- Mar 2022
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musicbrainz.org musicbrainz.org
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- musicbrainz:artist=<MBID>
- musicbrainz:release=<MBID>
- musicbrainz:track=<MBID>
- musicbrainz:label=<MBID>
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- Feb 2022
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musicbrainz.org musicbrainz.org
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musicbrainz.org musicbrainz.org
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In a nutshell, an MBID is a 36 character Universally Unique Identifier that is permanently assigned to each entity in the database, i.e. artists, release groups, releases, recordings, works, labels, areas, places and URLs. MBIDs are also assigned to Tracks, though tracks do not share many other properties of entities. For example, the artist Queen has an artist MBID of 0383dadf-2a4e-4d10-a46a-e9e041da8eb3, and their song Bohemian Rhapsody has a recording MBID of b1a9c0e9-d987-4042-ae91-78d6a3267d69.
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picard.musicbrainz.org picard.musicbrainz.org
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www.mixcloud.com www.mixcloud.com
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www.youtube.com www.youtube.comYouTube1
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shop.versatilerecords.com shop.versatilerecords.com
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www.youtube.com www.youtube.com
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
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www.puissancejazz.com www.puissancejazz.com
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eev.ee eev.ee
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www.theverge.com www.theverge.com
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What tabs would be particularly useful for is new music discovery, like an album you’ve been wanting to get around to hearing but haven’t yet had the time. I bump into this problem quite a bit. Adding a new album to my “Liked” songs on Spotify shuffles it in with all of my favorite stuff, and decluttering that playlist later is a hassle. Making a new album a playlist almost assures that it’ll be forgotten about. My decrepit, goldfish memory doesn’t have the space to remember to return to a playlist of an album two weeks later. As my colleague Victoria notes, she’s always “forgetting what I’m supposed to listen to next.” You know what would help with that? Tabs.
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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- Jan 2022
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www.reddit.com www.reddit.com
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Now with a true representation of the input, you can build the chord detection logic by checking the notes against major scales. If we assume all chords contain their root we can build the major scale corresponding with the lowest note and quickly check to see which pieces of it are present, or declare this "not a chord" if we have a note that isn't part of the scale. Above, we'd find the C, E, G, D and realize it's a 1/3/5 chord + the 9th note of the scale and call it {base} add 9.
Ideas for figuring out chords.
The GUI for guitar chords: https://www.chordfinder.us/
Another site is https://oolimo.com/guitarchords/find
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slideplayer.com slideplayer.com
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research.aalto.fi research.aalto.fi
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hal.archives-ouvertes.fr hal.archives-ouvertes.fr
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cedric.cnam.fr cedric.cnam.fr
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www.youtube.com www.youtube.com
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Rare
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Local file Local file
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In the absence of musical notation of works by, or even performed by, Pietrobono, save references to the regional or national repertories he performed, and the titles of a handful of works taught by Pietrobono to his students during the last two decades of his life, with what are we le
We are missing a lot of musical info about Pietrobono because of the tradition of non-notarized playing of music and singing.
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Local file Local file
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, and played not only the organ but the chitarino
Leonello learned music not just as a mathematic/ theoretical practice but also a practical practice.
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Local file Local file
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Leonello holds in his hands a small hammer; so far it has been impossible to discover the precise meaning of this, which is doubtless another of the symbolic imprese in which Leonello, like many of the patrons of his day, took such naive delig
If this is Leonello, the hammer may be alluding to Pythagoras, since he was so interested in music. But what does the ring symbolize?
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musicontology.com musicontology.com
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motools.sourceforge.net motools.sourceforge.net
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www.tunefind.com www.tunefind.comTunefind1
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soundcloud.com soundcloud.com
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www.mixcloud.com www.mixcloud.com
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dogtrax.edublogs.org dogtrax.edublogs.org
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I’m always anxious about my singing voice, which is one reason why I always am ready to call anything I record a “demo” and cover myself from criticism (that I can’t sing as well as I should be able to, given how many years I’ve been at this).
I find the idea of a 'demo' interesting. With technology as it is these days, it feels like a mindset more than anything else. I was interested in listening to The Story of 1999 podcast series and the way in which Prince recorded everything with a thought that it might be the take. He then covered up the bits that he did not want with explosions.
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dogtrax.edublogs.org dogtrax.edublogs.org
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My next step will be to record some lead vocals, which I will do as another track in Soundtrap. I may add some more live keyboards (myself, playing, as opposed to loops) at the end, to give the second half of the song more texture. In regards to vocals, I aim to do my best, but in my mind, I keep wondering: Who else could I ask to sing this? Or help me sing this? A backing track might make all the difference in the world.
