it, it is very difficult to express yourself and ask people for what you want. Why make life difficult?

Music Articles And Life Enrichment

2008-09-16T14:16:00.000+07:00

Whether you admit it or not, music imbeds our daily life, weaving its beauty and emotion through our thoughts, activities and memories. So if you're interested in music theory, music appreciation, Beethoven, Mozart, or other composers, artists and performers, we hope you'll spend some time with here and learn from these music articles of note for all ages and tastes.

When I first started studying the history of music, I did not realize what I was getting into. I had thought that music history was somewhat of a trivial pursuit. In fact, I only took my history of classical music class because I needed the credits. I did not realize how completely fascinating music history is. You see, in our culture many of us do not really learn to understand music. For much of the world, music is a language, but for us it is something that we consumed passively. When I began to learn about the history of Western music, however, it changed all that for me. I have had some experience playing musical instruments, but I have never mastered one enough to really understand what music is all about. This class showed me.

When most of us think about the history of music, we think of the history of rock music. We assume that the history is simple because the music is simple. In fact, neither is the case. The history of music, whether you're talking about classical music, rock music, jazz music, or any other kind, is always complicated. New chord structures are introduced bringing with them new ways of understanding the world. New rhythmic patterns are introduced, bringing with them new ways of understanding time. And music reflects all of it.

Even when the class was over, I could not stop learning about the history of music. It had whetted my appetite, and I wanted more. I got all the music history books that I could find. I even began to research forms of music that had not interested me before in the hopes of enhancing my musical knowledge further. Although I was in school studying toward something very different – a degree in engineering – I had thought about giving it up and going back to get a degree in musicology. That is how much I am fascinated by the subject.

If you have never taken a course in the history of music, you don't know what you are missing out on. The radio will never sound the same to you again. Everything will seem much more rich, much more luminous, and much more important. A new song can reflect a new way of being, and a new way of imagining life in the world. This is what learning about the history of music means to many of us.

Symphony musicians sign contract

2008-09-16T14:14:00.000+07:00

By Donecia Pea • doneciapea@gannett.com • July 17, 2008

The nearly yearlong battle between Shreveport Symphony Orchestra musicians and management has come to an end with all musicians on board for the 2008-09 season.

"Their deadline for (signing the contract) was on Monday and we're pleased that they were all signed up," said Scott Green, symphony executive director. However, for the musicians it's not a happy ending.

"The employer imposed an unacceptable set of terms and conditions of employment on the musicians. In other words, they crammed them down their throats," said Chandler Teague, principal timpani player and spokesman for the symphony musicians.

"In order to maintain their personal employment relationship with the employer, musicians signed annual individual contracts."

However, Green said that musicians signed a three-year contract. The new contract switches core or full-time musicians to a per-service pay structure, resulting in a 75 percent salary cut, from $12,693 to $3,123 for the 2008-09 season and the elimination of 24 full-time core positions as of Sept. 1.

The board has insisted that such drastic changes were necessary to overcome years of financial instability that stem as far back as 2001, when the symphony accumulated a loss of more than $700,000.

Last month, the symphony's board of directors moved to impose its proposal after negotiations between the board and musicians came to halt in late May.

While in the past, contracts were signed collectively as an agreement between the musicians' union Local 116 and symphony management, the new contracts were signed individually by each musician.

"These agreements do not bind each musician collectively to a relationship with the employer. There is still a union at the Shreveport Symphony Orchestra," Teague said.

Green said they are now preparing for the new season, which will be announced in August, when tickets will go on sale. "We're looking forward to an exciting new season and a new day for the Shreveport Symphony Orchestra," he said.

"We had to find out what our commitment was from our musicians and then we will involve the community in creating a new strategic plan so that we can truly have an organization that the community wants and can support," Green said. "It's all too easy to be the expert and tell the community what they want, but to be more successful we need to make sure the community is involved."

The change to a per-service structure leaves an additional 20 openings for musicians. Music director Michael Butterman will appoint those positions for this season, but after that auditions will be held for those slots, starting next spring.

Making the Transition from Singer to Voice Talent

2008-07-19T16:50:00.001+07:00

By: Stephanie Ciccarelli

Many voice talent start their careers in music, particularly as classically trained singers. During tireless years of training a voice for singing, a bounty of skills are developed including vocal stamina, projection, breathing capabilities, phrasing, tone, inflection, elasticity, rhythm, sight-reading, posture, diction, interpretation, and characterization.

The voice is an instrument, just like a flute, a guitar, or a drum - however, the voice is a very special instrument, for reasons I'll now reveal.

The most dramatic difference between the voice and other instruments from the string, brass, woodwind, and percussion families is that the voice is able to communicate using speech, that is to say, language. Whether it be a vocalise sung on vowels, an oratorio by Handel, a wordy patter song by Gilbert and Sullivan, or a pop medley, language is incorporated into the piece, something which even the most convincing instrumental performance cannot convey.

The written word is at the very core of a song composed for a vocalist just as copy is at the core of a script written for voice-over talent.

The voice is also organic, that is to say, your voice is a living, breathing instrument, able to phonate (utter speech sounds) as well as function melodically like an instrument, relating one pitch to another.

The voice is the most versatile of all instruments and is also the only instrument that is a part of your physical self, making it portable and convenient.

Now, you might be thinking that just because someone has developed their instrument and embodies all of these traits doesn't necessarily mean that they have a great talent for voice-overs. The answers may surprise you.

A singer, in many areas, has several practical advantages that help them transition from a career in music to a career in voice-over. With all of the technical aspects out of the way (regarding vocal technique), all that's left is interpretation of the copy, performance, and a means to record their voice.

Their unique vocal education, vigilant care of their instrument, and 'polished' sound are another set of benefits when getting started. Their voice is already pleasing to the ear, it's just a matter of speaking rather than singing.

That being said, the voice-over talent does not live on Easy Street, and a singer shouldn't expect that making the leap from song to speech will bring automatic success.

As in any career, research and private instruction are necessary to fully grasp the magnitude of the profession as well as to learn what is expected of them in this new arena.

Do I record at home or go to the studio down the street? What do I charge? Should I be in the union or not? Do I need an agent? What's the demand like for jingle singers who can also compose?

The same questions enter the minds of any aspiring talent new to the industry. In that way, singers are on a level playing field with colleagues who left professions in other fields such as science, visual arts, journalism, or law.

