Eno’s experiments with tape loops go as far back as 1973’s (No Pussyfooting)

In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music.

Enter the AudioPiLe: The Hardware

The Kay-Gees

the startup itself can’t remove songs

Audius is trying to avoid SoundCloud’s copyright issues by not hosting the user-uploaded content itself. Its open-source protocol, built on blockchain, means that the responsibility of hosting and making uploaded content available is spread out among people who register as node operators.

Blockchains make piracy more of a headache.

I decided to embrace imperfection and use it as the unifying theme of the album.

I start by sampling loops from songs I like, and then use the concatenative synthesis and source separations tools to extract interesting musical ideas (e.g., melodies, percussion, ambiance). These results can be used directly, with a little FX (Replica XT, Serum FX), or translated into MIDI and resynthesized (Serum, VPS Avenger). This gives me the building blocks of the song (the tracks), each a few bars long, which I carefully combine using Ableton Live's session view into something that sounds "good". Later, each track is expanded by sampling more loops from the original songs until I have plenty of content to create something with enough structure to be called a "song".

Another extremely interesting and underrated task in the audio domain is translating audio into MIDI notes. Melodyne is state of the art in the area, but Ableton's Convert Audio to Midi works really well too.

imperfect separations are sometimes the most interesting, especially the results from models trained to separate something that isn't in the source sound (e.g., extract vocals from an instrumental track)

Sound Source Separation

concatenative sound synthesis. The main idea is simple: given a database of sound snippets, concatenate or mix these sounds in order to create new and original ones.

Binstock: You once referred to computing as pop culture. Kay: It is. Complete pop culture. I’m not against pop culture. Developed music, for instance, needs a pop culture. There’s a tendency to over-develop. Brahms and Dvorak needed gypsy music badly by the end of the nineteenth century. The big problem with our culture is that it’s being dominated, because the electronic media we have is so much better suited for transmitting pop-culture content than it is for high-culture content. I consider jazz to be a developed part of high culture. Anything that’s been worked on and developed and you [can] go to the next couple levels. Binstock: One thing about jazz aficionados is that they take deep pleasure in knowing the history of jazz. Kay: Yes! Classical music is like that, too. But pop culture holds a disdain for history. Pop culture is all about identity and feeling like you’re participating. It has nothing to do with cooperation, the past or the future—it’s living in the present. I think the same is true of most people who write code for money. They have no idea where [their culture came from]—and the Internet was done so well that most people think of it as a natural resource like the Pacific Ocean, rather than something that was man-made. When was the last time a technology with a scale like that was so error-free? The Web, in comparison, is a joke. The Web was done by amateurs.

Until 1991, Billboard charts weren’t based on actual unit sales or radio play. Instead, it was assembled using (white) retail clerk estimates of what was selling best and what (white) DJs considered to be “hottest” each week. According to The Atlantic, both groups had reasons to lie. For example, labels would pressure radio stations to favour “hand-picked hits” if they wanted to keep receiving the newest single on time (stations sometimes received bribes to play specific tracks, too). Meanwhile, labels would force inventory on their retailers, who would then overreport sales to convince music fans to buy excess inventory.Naturally, those who ran the music industry saw little need to overhaul how it worked. And thus while the book and film industries had shifted to computerized sales databases in the 1980s, not one of the top six record distributors signed onto SoundScan before its release in June 1991. But this resistance didn’t stop N.W.A.’s N***az4life from debuting #2 on the Billboard Top 100 the very next month under SoundScan. This was the highest charting performance in rap history – and happened without any radio airplay, music video airings on MTV, or a concert tour. The failings of the old honour system were further demonstrated by the fact that N.W.A. debuted at only #21 on Billboard’s R&B chart, which wasn’t yet on SoundScan. Somehow it was possible that N***az4life was the second biggest album in the country by units purchased, but 21st in its own genre when it came to what was “selling” and “hottest.” One week after it’s release, the album hit #1 on the Billboard chart (displacing R.E.M) as hundreds of thousands flocked to the record store in search of the “surprise” hit.In the following years, the R&B/hip hop genre achieved three other industry “firsts." It saw the fastest rise from a non-top ten genre to Billboard’s most popular one, has been the most dominant #1 by share, and holds the longest run as #1 (note the chart below ends in 2010, but this reign persists through to date).