One of the things that intrigues me about taking a song from its core elements and building it out as the different journeys it can take. For example, in a documentary on U2's Joshua Tree, Brian Eno threw around the faders and demonstrated how the track (might have been Street with No Name, can't quite remember) could have been a Depeche Mode song. This is one of the things that always interests me with the Song Exploder podcast. I wonder then if you ever scrap a take and build a song up again with a whole different vibe.
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www.whosampled.com www.whosampled.com
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archive.org archive.org
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10 Hours Of East German Communist Music
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en.wikipedia.org en.wikipedia.org
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"Twist of Fate" is a song recorded by English-Australian singer Olivia Newton-John for the soundtrack album to the 1983 romantic fantasy comedy film, Two of a Kind. Written by Peter Beckett and Steve Kipner,[2] and produced by David Foster, the song was released as the first single from the album on 21 October 1983, and reached number four in Australia and Canada. It reached its peak position of number five on the US Billboard Hot 100 on January 1984, becoming Newton-John's last top-ten single on the chart to date. Billboard ranked "Twist of Fate" as the 42nd most popular single of 1984.
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en.wikipedia.org en.wikipedia.org
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As a songwriter and producer, he worked with Olivia Newton-John from 1971 through 1989. He wrote her number-one hit singles: "Have You Never Been Mellow" (1975), "You're the One That I Want" (1978 duet with John Travolta), "Hopelessly Devoted to You" (1978), and "Magic" (1980). He also produced the majority of her recorded material during that time including her number-one albums, If You Love Me, Let Me Know (1974), Have You Never Been Mellow (1975), and Olivia's Greatest Hits Vol. 2 (1982). He was a co-producer of Grease (1978) – the soundtrack for the film Grease.
- PRODUCER
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en.wikipedia.org en.wikipedia.org
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Producer(s)John Farrar
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"Heart Attack" is a song recorded by English-born Australian singer Olivia Newton-John for her second greatest hits album Olivia's Greatest Hits Vol. 2 (1982). Written by Paul Bliss and Steve Kipner, and produced by John Farrar, the song was the first single released from the album and was nominated for a Grammy Award for Best Female Pop Vocal Performance in 1983.
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en.wikipedia.org en.wikipedia.org
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Personnel[edit] From the Physical album's liner notes:[22] Olivia Newton-John – lead and backing vocals John Farrar – guitar and backing vocals Steve Lukather – guitar solo David Hungate – bass Bill Cuomo – Prophet 5 Robert Blass – keyboards Carlos Vega – drums and percussion Lenny Castro – percussion Gary Herbig – horns
- Farrar: producer
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The song's guitar solo was performed by Steve Lukather, best known as a founding member of the American rock band Toto.
- OK
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www.youtube.com www.youtube.com
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- SEE
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getpocket.com getpocket.com
- Dec 2021
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en.wikipedia.org en.wikipedia.org
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The Love That Whirls (Diary of a Thinking Heart) (1982) Mercury
DESCUBRIMIENTO!!!
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Però dici che adesso l'indie va di moda quindi fanculo tutti, facciamo il cazzo che ci pare
Così si fa
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www.youtube.com www.youtube.com
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Easy Star All-Stars
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soundcloud.com soundcloud.com
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support.focusrite.com support.focusrite.com
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Instrument Level is the most variable level signal which will travel through a TS (Tip, Sleeve) jack connection and will also require a preamp to be raised to Line Level. "Inst" should be selected whenever you connect an instrument, such as a guitar or bass guitar, directly to your interface.
Choose "instrument" when plugging in a guitar. Why? The impedance and max input level match that of the instrument and thus produce the most natural (correct?) sound.
The input is by default at mic level which is not preamped.