Stephanie Ciccarelli is the VP of Marketing with Voices.com, the voice over marketplace hosting more than 7,000 professional voice talents. Stephanie is also the author of The Definitive Guide To Voice-Over Success.

Tips On Forming A Band

2008-07-19T16:33:00.000+07:00

by Kenny Kerner

To most musicians, bands are cool. They help you get laid and make you feel macho. They're like hobbies; They make for some great male bonding and allow you to spend some time away from the girls. Being in a band sometimes makes you feel as if you're a rock star when you're really not!

But the truth is, if you don't set up your band like a business, you're wasting your time. Don't ever forget that we're in the Music BUSINESS. And the business part of it is every bit as important as the music part.

A band is the vehicle you choose to help get your music across to the people. It must be comprised of members who all share the same focus, the same vision, and who are all willing to make the same efforts and sacrifices toward succeeding. So, just how does one go about finding these people? Well, you'll probably have to go through the rigors of auditioning band members.

Auditioning Members

The first and easiest way to look for new band mates is to place a free ad in a local magazine, fanzine, or newspaper. But even that can backfire if you don't say exactly what you mean. A short and simple ad that reads, "Rock guitarist wanted for Valley band," tells you virtually nothing. If you run that ad, you're likely to spend hours on the phone explaining what it is you're really looking for. A better ad reads like this: "Male Rock guitarist, 17-25, with image, wanted to form new Valley band into Van Halen." In less than 25 words, you've given every potential caller an exact indication of what you want in a new guitarist. By saying "into Van Halen," you've also answered the question of what kind of music you play. Rock, obviously! So, take your time and write out your ad several times until every word is perfect. Remember, once it appears in a paper, it's too late to change anything.

Although running an ad in a local paper is a smart way to start, the most direct way to recruit new players is simply to steal them from existing bands. To do this, merely hang out at your favorite clubs and check out the local talent while they are performing. You couldn't ask for a better audition!

New Member Checklist

Make certain that all of the members in your band are approximately the same age. Someone too young or too old will likely have different interests.

If potential band members have boyfriends or girlfriends, find out how serious they are. Tough as it may sound, someone who cares more about his sexual partner is not gonna last long in any band. Here's where the word FOCUS really comes into play. Keep in mind that Yoko Ono pretty much broke up the Beatles!

Be certain to personally check out the musician's equipment before telling him that he's in your band. A serious musician should always be prepared with his equipment and a spare. Be on the lookout for excuses like, "I always borrow my friend's amp for gigs." That excuse means the musician is ready to blame someone else for his failure to be prepared for a serious career.

Each and every player in your band should have his own means of transportation. If a musician has to rely on a parent, friend, or other band mate for a ride to a rehearsal or a gig, there's gonna be trouble again.

Find out how each musician lives. Does he or she work? Where do they get their money for food? Who pays the rent? This will give you insight into their desires to pay for rehearsals and general band dues. Nobody should get a free ride. Nobody should have to pick up the slack for a lazy band member. If band members have to work all day to afford a rehearsal studio, they will appreciate it more and won't waste a second when rehearsal time rolls around. After all, it's THEIR money that is paying for the place.

At an in-person audition, be prepared to play a tape/CD of your material to potential new members. Don't give them the opportunity of telling you (six months down the road), that they didn't know this is what you wanted to play.

If you fancy yourself as the major songwriter in the band, lay it on the line from Day One. Say that you'll be writing the bulk of the material but that you're always open to listening to other songs from within the band. Never close the doors to someone's potential to write or sing in your band.

Tell everyone how you intend to run the band and what your game plan is. Will everyone have an equal say in band matters? Will you personally direct band activities? Do you intend to perform live? Record indie CDs? Seek professional management? Who are your contacts in the industry? What kind of timetable are you looking at? What kind of rehearsal schedule are you comfortable with? Don't keep secrets from the band members.

I know what you're thinking. You feel that none of these things will ever happen to your band. But you're wrong. They happen to everyone. These helpful hints will eliminate hours of frustration and months of seeking replacement players. Besides, this is the proper way to conduct a business. And after all, your band IS your business, right?

Excerpted from the book, "Going Pro" by Kenny Kerner, published by Hal Leonard. Available at all bookstores and at Amazon.com.

About Kenny Kerner:
Discovered and produced KISS. Also produced albums for Gladys Knight, Jose Feliciano and Badfinger. As a publicist, he represented Michael J. Fox and Jay Leno. Was the former Senior Editor at Music Connection Magazine and wrote a best-selling music education book called "Going Pro" Kerner is currently the Director of the Music Business Program at Musicians Institute in Hollywood. Specialties include Personal Management, Artist Development and Music Business.

Kenny Kerner
Musicians Institute
Director / Music Business Program
(323) 860-1122
Fax: (323) 462-6508
kennyk@mi.edu

Article reprinted with permission from TAXI: The Independent A&R Vehicle that connects unsigned artists, bands and songwriters with major record labels, publishers, Film & TV music supervisors.