O’Rourke’s “stuff” ranges from frequent releases on Bandcamp under the “Steamroom” label, including hushed, avant-garde instrumentation and complex mosaics of sound in all its beautiful and messy forms. In that same interview, O’Rourke explained his process for creating one of those works — “Steamroom 47” — culling from a wide range of touchstones including data points in music information retrieval, cybernetics and Glenn Gould’s “Goldberg Variations.” Heady stuff.

“I’m not a musician. I don’t mean that in a derogatory way. But I mean, I wasted a lot of my life playing instruments, which was foolish,” O’Rourke told the newsletter Tone Glow in an interview published in May 2020. “I have no interest in anything being a vessel for expressing something . . . I always like to say, ‘I do stuff.’ ”

Sound Thoughts on Art

Ghana’s copyright law for folklore hampers cultural growth

Katz points out this is an “extreme example to prove a point.” YellowHeart wants to show people how much control can be put into the ticket with smart contracts. Going forward, he says this same tech can be used for general tickets, which could be a huge advancement in the secondary market. Every time an NFT is resold, a percentage of money earned could go to the artist — or whoever is included in the contract, perhaps even a charity. (In such instances, YellowHeart can also set a maximum price that the NFT can be resold at, eradicating scalpers.)

WellAlwaysHaveParis il y a 7 ans • Testament to the power of the Internet...Leonard Bernstein has been dead for 23 years, and yet his knowledge, insight and wisdom perpetually echo forward for future generations.  This video was probably lost in an attic somewhere before somebody decided to drop it on YouTube.  It warms my heart that 59,000+ people have seen it.

Music gives the brain a crucial connective advantage

To explain further what exactly I’m building, the animated background is a pure code equivalent to the old music video, but runs as long as the full length of the album, though without any event triggers to tie it to the music (the animation runs continuously for the full amount of time that the uninterrupted album lasts, but does not pause or jump to a different location in the animation). It’s also extremely slow animation

Sound of Silver by LCD Soundsystem.

Moon Pix by Cat Power

Lift Your Skinny Fists

Lost And Safe by The Books

I also think journalism and music both feed into the major lie of the internet that just because it is possible to reach people all over that means it is likely that will happen for you.

Bandcamp’s CEO and founders’ public attaché Ethan Diamond is as good as they come

Well, deciding what to work on next, that has always felt like the easiest part of the job because it’s whatever benefits artists the most. Because the way Bandcamp makes money is if artists make a lot more money, so that’s what we try to spend every day doing.

I like the idea that Bandcamp hangs out in the background and just makes all of this stuff work, and also, hopefully, helps the artist promote themselves, and it’s not about “Bandcamp, Bandcamp, Bandcamp.”. 

how come Bandcamp doesn’t get mentioned in all these press articles about music services? Are those related questions?

Last week Radiohead’s Ed O’Brien, Elbow’s Guy Garvey and Gomez’s Tom Gray gave evidence alongside Shah. Gray’s Broken Record campaign aims to fight for fairer terms for artists.

many musicians are “scared to speak out” because they don’t want to “lose favour” with all-powerful streaming services and record labels.

Audio’s Opportunity and Who Will Capture It

And would a hip hop fan question, much less downvote, a “verified” Genius annotation authored by Kendrick Lamar that explains the meaning behind his music?

However, many of Pearson's digital products are sold on a subscription basis, raising fears that authors will lose out in the way musicians have to music streaming services.

Madonna being front and center to guide her own biopic should not be a surprise from anyone who has followed her career. But it is noteworthy since most biopics, when based on people or musical acts, tend to have their subjects as consultants and executive producers, involved mainly from rights points of view. This has been the case with recent hits Rocketman and Bohemian Rhapsody.