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soundcloud.com soundcloud.com
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Jamiroquai (The Remix Project)
- 0:00:00 Too Young To Die (Irregular Disco Workers Remix) by Jamiroquai
- 0:06:53 Alright (Joshua Pathon Downtempo Mix) by Jamiroquai
- 0:11:40 Deeper Underground (DJ Glen Remake) by Jamiroquai
- 0:18:08 Space Cowboy (D.Morales RMX / Francesco Cofano 2014 Re-Touch) by Jamiroquai
- 0:23:00 Cosmic Girl (Johnny Roostar Mix) by Jamiroquai
- 0:28:38 You Give Me Something (Jon Parry Remix) by Jamiroquai
- 0:33:58 Light Years (Micky Da Funk Bootleg Remix) by Jamiroquai
- 0:40:01 Love Foolosophy (FM Groovin' Mix) by Jamiroquai
- 0:44:45 Don't Give Hate A Chance (Mikeandtess Re-Edit) by Jamiroquai
- 0:52:15 Bad Girls (Live at The Britts 2002) [No Legal House Mix] by Jamiroquai
- 0:57:15 White Knuckle Ride (Penguin Remix) by Jamiroquai
- 1:02:06 Supersonic (Manuel Figara Edit) by Jamiroquai
- 1:08:20 Electric Mistress (Todd-If-Field-Mix) by Jamiroquai
- 1:14:44 Lifeline (Shook Mix) by Jamiroquai
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soundcloud.com soundcloud.com
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Jamiroquai (The 2nd Remix Project):
- 00:00 Stillness In Time (Timmy Regisford and Adam Rios Voc) by Jamiroquai
- 06:28 Summer Girl (Walterino Remode) by Jamiroquai 12:44 Shake It On (Lavvy Levan Edit) by Jamiroquai
- 18:10 Cloud 9 (Purple Disco Machine Remix) by Jamiroquai
- 23:45 Too Young To Die (Rhemi Remix) by Jamiroquai
- 29:12 Little L (Blaze Shelter Mix) by Jamiroquai
- 35:20 Seven Days In Sunny June (Renato Bethlehem Mix) by Jamiroquai
- 40:13 Corner of The Earth (T.R.A.R Vocal Mix) by Jamiroquai
- 46:41 Runaway (Grant Nelson Remix) by Jamiroquai
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www.nova.fr www.nova.fr
- Nov 2021
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Δώστε ένα πακέτο στα μίνιονς του Kaiser και εύχομαι το billions να είναι ΚαλοPfizer Και όταν θα επέλθει η ανοσία στην αγέλη θα δούμε πόσες μέλισσες θα υπάρχουν στην κυψέλη και εν τέλει
Στερεη αποψη για τον εμβολιασμό στον covid19.
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Μηχανορραφία η δημοσιογραφία του καθεστώτος φτιάχνεται η αγιογραφία Αλλά μη μου αγχώνεσαι, “Hakuna Μatata” Μην είσαι πιο πολύ απ' όσο πρέπει τρομοκράτα Ούτε γάτα ούτε ζημιά, καναπεδοπατάτα γαμάτα τα μαντάτα για την αρχοντοχωριάτα
Η Μαρέβα ειναι η "αρχοντοχωριάτα" που φτιάχνεται του καθεστώτος η αγιογραφία?
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Κάθε σπιτικό ο λαβύρινθος του Πάνα δέρνει η μάνα το παιδί και το παιδί τη μάνα Μεγάλοι και μικροί,
Αυτο μας συνεβη στην καραντινα, το'βλεπα στα ματια φιλων.
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Σιγά μην επενδύσουν στραγάλι για μια Μ.Ε.Θ. όσοι νοσούν σπιτάκι τους, ν' ακούσουν Megadeth
Σωστη διάγνωση της αντιμετωπισης του covid19 σε Ελλαδα.
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το φρύδι απ' την ανόρθωση, παθαίνει υπερκόπωση Στομωμένα στόματα με πώματα στο τσάνελ σέρνονται με γόνατα τα πτώματα στο πάνελ Σφουγγίσουν σάλια, ανάβουν μανουάλια τα χάλια κάτω απ' το χαλί να αποσβεστούν τσουβάλια
ΑΡΔακια των πανελ.
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Σίγουρα ανήκεις στη σωστή κατηγορία; Είσαι γιος του Παρταόλα ή ο γιος του Παρτατρία;
Ξεκαθαρη στρατευση.
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Σε Gremlin μετατρέπεται με φαγητό ο Gizmo και ο απολιτίκ στην πείνα, γίνεται φασίζμο Ακροδεξιό γκωνάρι ακρογωνιαίο
Παντα οι Απολιτικ ηταν η απειλη.
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όσο πατά ο φιλελέφαντας
Ωραία λεξη ο "φιλελέφαντας".
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soundcloud.com soundcloud.com
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www.nytimes.com www.nytimes.com
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www.youtube.com www.youtube.com
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www.thisiscolossal.com www.thisiscolossal.com
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A Moving Performance
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en.wikipedia.org en.wikipedia.org
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Mentioned at Coffee With a Codex on 2021-11-01 with an example on the closing pages of LJS 418, which isn't very clear/good, and another in MS Codex 1248, which is in a tiny manuscript, but very clear and lovely.
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- Oct 2021
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builderscollective.com builderscollective.com
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A podcast about resilience inspired Caleb Chan to compose this theme music, incorporating a heartbeat and a world music influence.
Design for Resilience
Exploring how we imagine, design, and build the future together.
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soundcloud.com soundcloud.com
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Exploring how we imagine, design, and build the future together.
A podcast about resilience inspired Caleb Chan to compose this theme music, incorporating a heartbeat and a world music influence.
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www.setlist.fm www.setlist.fm
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Created an account at https://www.setlist.fm/signup/success
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forum.artofmemory.com forum.artofmemory.com
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I just bookmarked this article published today in Current Biology for later reading and annotation. While the article isn't specifically focused on memory, the fact that it touches on visual structures, emotion, music, and movement (dance) which are core to some peoples' memory toolkits, I thought that many here would find it to be of interest.