INHARMONIQUES

2008-07-18T15:36:00.000+07:00

Reproduction, même partielle, soumise à l'autorisation écrite de l'Ircam

All Rights of Reproduction Subject to a Written Authorization of IRCAM

InHarmoniques nº 1, décembre 1986 Le temps des mutations
Dufourt, Hugues: Pierre Boulez, musicien de l'ère industrielle Boulez, Pierre: Le système et l'idée Barrière, Jean-Baptiste: Mutations du matériau, mutations de l'écriture Schoeller, Philippe: Mutation de l'écriture: Éclat, Stria, Désintégrations
InHarmoniques nº 2, mai 1987 Musiques, identités
Jimenez, Marc: Editorial: Identités/altérités Arom, Simha: Musique comme marqueur culturel Delaistier, Maurice: Musiques yiddish: tradition et formes Gottwald, Clytus: Entretien avec György Ligeti Green, Anne-Marie: Les comportements musicaux des adolescents Hodeir, André et Julien Malson: Le jazz, un enfant adoptif Konaté, Yacouba: Africanité: folklore ou marchandise? Lévi-Strauss, Claude: Musique et identité culturelle Oesch, Hans: Bali: la musique comme cosmologie sonore Pedler, Emmanuel: Cultures musicales d'exil Piencikowski, Robert: Le Concerto de Chambre de Ligeti Pousseur, Henri: Composer (avec) des identités culturelles
InHarmoniques nº 3, mars 1988 Musique et Perception
Risset, Jean-Claude: Perception, environnement, musiques Dufourt, Hugues: Hauteurs et timbre Boulez, Pierre: Entre ordre et chaos Bonnet, Antoine: Ecriture et perception: à propos de Messagesquisse de Pierre Boulez
InHarmoniques nº 4, septembre 1988 Mémoire et création
Boulez, Pierre: La vestale et le voleur de feu Decarsin, François: L'analyse du passé, probabilité de la création? Durieux, Frédéric: Héritage / Propositions Dufourt, Hugues: La mémoire créatrice
InHarmoniques n° 7, janvier 1991 Musique et authenticité
Bayle, Laurent: Editorial: Authenticité ou singularité ? Burkert, Matthias: La musique dans le Tanztheater de Pina Bausch Chuilon, Emmanuel: L'univers des claviers électroniques Ekimovski, Viktor: La nouvelle musique soviétique aux portes de la liberté Ferry, Luc: Le culte de l'authenticité Jimenez, Marc: Un inauthentique « Jargon de l'authenticité » Manoury, Philippe: Le transitoire et l'éternel ou le crépuscule des modernes ? Osmond-Smith, David: La mesure de la distance: Rendering de Berio Pesko, Zoltan: Giacinto Scelsi. En voyage après dictée Rihm, Wolfgang: Tradition et authenticité Rosen, Charles: Le choc de l'ancien Simon, Yannick: La Partition du ciel et de l'enfer, de Philippe Manoury Zacharopoulos, Denys: Geste artisitique et parole critique, l'authenticité
InHarmoniques n° 8/9, novembre 1991 Musique recherche théorie
Bonnet, Antoine: Composition et théorie Buren, Daniel: Le modèle et la transgression Buren, Daniel: De l'authenticité en art Dahlhaus, Carl: Du simple, du beau et du purement beau Ferneyhough, Brian: L'oeuvre en question Nicolas, François: Pour une intellectualité musicale

____________________________
Serveur © IRCAM-CGP, 1996-2008 - document mis à jour le 31/05/2008 à 10h29m06s.

ABC studying High School reality show

2008-07-18T15:25:00.001+07:00

By Tim Surette
- TV.com

March 3, 2008 at 05:17:00 PM
| more stories by this author

High School Musical-themed show will see kids trying to out-sing, out-dance each other.

Though singing and dancing in the hallways of most high schools would result in a vicious beatdown, apparently it's the path to coolness in some learning establishments. Now, Disney is trying to track down all high-school students who croon and prance for a new reality show, according to Variety.

Reality Check: Do not attempt this in your own high school.

The program, which is planned for Disney-owned ABC, will carry a High School Musical theme, with the thought that it will piggyback on the massive success of the highly rated cable movies. In practice, the unnamed show will be a nationwide talent show and pit teens against each other in musical competitions.

Details are slim, but it is believed that a final group of contestants will study at a music conservatory at which one participant will be eliminated each week, with the winner taking home an undisclosed prize. As for the real stars of High School Musical, such as Zac Efron and Vanessa Hudgens, Variety says guest appearances are "likely."

The decision to turn High School Musical into a reality show seems like a match made in heaven. August's cable broadcast of High School Musical 2 was watched by more than 17 million viewers, which makes it the highest-rated cable broadcast in history.

The High School Musical reality show is currently slotted for this summer.

Music (From Wikipedia, the free encyclopedia)

2008-07-18T10:56:00.004+07:00

Music is an art form in which the medium is sound organized in time. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike), "(art) of the Muses".^[1]

Definition of music

Musical notations

Greek philosophers and ancient Indians defined music as tones ordered horizontally as melodies and vertically as harmonies. Music theory, within this realm, is studied with the presupposition that music is orderly and often pleasant to hear. However, in the 20th century, composers challenged the notion that music had to be pleasant by creating music that explored harsher, darker timbres. The existence of some modern-day music genres such as death metal and grindcore, which enjoy an extensive underground following, indicate that even the harshest sounds can be considered music if the listener is so inclined.

20th-century composer John Cage disagreed with the notion that music must consist of pleasant, discernible melodies. Instead, he argued that any sounds we can hear can be music, saying, for example, "There is no noise, only sound."^[2] According to musicologist Jean-Jacques Nattiez, "the border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.… By all accounts there is no single and intercultural universal concept defining what music might be, except that it is 'sound through time'."^[3]

The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music can be classified as a performing art, a fine art, or an auditory art form.

History

Figurines playing stringed instruments, excavated at Susa, 2nd millennium BC. Iran National Museum.

The development of music among humans must have taken place against the backdrop of natural sounds such as birdsong and the sounds other animals use to communicate.^{[citation needed]} Prehistoric music is the name which is given to all music produced in preliterate cultures.^{[citation needed]}^[4]

Ancient

A range of paleolithic sites have yielded bones in which lateral holes have been pierced: these are usually identified as flutes,^[5] blown at one end like the Japanese shakuhachi. The earliest written records of musical expression are to be found in the Samaveda of India and in 4,000 year old cuneiform from Ur.^{[citation needed]} Instruments, such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus Valley Civilization archaeological sites.^[6] India has one of the oldest musical traditions in the world—references to Indian classical music (marga) can be found in the ancient scriptures of the Hindu tradition, the Vedas. The traditional art or court music of China has a history stretching for more than three thousand years. Music was an important part of cultural and social life in Ancient Greece: mixed-gender choruses performed for entertainment, celebration and spiritual ceremonies; musicians and singers had a prominent role in ancient Greek theater

In the 9th century, al-Farabi wrote a notable book on music titled Kitab al-Musiqi al-Kabir ("Great Book of Music"). He played and invented a variety of musical instruments and devised the Arab tone system of pitch organisation, which is still used in Arabic music.^[7]

Medieval and Renaissance Europe

While musical life in Europe was undoubtedly rich in the early Medieval era, as attested by artistic depictions of instruments, writings about music, and other records, the only European repertory which has survived from before about 800 is the monophonic liturgical plainsong of the Roman Catholic Church, the central tradition of which was called Gregorian chant. Several schools of liturgical polyphony flourished beginning in the 12th century. Alongside these traditions of sacred music, a vibrant tradition of secular song developed, exemplified by the music of the troubadours, trouvères and Minnesänger.

Much of the surviving music of 14th century Europe is secular. By the middle of the 15th century, composers and singers used a smooth polyphony for sacred musical compositions such as the mass, the motet, and the laude, and secular forms such as the chanson and the madrigal. The introduction of commercial printing had an immense influence on the dissemination of musical styles.^{[citation needed]}

European Baroque

The first operas, written around 1600 and the rise of contrapuntal music define the end of the Renaissance and the beginning of the Baroque era that lasted until roughly 1750, the year of the death of Johann Sebastian Bach.