Gioia, bella scintilla divina,figlia dell'Eliseo,noi entriamo ebbri e frementi,o celeste, nel tuo tempio.Il tuo incanto rende unitociò che la moda rigidamente separò,i mendichi diventano fratelli dei principidove la tua ala soave freme. Coro Abbracciatevi, moltitudini!Questo bacio vada al mondo intero!Fratelli, sopra il cielo stellatodeve abitare un padre affettuoso.

There are so many untold and inspiring stories and who better to tell it than me.

The music industry, meanwhile, has, at least relative to newspapers, come out of the shift to the Internet in relatively good shape; while piracy drove the music labels into the arms of Apple, which unbundled the album into the song, streaming has rewarded the integration of back catalogs and new music with bundle economics: more and more users are willing to pay $10/month for access to everything, significantly increasing the average revenue per customer. The result is an industry that looks remarkably similar to the pre-Internet era: Notice how little power Spotify and Apple Music have; neither has a sufficient user base to attract suppliers (artists) based on pure economics, in part because they don’t have access to back catalogs. Unlike newspapers, music labels built an integration that transcends distribution.

Introduction         Many are not aware or not very clear about the Copyrights in Music and therefore functioning of Indian Performing Right Society Limited (IPRS). They often ask, “What is the business of IPRS?”          In short, IPRS is to legitimize use of copyrighted Music by Music users by issuing them Licences and collect Royalties from Music Users, for and on behalf of IPRS members i.e. Authors, Composers and Publishers of Music. Royalty thus collected is distributed amongst members after deducting IPRS’s administrative costs. Composers are those who are better known as Music Directors, Authors are better known as Lyricists, Publishers of Music are the Music Companies, or those who hold Publishing Rights of the Musical & Literary Works. Authors and Composers are sometimes referred to as Writers which can mean any or both of them.

About us:Founded in 1941, Phonographic Performance Limited India, also known as PPL India, is a performance rights organization licensing its members’ sound recordings for communication to public in the areas of public performance and broadcast. PPL owns and/or controls the Public Performance rights of over 356 music labels, with more than 3 million international and domestic sound recordings.Who are we?PPL India represents a lion’s share of the total sound recordings in international and domestic music. PPL India represents some of the world’s and India’s largest record labels, including Aditya Music, Lahari Music, Sony Music Entertainment, Speed Records, T-Series, Universal Music, Warner Music and is India’s largest and most respected public performance rights organisation, in terms of both membership and revenue.By purchasing a PPL licence, you have exclusive access to the entirety of our collection spanning a plethora of genres including Bollywood, Pop, EDM, Rock, Hip-Hop, Classical, Jazz, Country, Dance and others by thousands of iconic Artistes from across the globe.What do we do?Under the Copyright Act 1957, every business entity or individual must receive permission from the copyright owners of the sound recording before any public performance takes place. We enforce the rights of our members by ensuring that businesses comply with the law and pay copyright holders for the music they consume. We are a non-profit organisation and the royalties we collect are given to the rightful owners of the music.

Copyright Law: What Music Teachers Need to Know     By Ken Schlager Intellectual property has emerged from the legal backwater to become major news, with frequent high-profile cases of individuals and companies being prosecuted for the illegal use and distribution of copyrighted material. While teachers enjoy many exemptions under copyright law, the classroom does not shelter all uses. As teachers choose materials for their students, it is essential that they know where the legal lines are drawn. The principle of copyright protection in the United States can be traced back to the Constitution. Over the years, Congress has codified these protections in succeeding versions of the Copyright Act. Acknowledging that education is a unique case, the 1976 act went out of its way to address teachers’ pedagogical needs, creating exceptions to the law that allow certain uses of copyrighted material in a classroom setting. These exceptions were clarified in a set of voluntary guidelines jointly hammered out by parties representing the copyright holders and the educators, including MENC. Here’s the bottom line: Before using any printed or prerecorded material in the classroom or for any type of school performance, educators must evaluate whether the use falls under one of the Copyright Act’s specific exemptions or those described in the voluntary guidelines.