One of the authors provided the following tl;dr synopsis:
"Across the world, people express emotion through music and dance. But why do music and dance go together?
We tested a deceptively simple hypothesis: Music and movement are represented the same way in the brain."
- Article: Visual and auditory brain areas share a representational structure that supports emotion perception01283-5) (Current Biology, 2021)
- Preprint: https://www.biorxiv.org/content/10.1101/254961v4
For those who haven't integrated song or dance into their practices, searching around for the idea of songlines will give you some background on their possible uses.
cc: @LynneKelly
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www.cell.com www.cell.com
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Visual and auditory brain areas share a representational structure that supports emotion perception https://www.cell.com/current-biology/fulltext/S0960-9822(21)01283-5
This portends some interesting results with relation to mnemonics and particularly songlines and indigenous peoples' practices which integrate song, movement, and emotion.
Preprint: https://www.biorxiv.org/content/10.1101/254961v4
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>Across the world, people express emotion through music and dance. But why do music and dance go together? <br><br>We tested a deceptively simple hypothesis: Music and movement are represented the same way in the brain.
— Beau Sievers (@beausievers) October 12, 2021<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Beau Sievers </span> in "New work published today in Current Biology Visual and auditory brain areas share a representational structure that supports emotion perception With @ThaliaWheatley @k_v_n_l @parkinsoncm @sergeyfogelson (thread after coffee!) https://t.co/AURqH9kNLb https://t.co/ro4o4oEwk5" / Twitter (<time class='dt-published'>10/12/2021 09:26:10</time>)</cite></small>
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www.prnewswire.com www.prnewswire.com
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Scientifically Proven Frequency of Love
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www.bezartshub.com www.bezartshub.com
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Arts mentorship: dance, music, film.
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- Sep 2021
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api.hypothes.is api.hypothes.is
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Solana NFT Marketplace Development
The huge trend of non-fungible tokens has necessitated the creation of a digital environment to facilitate their exchange. NFT marketplace platforms dedicated to launching and trading NFTs offer a beneficial experience for both makers and takers.
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Know more: Solana NFT Development >>>
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v1.sonarmp3.net v1.sonarmp3.net
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Several Movements from Georg Christoph Lichtenberg's 'Scrapbooks' ('Sudelbücher'), Op. 37a: IX.
Music for waste books! :)
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en.wikipedia.org en.wikipedia.org
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https://en.wikipedia.org/wiki/Antiphon
also: antiphonary as a book of such antiphons
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hypothes.is hypothes.is
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How to Create NFT MarketPlace?
Owing to the worldwide requirement of the current Digital world, the NFT aspirants are actively looking for an efficient NFT Marketplace to showcase their collectibles. Statistics have defined that OpenSea and Rarible are bound to offer enhanced performance than most other NFT marketplaces. If you are an active entrepreneur or investor looking to launch your own NFT Marketplace Platform? You are in the right place!
The NFT marketplace can be built in two significant ways.
Build NFT marketplace from Scratch.
White Label NFT Marketplace
White Label NFT MarketPlace solutions are pre-built ones. It can be customized based on the client's requirements. It is more beneficial for the people who want to start an NFT with less capital investment. Development costs and the time to Create NFT Marketplace by opting for White Label NFT MarketPlace Software solutions are minimal.
Building an NFT Marketplace from Scratch
Building NFT MarketPlace from Scratch involves some basic steps like Blockchain selection, Finalizing features & functionalities, Developing Smart Contracts, UI Creations, Smart Contract Auditing & Bug fixing, Testnet deployment, release beta version or mainnet release. These NFT platforms are built based on the client's requirements. It is fully customized and we can integrate any unique features on it.
Create NFT MarketPlace on your desired Blockchain network
There are so many NFT Marketplace solution providers present in the crypto market. So tie up with the trustworthy NFT MarketPlace Development Company and check out the live demo of their white label nft marketplace and then create your own NFT marketplace on the desired blockchain network such as Ethereum, Binance Smart Chain, and TRON as per your wish.
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NFT MarketPlace Development
Desire to Enter the Industry that generates Million Dollar Revenue, Our NFT Marketplace Development Services are perfect for you. Whether for Art, Music, Games, Real Estate or any Unique Digital Collectible, We Maticz leading NFT Marketplace Development Company develop domain-specific NFT Software Solutions to help meet your unique business demands.
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https://fs.blog/2021/07/mathematicians-lament/
What if we taught art and music the way we do mathematics? All theory and drudgery without any excitement or exploration?
What textbooks out there take math from the perspective of exploration?
- Inventional geometry does
Certainly Gauss, Euler, and other "greats" explored mathematics this way? Why shouldn't we?