Allegory of Music, by Filippino Lippi

Allegory of Music on the Opéra Garnier

German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as choirs, pipe organ, harpsichord, and clavichord. During the Baroque period, several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, the invention, the sonata, and the concerto.^[8]

European Classical

The music of the Classical period is characterized by homophonic texture, often featuring a prominent melody with accompaniment. These new melodies tended to be almost voice-like and singable. The now popular instrumental music was dominated by further evolution of musical forms initially defined in the Baroque period: the sonata, and the concerto, with the addition of the new form, the symphony. Joseph Haydn and Wolfgang Amadeus Mozart, well known even today, are among the central figures of the Classical period.

Romantic

Ludwig van Beethoven and Franz Schubert were transitional composers, leading into the Romantic period, with their expansion of existing genres, forms, and functions of music. In the Romantic period, the emotional and expressive qualities of music came to take precedence over the orientation towards technique and tradition. The late 19th century saw a dramatic expansion in the size of the orchestra, and in the role of concerts as part of urban society. Later Romantic composers created complex and often much longer musical works, merging and expanding traditional forms that had previously been used separately. For example, counterpoint, combined with harmonic structures to create more extended chords with increased use of dissonance and to create dramatic tension and resolution.

20th century

In the 20th century there was a vast increase in music listening as the radio gained popularity worldwide and new media and technologies were developed to record, capture, reproduce and distribute music. The focus of art music was characterized by exploration. Claude Debussy has become well-known and respected for his orientation towards colors and depictions in his compositional style. Igor Stravinsky, Arnold Schoenberg, and John Cage were all influential composers in 20th century art music. Jazz evolved and became a significant genre of music over the course of the 20th century, and during the second half of that century, rock music and hip hop music did the same.

Performance

Chinese Naxi musicians

Performance is the physical expression of music. Often, a musical work is performed once its structure and instrumentation are satisfactory to its creators; however, as it gets performed, it can evolve and change.

A performance can either be rehearsed or improvised. Improvisation is a musical idea created on the spot (such as a guitar solo or a drum solo), with no prior premeditation, while rehearsal is vigorous repetition of an idea until it has achieved cohesion. Musicians will generally add improvisation to a well-rehearsed idea to create a unique performance.

Many cultures include strong traditions of solo and performance, such as in Indian classical music, and in the Western Art music tradition. Other cultures, such as in Bali, include strong traditions of group performance. All cultures include a mixture of both, and performance may range from improvised solo playing for one's enjoyment to highly planned and organised performance rituals such as the modern classical concert, religious processions, music festivals or music competitions.

Chamber music, which is music for a small ensemble with only a few of each type of instrument, is often seen as more intimate than symphonic works. A performer may be referred to as a musician.

Aural tradition

Many types of music, such as traditional blues and folk music were originally preserved in the memory of performers, and the songs were handed down orally, or aurally (by ear). When the composer of music is no longer known, this music is often classified as "traditional". Different musical traditions have different attitudes towards how and where to make changes to the original source material, from quite strict, to those which demand improvisation or modification to the music. A culture's history may also be passed by ear through song.

Ornamentation

The detail included explicitly in the music notation varies between genres and historical periods. In general, art music notation from the 17th through the 19th century required performers to have a great deal of contextual knowledge about performing styles.

For example, in the 17th and 18th century, music notated for solo performers typically indicated a simple, unornamented melody. However, it was expected that performers would know how to add stylistically-appropriate ornaments such as trills and turns. In the 19th century, art music for solo performers may give a general instruction such as to perform the music expressively, without describing in detail how the performer should do this. It was expected that the performer would know how to use tempo changes, accentuation, and pauses (among other devices) to obtain this "expressive" performance style. In the 20th century, art music notation often became more explicit and used a range of markings and annotations to indicate to performers how they should play or sing the piece.

In popular music and jazz, music notation almost always indicates only the basic framework of the melody, harmony, or performance approach; musicians and singers are expected to know the performance conventions and styles associated with specific genres and pieces. For example, the "lead sheet" for a jazz tune may only indicate the melody and the chord changes. The performers in the jazz ensemble are expected to know how to "flesh out" this basic structure by adding ornaments, improvised music, and chordal accompaniment.

Production

Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. Amateur musicians compose and perform music for their own pleasure, and they do not derive their income from music. Professional musicians are employed by a range of institutions and organisations, including armed forces, churches and synagogues, symphony orchestras, broadcasting or film production companies, and music schools. Professional musicians sometimes work as freelancers, seeking contracts and engagements in a variety of settings.

There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians. In community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles and orchestras. In some cases, amateur musicians attain a professional level of competence, and they are able to perform in professional performance settings.

A distinction is often made between music performed for the benefit of a live audience and music that is performed for the purpose of being recorded and distributed through the music retail system or the broadcasting system. However, there are also many cases where a live performance in front of an audience is recorded and distributed (or broadcast).

Composition

"Composition" is often classed as the creation and recording of music via a medium by which others can interpret it (i.e. paper or sound). Many cultures use at least part of the concept of preconceiving musical material, or composition, as held in western classical music. Even when music is notated precisely, there are still many decisions that a performer has to make. The process of a performer deciding how to perform music that has been previously composed and notated is termed interpretation.

Different performers' interpretations of the same music can vary widely. Composers and song writers who present their own music are interpreting, just as much as those who perform the music of others or folk music. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice, where as interpretation is generally used to mean either individual choices of a performer, or an aspect of music which is not clear, and therefore has a "standard" interpretation.

In some musical genres, such as jazz and blues, even more freedom is given to the performer to engage in improvisation on a basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer in a style of performing called free improvisation, which is material that is spontaneously "thought of" (imagined) while being performed, not preconceived. According to the analysis of Georgiana Costescu,^{[citation needed]} improvised music usually follows stylistic or genre conventions and even "fully composed" includes some freely chosen material. Composition does not always mean the use of notation, or the known sole authorship of one individual.

Music can also be determined by describing a "process" which may create musical sounds; examples of this range from wind chimes, through computer programs which select sounds. Music which contains elements selected by chance is called Aleatoric music, and is associated with such composers as John Cage, Morton Feldman, and Witold Lutosławski.