Public Domain Music ( pdmusic.org ) is a place to learn about music and hopefully get inspired to pick up an instrument and start playing. So many people are interested in music, but they think they can’t learn how to play an instrument because it’s too difficult. Or worse, they want to learn how to play an instrument, but they get discouraged in the beginning and never end up following through on their goals.

What is this site all about?This is a community music remixing site featuring remixes and samples licensed under Creative Commons licenses. Music on this site is licensed under a Creative Commons license. You are free to download and sample from music on this site and share the results with anyone, anywhere, anytime. Some songs might have certain restrictions, depending on their specific licenses. Each submission is marked clearly with the license that applies to it. Sometimes, however, a contributor might accidentally upload copyrighted materials he or she doesn’t have permission for. If you know of such a case or are the copyright holder of something posted here without your permission or a Creative Commons license, please let us know. 

What is CPDL? The Choral Public Domain Library (CPDL), is an Internet-based free sheet music website which specializes in choral music. Begun in December 1998, CPDL is one of the world's largest free sheet music sites. The goal of CPDL is to host a large collection of music scores and other supporting files (such as midi or other sound files) which can be freely downloaded and used. Most of the scores on CPDL are modern editions based on older works whose copyright has lapsed (or which are otherwise in the public domain), but some scores are newly composed and offered for download by the composer. The primary goals of CPDL are: To make vocal sheet music available for free. To create a website for public domain music that includes only legally downloadable scores (we operate under United States law). To allow development of a viable collaborative model for sheet music distribution. To publish scores that are not otherwise commercially viable. To create a website that catalogs a large number of other free sheet music websites. To encourage (through the CPDL Bulletin Boards) sharing between lovers of vocal music. As well as scores, you can use CPDL to find texts and lyrics, translations, and information about composers - all available for use under a license such as the CPDL license. In August 2005, CPDL was ported to a wiki system. The following page details the transition:

IMSLP stands for International Music Score Library Project and started on February 16, 2006. It is a project for the creation of a virtual library of public domain music scores based on the wiki principle; it is also more than that. Users can exchange musical ideas through the site, submit their own compositions, or listen to other people's composition; this makes IMSLP an ever-growing musical community of music lovers for music lovers.

FreePD.com - 100% Free Music - Free for Commercial Use, Free Of Royalties, Free Of Attribution, Creative Commons 0 * It is "copyright free" to the extent that the law allows.

bout Freesound What is this site anyway? Freesound aims to create a huge collaborative database of audio snippets, samples, recordings, bleeps, ... released under Creative Commons licenses that allow their reuse. Freesound provides new and interesting ways of accessing these samples, allowing users to: browse the sounds in new ways using keywords, a "sounds-like" type of browsing and more upload and download sounds to and from the database, under the same creative commons license interact with fellow sound-artists! We also aim to create an open database of sounds that can also be used for scientific research and be integrated in third party applications. Using the Freesound API researchers and developers can access Freesound content a retrieve meaningful sound information such as metadata, analysis files and the sounds themselves. See the developers section and the API documentation for more information. Freesound API usage is free for non-commercial use, but it can also be licensed for being used in commercial applications.

About Open Music Archive The Open Music Archive is situated within the current discourse surrounding notions of authorship, ownership and distribution, reanimated by a porting of Free/Libre and Open Source software models to wider creative contexts. The Open Music Archive concerns itself with the public domain and creative works which are not owned by any one individual and are held in common by society as a whole. Under copyright law, a music recording has two automatically assigned property rights: A musical composition has a property right and a recording has a separate and independent property right. These property rights are limited by term. In the UK, the term of copyright in a literary, dramatic, musical or artistic work is limited to the life of the author plus 70 years, while the term of copyright in a sound recording is limited to 50 years from the date of recording. The archive attempts to gather recordings and information about recordings whose proprietary interests have expired and make them accessible to a wider public. Artists Ben White & Eileen Simpson have initiated this project following a series of projects which involved researching and gathering music which has fallen out of copyright. Much of this music, although legally in the public domain, is tied to physical media (for example gramophone records) and locked away in archives or private collections which are not widely accessible. The Open Music Archive aims to digitise as much of this music as possible in order to free it from the constraints of a physical collection. The project aims to share the existing resource and to build a larger archive in open collaboration with others. The archive aims to distribute this music freely, form a site of exchange of knowledge and material, and be a vehicle for future collaborations and distributed projects.