This same problem of teaching math is also one we ignore when it comes to things like note taking, commonplacing, and even memory, but even there we don't even delve into the theory at all.
How can we better reframe mathematics education?
I can see creating an analogy that equates math with art and music. Perhaps something like Arthur Eddington's quote:
Suppose that we were asked to arrange the following in two categories–
distance, mass, electric force, entropy, beauty, melody.
I think there are the strongest grounds for placing entropy alongside beauty and melody and not with the first three. —Sir Arthur Stanley Eddington, OM, FRS (1882-1944), a British astronomer, physicist, and mathematician in The Nature of the Physical World, 1927
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- Aug 2021
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We can use the itertools.combinations function to find all possible subsets of a chord for a given cardinality.
Ha! Found a Ruby method to do the same thing in Sonic Pi. https://in-thread.sonic-pi.net/t/exploring-modes-of-pitch-class-sets-using-chord-invert/5874/10?u=enkerli
Glad this is explicitly mentioned here as it was my initial goal as I got into musical applications of Set Theory!
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www.npr.org www.npr.org
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psyarxiv.com psyarxiv.com
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Nweke (Ph.D.), F. E. (2021). AN EVALUATION OF NIGERIAN CHORISTERS’ LEVERAGE ON TECHNOLOGY IN THE FACE OF COVID-19 PANDEMIC. PsyArXiv. https://doi.org/10.31234/osf.io/67zuk
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- Jul 2021
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davestrickson.blogspot.com davestrickson.blogspot.com
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John Peel Sessions
via Kevin Marks on TWiG 622
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Music festival in the Netherlands leads to over 1,000 Covid infections. (n.d.). Retrieved July 28, 2021, from https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html
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engl201.opened.ca engl201.opened.ca
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These tools can process a printed score and create editable music files. See
It makes sense that this is possible, but I had truly never considered it and I wish they said more about it. I am definitely going to do a deep-dive on this, as I find it intriguing. I am imagining whether it is note-matching only, or if these programs source instrumental sound bytes? Also, the fact that it doesn't just convert it for listening, but makes it editable too!
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blog.contus.com blog.contus.com
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There are thousands of audio streaming platforms available in the market but only a small number of streaming service providers make their journey to reap a huge revenue. Thus such music streaming applications are built only by reputed audio service providers by implementing next-gen technologies and strategies.
Introducing CONTUS VPlayed, a dominant player in providing customizable music streaming solutions globally. CONTUS VPlayed is known for its advanced technology like microservice architecture that delivers a complete peerless music streaming service.
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austinkleon.com austinkleon.com
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I read that Brian Eno does something similar: he makes a tremendous amount of music, and then hits shuffle when he’s answering email, etc., and whatever catches his ear, he investigates.
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Chris Ballew, aka Caspar Babypants, aka the lead singer and songwriter for The Presidents of the United States of America, says he dumps all his raw song ideas into an iTunes playlist and then puts it on shuffle while he’s washing dishes.
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On Twitter the other day I saw someone point out that the longer you listen to Song Exploder, the more you discover that the Voice Memos app on the iPhone has probably had more of an impact on songwriting than any other piece of software. But recording things in Voice Memos is just one step. The next is listening back to things, finding diamonds in the rough.
Voice recorder as a note taking device, particularly within the realm of music. A music commonplace.
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- Jun 2021
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hypothes.is hypothes.is
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"Many North American music education programs exclude in vast numbers students who do not embody Euroamerican ideals. One way to begin making music education programs more socially just is to make them more inclusive. For that to happen, we need to develop programs that actively take the standpoint of the least advantaged, and work toward a common good that seeks to undermine hierarchies of advantage and disadvantage. And that, inturn, requires the ability to discuss race directly and meaningfully. Such discussions afford valuable opportunities to confront and evaluate the practical consequences of our actions as music educators. It is only through such conversations, Connell argues, that we come to understand “the real relationships and processes that generate advantage and disadvantage”(p. 125). Unfortunately, these are also conversations many white educators find uncomfortable and prefer to avoid."
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verian.wordpress.com verian.wordpress.com
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The best known of Terry Riley’s pieces is called ‘In C’
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reverbmachine.com reverbmachine.com
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Eno’s experiments with tape loops go as far back as 1973’s (No Pussyfooting)
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In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music.
4y after Kraftwerk's Autobahn) and 2y after Michel Jarre's Oxygen.
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citizen-dj.labs.loc.gov citizen-dj.labs.loc.gov
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Some interesting resources for music, audio, and video from the Library of Congress mentioned at IAnno21.
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en.wikipedia.org en.wikipedia.org
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johncarlosbaez.wordpress.com johncarlosbaez.wordpress.com
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Thanks for highlighting this!
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www.zdnet.com www.zdnet.com
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Enter the AudioPiLe: The Hardware
Is this the Sonos-killer box?