Musical composition is a term that describes the composition of a piece of music. Methods of composition vary widely from one composer to another, however in analysing music all forms — spontaneous, trained, or untrained — are built from elements comprising a musical piece. Music can be composed for repeated performance or it can be improvised: composed on the spot. The music can be performed entirely from memory, from a written system of musical notation, or some combination of both. Study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough to include spontaneously improvised works like those of free jazz performers and African drummers such as the Ewe drummers.

What is important in understanding the composition of a piece is singling out its elements. An understanding of music's formal elements can be helpful in deciphering exactly how a piece is constructed. A universal element of music is how sounds occur in time, which is referred to as the rhythm of a piece of music.

When a piece appears to have a changing time-feel, it is considered to be in rubato time, an Italian expression that indicates that the tempo of the piece changes to suit the expressive intent of the performer. Even random placement of random sounds, which occurs in musical montage, occurs within some kind of time, and thus employs time as a musical element.

Notation

Notation is the written expression of music notes and rhythms on paper using symbols. When music is written down, the pitches and rhythm of the music is notated, along with instructions on how to perform the music. The study of how to read notation involves music theory, harmony, the study of performance practice, and in some cases an understanding of historical performance methods.

Written notation varies with style and period of music. In Western Art music, the most common types of written notation are scores, which include all the music parts of an ensemble piece, and parts, which are the music notation for the individual performers or singers. In popular music, jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and structure of the music. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands."

In popular music, guitarists and electric bass players often read music notated in tablature, which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument.

Notated music is produced as sheet music. To perform music from notation requires an understanding of both the musical style and the performance practice that is associated with a piece of music or genre.

Improvisation

Improvisation is the creation of spontaneous music. Improvisation is often considered an act of instantaneous composition by composers, where compositional techniques are employed with or without preparation.

Theory

Music theory encompasses the nature and mechanics of music. It often involves identifying patterns that govern composers' techniques. In a more detailed sense, music theory (in the western system) also distills and analyzes the elements of music – rhythm, harmony (harmonic function), melody, structure, and texture. People who study these properties are known as music theorists.

Cognition

Concert in the Mozarteum, Salzburg

The field of music cognition involves the study of many aspects of music including how it is processed by listeners. Rather than accepting the standard practices of analyzing, composing, and performing music as a given, much research in music cognition seeks instead to uncover the mental processes that underlie these practices. Also, research in the field seeks to uncover commonalities between the musical traditions of disparate cultures and possible cognitive "constraints" that limit these musical systems. Questions regarding musical innateness, and emotional responses to music are also major areas of research in the field.

Deaf people can experience music by feeling the vibrations in their body, a process which can be enhanced if the individual holds a resonant, hollow object. A well-known deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearing. Recent examples of deaf musicians include Evelyn Glennie, a highly acclaimed percussionist who has been deaf since age twelve, and Chris Buck, a virtuoso violinist

who has lost his hearing. This is relevant because it indicates that music is a deeper cognitive process than unexamined phrases such as, "pleasing to the ear" would suggest. Much research in music cognition seeks to uncover these complex mental processes involved in listening to music, which may seem intuitively simple, yet are vastly intricate and complex.

Sociology

Half-section of the Song Dynasty (960–1279) version of Night Revels of Han Xizai, original by Gu Hongzhong; the painting shows musicians entertaining guests in a 10th century household. In the center are three female musicians playing guan, two female musicians playing transverse bamboo flutes, and a male musician playing a wooden clapper called paiban.

Music is experienced by individuals in a range of social settings ranging from being alone to attending a large concert. Musical performances take different forms in different cultures and socioeconomic milieus. In Europe and North America, there is often a divide between what types of music are viewed as a "high culture" and "low culture." "High culture" types of music typically include Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.

Other types of music - including, but not limited to, jazz, blues, soul, and country - are often performed in bars, nightclubs, and theatres, where the audience may be able to drink, dance, and express themselves by cheering. Until the later 20th century, the division between "high" and "low" musical forms was widely accepted as a valid distinction that separated out better quality, more advanced "art music" from the popular styles of music heard in bars and dance halls.

However, in the 1980s and 1990s, musicologists studying this perceived divide between "high" and "low" musical genres argued that this distinction is not based on the musical value or quality of the different types of music.^{[citation needed]} Rather, they argued that this distinction was based largely on the socioeconomic standing or social class of the performers or audience of the different types of music.^{[citation needed]} For example, whereas the audience for Classical symphony concerts typically have above-average incomes, the audience for a rap concert in an inner-city area may have below-average incomes. Even though the performers, audience, or venue where non-"art" music is performed may have a lower socioeconomic status, the music that is performed, such as blues, rap, punk, funk, or ska may be very complex and sophisticated.

When composers introduce styles of music which break with convention, there can be a strong resistance from academic music experts and popular culture. Late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop-era jazz, hip hop, punk rock, and electronica have all been considered non-music by some critics when they were first introduced.^{[citation needed]}

Such themes are examined in the sociology of music. The sociological study of music, sometimes called sociomusicology, is often pursued in departments of sociology, media studies, or music, and is closely related to the field of ethnomusicology.

Media and technology

The music that composers make can be heard through several media; the most traditional way is to hear it live, in the presence, or as one of the musicians. Live music can also be broadcast over the radio, television or the Internet. Some musical styles focus on producing a sound for a performance, while others focus on producing a recording which mixes together sounds which were never played "live". Recording, even of styles which are essentially live, often uses the ability to edit and splice to produce recordings which are considered better than the actual performance.

As talking pictures emerged in the early 20th century, with their prerecorded musical tracks, an increasing number of moviehouse orchestra musicians found themselves out of work.^[9] During the 1920s live musical performances by orchestras, pianists, and theater organists were common at first-run theaters.^[10] With the coming of the talking motion pictures, those featured performances were largely eliminated. The American Federation of Musicians (AFM) took out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the Pittsburgh Press features an image of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Emotional Reaction Whatever"^[11]

Since legislation introduced to help protect performers, composers, publishers and producers, including the Audio Home Recording Act of 1992 in the United States, and the 1979 revised Berne Convention for the Protection of Literary and Artistic Works in the United Kingdom, recordings and live performances have also become more accessible through computers, devices and Internet in a form that is commonly known as Music-On-Demand.

In many cultures, there is less distinction between performing and listening to music, since virtually everyone is involved in some sort of musical activity, often communal. In industrialized countries, listening to music through a recorded form, such as sound recording or watching a music video, became more common than experiencing live performance, roughly in the middle of the 20th century.