Musopen (www.musopen.org) is a 501(c)(3) non-profit focused on improving access and exposure to music by creating free resources and educational materials. We provide recordings, sheet music, and textbooks to the public for free, without copyright restrictions. Put simply, our mission is to set music free.Musopen is a U.S. registered 501(c)(3) tax-deductible non-profit charity, operating out of Palo Alto, California. To verify our non-profit status, please click this link and search for Musopen.

Scores Available for Adoption These items link to a listing of "tiff" files from a scanned set of printed scores. In several cases, we already have some items from the scores (see below). These items have already been granted copyright clearances. Note that these tend to be fairly large files. Alkan (various scores) Beethoven

The Sheet Music Project From Project Gutenberg, the first producer of free eBooks. Jump to: navigation, search From approximately 2001-2006, Project Gutenberg volunteers were been engaged in digitizing public domain sheet music, using a variety of techniques, to enable study and performance. For the most part, the musical pieces created were chamber music, with composers such as Brahms and Beethoven. This sub-project is no longer active, because there are other efforts that have stronger workflows for sheet music. Project Gutenberg is, mostly, focused on text. Completed scores ready to download and enjoy. The Sheet Music Project In Progress List, including scanned scores ready for transcription. No longer maintained. The Music HOWTO, describing how to get started. No longer maintained. Thanks to ClassicalArchives.com, source of musical performances for many composers, in many formats. ClassicalArchives.com worked with Project Gutenberg on our sheet music project. Project Gutenberg also received a donation from an anonymous family foundation to help start the sheet music project. Interested in other similar projects? We recommend the Mutopia Project, which has many pieces of sheet music.

Free Sheet Music for Everyone 2124 pieces of music – free to download, modify, print, copy, distribute, perform, and record – all in the Public Domain or under Creative Commons licenses, in PDF, MIDI, and editable LilyPond file formats.

Learn Piano – The Complete Guide This is the ultimate guide for beginners and intermediates to learn piano. This guide teaches you how to play the piano from the very basics to advanced music concepts. This Guide is divided into 7 Parts starting with Introduction to Piano and then moving on the concepts like Hand Positions, Reading Music, Scales, Chords and creating a practice program to master the instrument.

The Lyric Hyphenator is a free online linguistics program that automatically hyphenates English words into syllables. It is great for use with music notation software like Finale. The resulting text can simply be pasted into the program and automatically lined up with the musical score. This is great for choir directors who can simply and easily paste code into their music writing programs. This prevents the need from paying for expensive module in programs like CakeWalk. The hyphen notation allows each syllable to be easily and quickly paired with its corresponding note.It is also a great tool for English teachers and students.

Kuch Kuch Hota Hai

Für Elise Composed by Ludwig Van Beethoven - Digital Sheet Music Musicnotes Edition: Full performance and recording rights and unlimited prints.

the chances against anything man-like on Mars are a million to one, he said

Wordless Music seeks to demonstrate that the various boundaries and genre distinctions separating music today – popular and classical; uptown and downtown; high art and low – are artificial constructions in need of dismantling

We find three important trends in the evolution of musical discourse: the restriction of pitch sequences (with metrics showing less variety in pitch progressions), the homogenization of the timbral palette (with frequent timbres becoming more frequent), and growing average loudness levels. The picture at right shows the timbral variety: Smaller values of β indicate less timbral variety: frequent codewords become more frequent, and infrequent ones become even less frequent. This evidences a growing homogenization of the global timbral palette. It also points towards a progressive tendency to follow more fashionable, mainstream sonorities.

choose a song and either sing along to it as a solo, duet, or group performance.