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- May 2021
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www.youtube.com www.youtube.com
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Università degli Studi dell’Insubria. (2021, May 14). Covid-19 Vaccine—The musical. https://www.youtube.com/watch?v=glueeURebDU
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www-clinicalkey-es.pbidi.unam.mx:2443 www-clinicalkey-es.pbidi.unam.mx:2443
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www.howtosingsmarter.com www.howtosingsmarter.com
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URL
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en.wikipedia.org en.wikipedia.org
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en.wikipedia.org en.wikipedia.org
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hiphopfoundations.org hiphopfoundations.org
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The Kay-Gees
"I Believe in Music" is a 1970 song written and recorded by Mac Davis and later included on his second album I Believe in Music.
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the startup itself can’t remove songs
content is not hosted by Audius, instead being hosted by independent node operators.
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www.theverge.com www.theverge.com
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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.
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This article kind of reads like a smear piece on Audius
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Blockchains make piracy more of a headache.
How so? Couldn't you just crosscheck the public ledger to verify the uploaders' info??
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www.mountainpass.tv www.mountainpass.tv
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I decided to embrace imperfection and use it as the unifying theme of the album.
You might find a lot of imperfection on the way, but instead of fighting with it, maybe try to embrace it?
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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".
Author's music production process:
- Sample loops from songs you like
- Use the concatenative synthesis and source separations tools (e.g. Spleeter) to extract interesting musical ideas (e.g., melodies, percussion)
- (optional) Use a little FX
- (optional) Translate audio into MIDI
- (optional) Resynthesize
- You should now have building blocks of the song. Combine them using FL Studio/Ableton Live to something that sounds good
- Expand a track by sampling more loops from the original song
- Mix the samples until you can call it a "song"
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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.
For converting audio to midi, try Melodyne or Ableton's Convert Audio to Midi
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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)
Right, it might produce some unique sounds
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Sound Source Separation
It seems like Spleeter and Open Unmix perform equally well in Sound Source Separation
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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.
Concatenative sound synthesis
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- Apr 2021
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www.baldurbjarnason.com www.baldurbjarnason.com
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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.
This is a great definition of pop culture and a good contrast to high-culture.
Here's the link to the entire interview: https://link.springer.com/content/pdf/bbm%3A978-3-319-90008-7%2F1.pdf
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www.matthewball.vc www.matthewball.vc
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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).
Was it Nirvana that changed 1991 or SoundScan?
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www.washingtonpost.com www.washingtonpost.com
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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.
Now I'm really intrigued, an artist using these methods (especially cybernetics?!) .
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“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.’ ”
I have no interest in being a vessel for expressing something...
Something fascinating about this perspective.
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- Mar 2021
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www.nga.gov www.nga.gov
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Sound Thoughts on Art
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theconversation.com theconversation.com
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Ghana’s copyright law for folklore hampers cultural growth
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www.eyebrowhairs.com www.eyebrowhairs.com
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www.eyebrowhairs.com www.eyebrowhairs.com
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www.rollingstone.com www.rollingstone.com
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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.)
Dit is volgens mij een killer feature van NFT's in muziek. De rest is leuk maar dit is superinteressant
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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.
Recordings from the whole lecture series by “born teacher” Leonard Bernstein has been “making the rounds”, thanks in part to YouTubers like Adam Neely who has been linking to those videos in descriptions of some of his episodes.
Part of the reason the series interests me for its #PedagogicalHeritage is that it extend Bernstein’s role, who’s been mostly known as a composer and conductor. These really are lectures, delivered on campus. At the beginning of the first lecture, Bernstein explicitly described his relationship to Harvard and his being “petrified” at lecturing there. His outside status is important. In music, it’s not uncommon for lectures to be given by renowned musical experts without the academic #credentials which usually serve to “qualify” a prof. According to his bio (archive), LB was a visiting prof at Brandeis in the 1950s. When he delivered those lectures on campus, he was “Charles Eliot Norton Professor of Poetry at Harvard”. The lectures were a significant part of the deal. There’s a direct continuity between the lecturer’s experience and the delivery of “teaching material”. In another context, the research behind those lectures might not have qualified a prof for tenure.
There’s quite a bit about prestige to unpack, there. And more than a little about “The Canon”. If I use excerpts from this series in my teaching, I’ll likely start from that: who was Bernstein? Why does it matter that we hear his voice instead of somebody else’s? What learning affordances from these recordings, including the musical examples performed on the piano? The context would likely be my beloved ethnomusicology course. Otherwise, some kind of course about “broad approaches to music theorization”.
What strikes me in this comment (and in the “well, actually…” reply) is the very notion that the Internet gives us access to something valuable. Yet this access might be taken away at a moment’s notice (the ways of the DMCA are impenetrable). Yes, DVDs exist and the content might be retrieved. It’s technically possible to make backups of those videos. Yet the 5Rs of Open Content aren’t obvious, here.