Sometimes, live performances incorporate prerecorded sounds. For example, a disc jockey uses disc records for scratching, and some 20th century works have a solo for an instrument or voice that is performed along with music that is prerecorded onto a tape. Computers and many keyboards can be programmed to produce and play Musical Instrument Digital Interface (MIDI) music. Audiences can also become performers by participating in karaoke, an activity of Japanese origin which centres around a device that plays voice-eliminated versions of well-known songs. Most karaoke machines also have video screens that show lyrics to songs being performed; performers can follow the lyrics as they sing over the instrumental tracks.

Internet

The advent of the Internet has transformed the experience of music, partly through the increased ease of access to music and the increased choice. Chris Anderson, in his book The Long Tail: Why the Future of Business is Selling Less of More, suggests that while the economic model of supply and demand describes scarcity, the Internet retail model is based on abundance. Digital storage costs are low, so a company can afford to make its whole inventory available online, giving customers as much choice as possible. It has thus become economically viable to offer products that very few people are interested in. Consumers' growing awareness of their increased choice results in a closer association between listening tastes and social identity, and the creation of thousands of niche markets.^[12]

Another effect of the Internet arises with online communities like YouTube and MySpace. MySpace has made social networking with other musicians easier, and greatly facilitates the distribution of one's music. YouTube also has a large community of both amateur and professional musicians who post videos and comments.^{[citation needed]} Professional musicians also use YouTube as a free publisher of promotional material.

YouTube users, for example, no longer only download and listen to MP3s, but also actively create their own. According to Don Tapscott and Anthony D. Williams, in their book Wikinomics, there has been a shift from a traditional consumer role to what they call a "prosumer" role, a consumer who both creates and consumes. Manifestations of this in music include the production of mashes, remixes, and music videos by fans.^[13]

Business

The music industry refers to the business industry connected with the creation and sale of music. It consists of record companies, labels and publishers that distribute recorded music products internationally and that often control the rights to those products. Some music labels are "independent," while others are subsidiaries of larger corporate entities or international media groups.

Education

Primary

The incorporation of music training from preschool to post secondary education is common in North America and Europe. Involvement in music is thought to teach basic skills such as concentration, counting, listening, and cooperation while also promoting understanding of language, improving the ability to recall information, and creating an environment more conducive to learning in other areas.^[14] In elementary schools, children often learn to play instruments such as the recorder, sing in small choirs, and learn about the history of Western art music. In secondary schools students may have the opportunity to perform some type of musical ensembles, such as choirs, marching bands, concert bands, jazz bands, or orchestras, and in some school systems, music classes may be available. Some students also take private music lessons

with a teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques.

At the university level, students in most arts and humanities programs can receive credit for taking music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some type of musical ensembles that non-music students are able to participate in, such as choirs, marching bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yogyakarta, Indonesia, or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music).

Academia

Musicology is the study of the subject of music. The earliest definitions defined three sub-disciplines: systematic musicology, historical musicology, and comparative musicology or ethnomusicology. In contemporary scholarship, one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field of psychoacoustics. The study of music of non-western cultures, and the cultural study of music, is called ethnomusicology.

Graduates of undergraduate music programs can go on to further study in music graduate programs. Graduate degrees include the Master of Music, the Master of Arts, the Doctor of Philosophy (PhD) (e.g., in musicology or music theory), and more recently, the Doctor of Musical Arts, or DMA. The Master of Music degree, which takes one to two years to complete, is typically awarded to students studying the performance of an instrument, education, voice or composition. The Master of Arts degree, which takes one to two years to complete and often requires a thesis, is typically awarded to students studying musicology, music history, or music theory. Undergraduate university degrees in music, including the Bachelor of Music, the Bachelor of Music Education, and the Bachelor of Arts (with a major in music) typically take three to five years to complete. These degrees provide students with a grounding in music theory and music history, and many students also study an instrument or learn singing technique as part of their program.

The PhD, which is required for students who want to work as university professors in musicology, music history, or music theory, takes three to five years of study after the Master's degree, during which time the student will complete advanced courses and undertake research for a dissertation. The DMAis a relatively new degree that was created to provide a credential for professional performers or composers that want to work as university professors in musical performance or composition. The DMA takes three to five years after a Master's degree, and includes advanced courses, projects, and performances. In Medieval times, the study of music was one of the Quadrivium of the seven Liberal Arts and considered vital to higher learning. Within the quantitative Quadrivium, music, or more accurately harmonics, was the study of rational proportions.

Zoomusicology is the study of the music of non-human animals, or the musical aspects of sounds produced by non-human animals. As George Herzog (1941) asked, "do animals have music?" François-Bernard Mâche's Musique, mythe, nature, ou les Dauphins d'Arion (1983), a study of "ornitho-musicology" using a technique of Nicolas Ruwet's Language, musique, poésie (1972) paradigmatic segmentation analysis, shows that bird songs are organised according to a repetition-transformation principle. Jean-Jacques Nattiez (1990), argues that "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organised and conceptualised (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human."

Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly it refers to any study of music, usually related in some form with compositional concerns, and may include mathematics, physics, and anthropology. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory, even that which studies music of the common practice period, may take many other forms. Musical set theory is the application of mathematical set theory to music, first applied to atonal music. Speculative music theory, contrasted with analytic music theory, is devoted to the analysis and synthesis of music materials, for example tuning systems, generally as preparation for composition.

Ethnomusicology

In the West, much of the history of music that is taught deals with the Western civilization's art music. The history of music in other cultures ("world music" or the field of "ethnomusicology") is also taught in Western universities. This includes the documented classical traditions of Asian countries outside the influence of Western Europe, as well as the folk or indigenous music of various other cultures.

Popular styles of music varied widely from culture to culture, and from period to period. Different cultures emphasised different instruments, or techniques, or uses for music. Music has been used not only for entertainment, for ceremonies, and for practical and artistic communication, but also for propaganda in totalitarian countries.

There is a host of music classifications, many of which are caught up in the argument over the definition of music. Among the largest of these is the division between classical music (or "art" music), and popular music (or commercial music - including rock and roll, country music, and pop music). Some genres don't fit neatly into one of these "big two" classifications, (such as folk music, world music, or jazz music).

As world cultures have come into greater contact, their indigenous musical styles have often merged into new styles. For example, the United States bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German and African instrumental and vocal traditions, which were able to fuse in the United States' multi-ethnic society. Genres of music are determined as much by tradition and presentation as by the actual music. Some works, like George Gershwin's Rhapsody in Blue, are claimed by both jazz and classical music. Many current music festivals celebrate a particular musical genre.