L’unico grande cantautore italiano che se la tiri più di De Gregori

delusional rock music

Applicants must perform and pass a music audition before the University can review applications for admission to music degree programs. Space is limited in these majors and students need to apply and audition early.

Dez Dickerson: [laughing] One of the things he also told me one time was – this was back before Pro Tools and all stuff, obviously. And every once in a while, you'd get a take, and the energy and the feel of the take was good enough – was so good that even though there might've been a mistake technically, you wanted to use the take. So he said, "You know what, when there's something in the track that you want to keep but there's something in the track that you don't want in there, just put an explosion over it." [Dez laughs] That was it. So now you know studio secrets with Prince. Put an explosion over the mistakes. There you go.

“A measure from 0.0 to 1.0 describing the musical positiveness conveyed by a track. Tracks with high valence sound more positive (e.g. happy, cheerful, euphoric), while tracks with low valence sound more negative (e.g. sad, depressed, angry).”

Drum Synth Kit/Assembled

Create A Music Streaming App In 2019

Chords with low uncertainty and high surprise, and vice versa, evoked high pleasure

associated with activism contesting copyright and intellectual property legislation

. Until recently this concept was associated almost entirely with recorded music. It referred to using audio editing techniques to produce “an alternative mix of a recorded song that differed from the original, and involved taking apart the various instruments and components that make up a recording and remixing them into something that sounds completely different” (ethnomus.ucr.edu/remix_culture/remix_history.htm).

Soon Ja Du

A variety of educational taxonomies have been adopted by districts and states nationwide. Examples of widely used taxonomies include but are not limited to Bloom’s Taxonomy of Educational Objectives;23 [ 23] Bloom’s revised Taxonomy for Learning, Teaching, and Assessing;24 [ 24] Marzano and Kendell’s New Taxonomy of Educational Objectives;25 [ 25] and Webb’s Depth of Knowledge Levels.26 [ 26] Using educational taxonomies to facilitate the development and guide the organization of learning objectives can improve content appropriateness, assessment effectiveness, and efficiency in learning and teaching.

How you track student progress can make a difference in their learning and your teaching.

Performance assessment does not have to be a time-consuming ordeal; it is a great way to assess our students' skills. It is essential to create a rubric that is simple, quick, and objective. This article discusses the process of creating a rubric as well as showing a rubric used by the author in her general music classroom for several years. Differences between assessment and evaluation are also mentioned.

11% for music knowledge

attendance and attitude were the most common grading criteria employed by instrumental and choral music teachers.

we asked them to find out whether any famous people were foster children.

Faithful Servant Friend Of Christ

MC5

THUNDER CHILD

As I listen to this album again and again I find myself reaching for roundly-voweled, softly consonanted words. Words like ‘home’. It’s welcoming, there’s comfort here. But it's full of feelings that are not uncomplicated. This is also Freud’s home, and ETA Hoffmann’s. It has secrets. The great warmth of these songs, their strange aching languor, is always tinged with a seam of anxiety. Listen to the uncertain syncopation between drums and high plucked bass strings at 03:40 in on the album opener, like a murmur tinged with regret, the careful bottling of a rising panic. Listen to the way Dougall’s uniquely bruised voice swells forward and almost catches against itself a minute into ‘Simple Things’, the tiny pause just after that feels like a cliff edge you just stepped over unawares. Here is both the little luxury you reach for to take the edge off things. It is also the edge itself.

A Dream in the Dark is a collection of twelve digital live albums spanning two decades – from Okkervil River’s earliest shows up to the present day. It presents a comprehensive history of the band through the lens of concerts instead of studio albums, and it draws from a massive archive of recordings catalogued by Will Sheff and by fans throughout the years.

What happened is that Spotify dragged the record labels into a completely new business model that relied on Internet assumptions, instead of fighting them: if duplicating and distributing digital media is free (on a marginal basis), don’t try to make it scarce, but instead make it abundant and charge for the convenience of accessing just about all of it.

Blood Orange

The main thing to remember is a time signature tells you: How many of what kind. That’s it. A time signature is the number of beats and the type of note the beat is.

song of the suffrage siren!

Try something crazy