Although, Neely did remix some of the content.
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- Feb 2021
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www.reddit.com www.reddit.com
- Jan 2021
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www.inverse.com www.inverse.com
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Music gives the brain a crucial connective advantage
- Music’s benefits for the brain aren’t new, and this study provides further evidence that musical brains have better neural networks.
- In fact, any challenging skill that requires intensive, long-time training can improve how your brain is interconnected - even if you’re an adult.
- These findings come from a study of 150 brain scans with machine learning aid, where they counted the brain connections.
- All musician brains were a lot more structurally and functionally connected than non-musicians.
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css-tricks.com css-tricks.com
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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
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- Dec 2020
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www.youtube.com www.youtube.comVim1
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Listening to this while typing some notes on vim
:wq
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www.youtube.com www.youtube.com
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Sound of Silver by LCD Soundsystem.
This is a good album but it definitely isn't ambient and in general just doesn't feel like Kid A/Amnesiac/Vespertine/Substrata which is what OP seemed to be after :/
The song 'Sound of Silver' SLAPS tho
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Moon Pix by Cat Power
idk why but i wasn't expecting to find Cat Power here but that album kinda slaps
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Lift Your Skinny Fists
Of course.
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Lost And Safe by The Books
This was great
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somethingold.substack.com somethingold.substack.com
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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.
the lie underlying almost all ideas of being an "influencer"....
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bilge.world bilge.world
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Bandcamp’s CEO and founders’ public attaché Ethan Diamond is as good as they come
Important!
I've just come across a recent interview with Ethan Diamond in which so many of the questions which prompted me to write this essay are addressed. (The link includes my annotations.)
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mtflabs.net mtflabs.net
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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.
In contrast with Spotify's CEO:
“Music is everything we do all day, all night, and that clarity is the difference between the average and the really, really good.”
Source: Spotify’s $30 billion playlist for global domination by Robert Safian
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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.”.
And this is why I felt so compelled - obligated, even - to write my big Bandcamp essay.
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how come Bandcamp doesn’t get mentioned in all these press articles about music services? Are those related questions?
Oh my god, this. I have been asking myself this question with increasing intensity for years, now.
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www.telegraph.co.uk www.telegraph.co.uk
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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.
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many musicians are “scared to speak out” because they don’t want to “lose favour” with all-powerful streaming services and record labels.
This is horrifying. Just what Shell has done, and other major and uncaring companies, naturally.
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- Oct 2020
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s3.voscast.com:8144 s3.voscast.com:8144
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www.matthewball.vc www.matthewball.vc
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Audio’s Opportunity and Who Will Capture It
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bookbook.pubpub.org bookbook.pubpub.org
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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?
But if we're going to consider music as art, isn't a lot of the value and power of art in the "eye of the beholder"? To some extent art's value is in the fact that it can have multiple interpretations. From this perspective, once it's been released, Lamar's music isn't "his" anymore, it becomes part of a broader public that will hear and interpret it as they want to. So while Lamar may go back and annotate what he may have meant at the time as an "expert", doesn't some of his art thereby lose some power in that he is tacitly stating that he apparently didn't communicate his original intent well?
By comparison and for contrast one could take the recent story of Donald Trump's speech (very obviously written by someone else) about the recent mass shootings and compare them with the polar opposite message he spews on an almost daily basis from his Twitter account. See: https://www.washingtonpost.com/politics/teleprompter-trump-meets-twitter-trump-as-the-president-responds-to-mass-slayings/2019/08/05/cdd8ea78-b799-11e9-b3b4-2bb69e8c4e39_story.html
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www.bbc.com www.bbc.com
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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.
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www.hollywoodreporter.com www.hollywoodreporter.com
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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.
And I think she's learned from Rocketman and Bohemian Rhapsody that if you're heavily involved in making and producing your own biopic, it's unlikely anyone else will do one anytime soon and you'll be able to control not only the immediate narrative, but also the long term narrative (at least within popular culture).
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- Sep 2020
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it.wikipedia.org it.wikipedia.org
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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.
Inno alla gioia
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www.hollywoodreporter.com www.hollywoodreporter.com
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There are so many untold and inspiring stories and who better to tell it than me.
Of course there will be a huge amount of bias from her perspective.
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- Aug 2020
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www.nationalgeographic.com www.nationalgeographic.com
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“It’s in the genes”: New Orleans culture marches on despite the pandemic. (2020, June 26). History. https://www.nationalgeographic.com/history/2020/06/new-orleans-culture-marches-on-despite-pandemic/
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- Jul 2020
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psyarxiv.com psyarxiv.com
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Yuan, Y., Oishi, S., Cronin, C., Müllensiefen, D., Atkinson, Q., Fujii, S., & Savage, P. E. (2020). Perceptual vs. Automated judgments of music copyright infringement [Preprint]. PsyArXiv. https://doi.org/10.31234/osf.io/tq7v5
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- May 2020
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stratechery.com stratechery.com
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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.