Indian music, for example, is one of the oldest and longest living types of music, and is still widely heard and performed in South Asia, as well as internationally (especially since the 1960s). Indian music has mainly 3 forms of classical music, Hindustani, Carnatic, and Dhrupad styles. It has also a large repertoire of styles, which involve only percussion music such as the talavadya performances famous in South India.

Music therapy

Robert Burton wrote in his 17th century work, The Anatomy of Melancholy, that music and dance were critical in treating mental illness, especially melancholia.^[15] He said that

But to leave all declamatory speeches in praise of divine music, I will confine myself to my proper subject: besides that excellent power it hath to expel many other diseases, it is a sovereign remedy against despair and melancholy, and will drive away the devil himself.

Burton noted that

...Canus, a Rhodian fiddler, in Philostratus, when Apollonius was inquisitive to know what he could do with his pipe, told him, "That he would make a melancholy man merry, and him that was merry much merrier than before, a lover more enamoured, a religious man more devout."

In November 2006, Dr. Michael J. Crawford^[19] and his colleagues also found that music therapy helped schizophrenic patients.^[20] In the Ottoman Empire, mental illnesses were treated with music.^[21]

A Baroque Biochemist

2008-07-18T10:30:00.002+07:00

by Sarah C.P. Williams

On Tuesday and Friday evenings, biochemist Alexander Konstantinov walks away from his spectrophotometer and picks up a different fine-tuned instrument. He draws the violin to his chin and slides the bow across its special silk strings, creating the richly decorated sounds of early 17th century Baroque music.

Konstantinov, an HHMI international research scholar at Moscow Lomonosov State University, leads the university's chamber orchestra. They play pieces by Johann Hermann Schein, Johannes Rosenmüller, and William Lawes—lesser-known composers who came before Bach, Beethoven, and Vivaldi.

Baroque compositions encourage a feeling of harmony, Konstantinov says. “This music brings a discipline of one's ego. You feel yourself happy not just when expressing yourself, like many feel when playing a solo part, but feeling yourself a part of the entire ensemble. Inside the baroque orchestra you do not feel either a romantic hero or a small cog within a large score.”

Konstantinov's passion for music is a life-long infatuation that predates even his love of science. He first picked up the violin when he was five, with encouragement from his parents. At age six, he passed up an audition for a spot at the Central Music School in Moscow.

“This would have meant a professional music career,” says Konstantinov. But his father had been expelled from Moscow after World War II, moving the family to Saratov, a day trip away. “My parents did not venture to send me alone to boarding school in Moscow,” says Konstantinov.

Still, in Saratov he attended a seven-year “children's music school” along with regular classes—where he discovered his knack for science, like his mother, a microbiologist, and his father, an expert on water ecosystems. Soon, the time came for him to choose between science and music. “As both my parents were from the scientific world, it happened that I chose science.”
When he began as a student at Moscow State University in 1967, however, he discovered that studying science didn't mean giving up his violin. That same year, the university established a chamber orchestra, and Konstantinov signed up. He was placed in the last stand of violins.

Over the next 10 years, he moved up, seat by seat, to the front of the 15-person orchestra—eventually becoming the “konzertmeister” of the first violins. In 1991, he took over as director. Among the university scientists playing in the orchestra, four are from Konstantinov's research group, which studies how cells harvest energy from oxygen molecules.

While the orchestra occasionally plays for university events—including a ceremony for HHMI President Tom Cech a few years ago—his fondest performances are those in which singers join the orchestra. In 1995, they teamed up with a popular philharmonic ensemble to perform odes and semi-operas by English composer Henry Purcell and oratorias by Italy's Alessandro Scarlatti. These performances included both singing and speaking parts.

Coordinating the musicians with the singers offered Konstantinov a new challenge. The results—the first authentic performances of many of these masterpieces in Russia—were well worth it, he says.

Illustration: Peter Arkle

Classical Music Work of the Week

2008-07-18T10:18:00.005+07:00

Chopin: Prelude no. 15 "Raindrop" in D flat Major
By Aaron Green, About.com

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As it so happened, I came across Frederic Chopin's Prelude no. 15 "Raindrop" in D flat Major last week. I love this prelude (as it is one of my favorites). It's been several months since I last listened to this piece. For those of you who listen to classical music on a day to day basis, do you notice that you listen to classical music in cycles? (I do anyway.) I listen to several pieces of music almost non-stop for a few weeks, then I get hooked on some other piece. I listen to that for a few weeks, forgetting about the music I was listening to weeks before. When I come across the older pieces again, it's like a pleasant surprise - I forget how much I like them.

Frederic Chopin's Prelude no. 15 "Raindrop", as you can tell from it's nickname, is an extremely tranquil piece of music. It's repeating pitter-patter pattern (try saying that three times fast) on the same note subtly resembles falling raindrops. The piece opens very calmly, reminding us of a warm, calm spring day. However, it doesn't stay calm - often rain is accompanied by a thunderstorm. Chopin portrays the thunderstorm by moving to a c-sharp minor key, slowly building up chords in the low octave, while still repeating 8th notes on the same key. Finally after the storm reaches it's climax, Chopin masterfully resolves back to the piece's original key, leaving us listeners, happy and content.

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Frederic Chopin

By Aaron Green, About.com

Born: March 1, 1810 - Zelazowa Wola (near Warsaw)

Died: October 17, 1849 - Paris

Chopin Quick Facts:

Chopin's unique style and genre's (Etude, Mazurka, Nocturne, and Waltz) were clearly established before he left Warsaw.
Chopin preferred to give private, more intimate concerts to smaller crowds of high class "socialites".
Chopin was able to charge lofty fees for private piano lessons. His tutorship was highly demanded.

Chopin's Family Background:

Chopin's father, Mikolaj, tutored the son of Countess Justyna Skarbek at the Countess's estate in Zelazowa Wola. Chopin's mother, Tekla Justyna Kryzanowska, had also been employed there, but at a much younger age. She was the Countess's companion and housekeeper. In 1806, Chopin's parents married. Frederic Chopin was only seven months old when they moved out of the estate to Warsaw. Mikolaj secured a post at the Lyceum and lived in the right wing of the Saxon Palace. Chopin had three siblings.

Childhood:

Given the current living circumstances, Chopin met and associated with three different classes of people: professors of academia, middle gentry (most of the students attending Lyceum), and the wealthy aristocrats. In 1817, the Lyceum, along with the Chopins, moved to the Kazimierzowski Palace next to the University of Warsaw. Chopin quickly gained several lasting friendships with the boys attending the school long before he enrolled in the university. He was home-schooled until 4th grade.

Teenage Years:

Chopin received several years of private lessons from Józef Elsner before attending the High School of Music in 1826. He also took organ lessons in 1823 from Wilhelm Würfel. However, these lessons did not contibute to Chopin's extradordinary keyboard ability; he taught himself. Chopin did learn rules of composition, though, while attending high school. After graduation, he traveled and performed. Back in Warsaw at the age of 20, he performed the F minor Concerto to a crowd of 900.

Early Adult Years:

Chopin, depressed by the uncertainty of his future (should he be a public performer or not)and by his secret love of Konstancja Gadkowska, set off to Vienna in November of 1830. During his short stay in Vienna, Chopin managed to compose his first nine mazurkas. Chopin departed Vienna in 1831, and headed toward Paris. While in Paris, Chopin gave a concerts and earned the friendships of other great pianists such as Liszt and Berlioz. He became the "premiere" piano instructor.

Mid Adult Years:

In 1837, Chopin met a novelist by the name of George Sand. She came from a social class Chopin would consider "bohemian." He once said, "What an unattractive person La Sand is. Is she really a woman?" Nevertheless, a year later they met again and instantly fell in love. Chopin became very ill while staying in Majorca with Sand. However, he was still able to write. He mailed several preludes to his friend, Pleyel. Upon his recovery, Chopin moved to Sand's manor in Nohant.

Late Adult Years:

Many of Chopin's greatest works were composed during his summer stays in Nohant. Although Chopin's works were blossoming, his relationship with Sand was slowly deteriorating. Many family feuds broke out between Sand's children and Chopin. Tensions between Sand and Chopin also increased; apparent in her later writings, "...a strange conclusion to nine years of exclusive friendship." Chopin never fully recovered from the break up. Chopin died of consumption in 1849.

Selected Works by Chopin:

Piano

Mazurka

Op. 68/2 - a minor - 1827
Op. 68/3 - F Major - 1830
Op. 68/1 - C Major - 1830
Op. 67/1 - G Major - 1835
Op. 67/3 - C Major - 1835
Op. 41/1 - e minor - 1838
Op. 68/4 - f minor - 1846
Op. 67/4 - a minor - 1846
Op. 67/2 - g minor - 1848

Nocturne

Op. 72/1 - e minor - 1829
Op. 15/3 - g minor - 1832
Op. 27/1 - c sharp minor - 1835
Op. 27/2 - D Major - 1835
Op. 37/1 - g minor - 1838
Op. 37/2 - G Major - 1839

Polonaise

Op. 71/1 - d minor - 1828
Op. 71/2 - B flat Major - 1828
Op. 71/3 - f minor - 1828
Op. 40/1 - A Major - 1838
Op. 40/2 - C Major - 1839
Op. 44 - f sharp minor - 1841
Op. 53 - A flat Major - 1843

Chopin Resources

Chopin - Classical Net Chopin - Classical Music Archives Chopin Life and Works

Music 'can enhance wine taste'

2008-07-18T10:09:00.000+07:00

Playing a certain type of music can enhance the way wine tastes, research by psychologists suggests.

The Heriot Watt University study found people rated the change in taste by up to 60% depending on the melody heard.

The researchers said cabernet sauvignon was most affected by "powerful and heavy" music, and chardonnay by "zingy and refreshing" sounds.

Professor Adrian North said the study could lead retailers to put music recommendations on their wine bottles.

The research involved 250 students at the university who were offered a free glass of wine in exchange for their views.

Brain theory

Four types of music were played - Carmina Burana by Orff ("powerful and heavy"), Waltz of the Flowers from The Nutcracker by Tchaikovsky ("subtle and refined"), Just Can't Get Enough by Nouvelle Vague ("zingy and refreshing") and Slow Breakdown by Michael Brook ("mellow and soft")

The white wine was rated 40% more zingy and refreshing when that music was played, but only 26% more mellow and soft when music in that category was heard.

The red was altered 25% by mellow and fresh music, yet 60% by powerful and heavy music.

The results were put down to "cognitive priming theory", where the music sets up the brain to respond to the wine in a certain way.

"Wine manufacturers could recommend that while drinking a certain wine, you should listen to a certain sort of music," Prof North said.

The research was carried out for Chilean winemaker Aurelio Montes, who plays monastic chants to his maturing wines.

Mr Montes said: "It was therefore a natural extension to link with Heriot Watt and to scientifically determine the impact that music has on how wine tastes."

Previously, Professor North conducted supermarket research which suggested people were five times more likely to buy French wine than German wine if accordion music was played in the background.

If an oompah band was played, the German product outsold the French by two to one.

Symphony musicians sign contract

2008-07-18T10:07:00.000+07:00

By Donecia Pea • doneciapea@gannett.com • July 17, 2008

The nearly yearlong battle between Shreveport Symphony Orchestra musicians and management has come to an end with all musicians on board for the 2008-09 season.

"In order to maintain their personal employment relationship with the employer, musicians signed annual individual contracts."

The board has insisted that such drastic changes were necessary to overcome years of financial instability that stem as far back as 2001, when the symphony accumulated a loss of more than $700,000.

Last month, the symphony's board of directors moved to impose its proposal after negotiations between the board and musicians came to halt in late May.

While in the past, contracts were signed collectively as an agreement between the musicians' union Local 116 and symphony management, the new contracts were signed individually by each musician.

"These agreements do not bind each musician collectively to a relationship with the employer. There is still a union at the Shreveport Symphony Orchestra," Teague said.

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Classical Music Work of the Week

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Frederic Chopin

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Related Articles

Music 'can enhance wine taste'

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Make contact or ask a question.
Email: bg@briangilbertson.com.au

Reproduction, même partielle, soumise à l'autorisation écrite de l'Ircam

All Rights of Reproduction Subject to a Written Authorization of IRCAM

InHarmoniques nº 1,
décembre 1986

Le temps des mutations

InHarmoniques nº 2,
mai 1987

Musiques, identités

InHarmoniques nº 3,
mars 1988

Musique et Perception

InHarmoniques nº 4,
septembre 1988

Mémoire et création

InHarmoniques n° 7, janvier 1991

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InHarmoniques n° 8/9, novembre 1991

Musique recherche théorie