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www.iprs.org www.iprs.org
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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.
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www.pplindia.org www.pplindia.org
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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.
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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.
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- Apr 2020
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www.pdmusic.org www.pdmusic.org
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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.
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ccmixter.org ccmixter.org
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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.
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www.cpdl.org www.cpdl.org
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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:
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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.
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freepd.com freepd.com
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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.
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freesound.org freesound.org
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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.
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www.openmusicarchive.org www.openmusicarchive.org
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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.
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musopen.org musopen.org
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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.
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www.gutenberg.org www.gutenberg.org
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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
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www.gutenberg.org www.gutenberg.org
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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.
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www.mutopiaproject.org www.mutopiaproject.org
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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.
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mypianonotes.com mypianonotes.com
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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.
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juiciobrennan.com juiciobrennan.com
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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.
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musescore.com musescore.com
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Kuch Kuch Hota Hai
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www.musicnotes.com www.musicnotes.com
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Für Elise Composed by Ludwig Van Beethoven - Digital Sheet Music Musicnotes Edition: Full performance and recording rights and unlimited prints.
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decollected.net decollected.net
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the chances against anything man-like on Mars are a million to one, he said
GANGNES: A variation on this line is used as the first sung lines in track 1 ("The Eve of the War") of Jeff Wayne's 1978 musical adaptation of The War of the Worlds (LP only; not originally performed live as a play). In the musical, the line is altered to "The chances of anything coming from Mars are a million to one, he said." In the novel, Ogilvy is telling the narrator that there may well be life on Mars, but it is not likely to be "man-like," i.e., intelligent and capable of communicating in the way humans communicate. The musical's altered line instead has Ogilvy opine that regardless of what kind of life might be on Mars, the odds that Martians would come to Earth are very low.
The musical incorporates narration adapted from the novel, instrumental music, vocals, and "plot" additions. The LP set was sold with an accompanying illustrated booklet related to the novel's plot. The musical has recently been updated as "The New Generation." Live performances of the musical with accompanying stage effects tour the United Kingdom.
More information:
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www.wordlessmusic.org www.wordlessmusic.org
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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
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marginalrevolution.com marginalrevolution.com
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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.
Statistical evidence that modern pop music is boring or at least more homogeneous than in the past.
Dataset used: Million Song Dataset (which doesn't contain entries from the most recent years)
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en.wikipedia.org en.wikipedia.org
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choose a song and either sing along to it as a solo, duet, or group performance.
So it necessarily starts with one of the song options provided by the platform. Users don't seem to be able to provide their own "seeds".
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- Mar 2020
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www.ilpost.it www.ilpost.it
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L’unico grande cantautore italiano che se la tiri più di De Gregori
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www.ilpost.it www.ilpost.it
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delusional rock music
such a wonderful self-definition
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- Feb 2020
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www.youtube.com www.youtube.com
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- Jan 2020
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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.
Find out the details regarding the audition process.
I used annotations like this to keep track of the college visits for my son, as well as scholarship info, and degree requirements. The ease of tracking everything made me want to experiment with annotation for other purposes--like shopping!
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www.thecurrent.org www.thecurrent.org
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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 reflection on energy over perfection.
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- Dec 2019
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medium.com medium.comtayloR1
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“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).”
What is valence in music according to Spotify?
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www.gamedevmarket.net www.gamedevmarket.net
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www.gamedevmarket.net www.gamedevmarket.net
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www.gamedevmarket.net www.gamedevmarket.net
- Nov 2019
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www.rakits.co.uk www.rakits.co.uk
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Drum Synth Kit/Assembled
Drum Synth Kit/Assembled
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www.unifiedinfotech.net www.unifiedinfotech.net
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Create A Music Streaming App In 2019
How To Create A Music Streaming App?
Now that you know that music apps can make pretty good money for their owners, you are probably dying to make your own app and start making money with it. But it’s not so easy.
Here is a step by step process –
Validating your app idea Understand the target audience Copyright matters to consider Radio or on-demand? Sketch the prototype Creating MVP Choose the features How to make your music app secure The cost to create a music app like Spotify
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www.cell.com www.cell.com
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Chords with low uncertainty and high surprise, and vice versa, evoked high pleasure
Unpredictable music seems to be more likeable
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- Oct 2019
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hypothes.is hypothes.is
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The actors fall down and move with the cell phone images as she drives around singing. I feel scared for the actors since they have to fall. I feel happy that she is expressing her emotions by people falling and the man and the dog in the back seat show a different happier perspective.
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