‘Pavamana’ by Ben and Vincent, is a walk through the jungle with colorful sounds of rattles, cosmic flutes and currents of hot air. An enveloping voice guides the listener, suggesting gently where to venture next. Gobi Desert Collective and Copal join the label with their track ‘Ambedo’, a darker release that maintains the fresh personality of the Art Vibes collective.
- Having already recorded Mieczysław Weinberg’s symphonies Nos. 2 & 21 three years ago for Deutsche Grammophon, Mirga Gražinytė-Tyla here presents the Third and Seventh Symphonies along with the Flute Concerto No. 1.
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- The program, working in tandem with MECA&D’s rigorous visual arts offerings, prepares students to cross traditional boundaries as musicians, performers, sound artists, artists and thinkers.
In acoustics, the Greeks discovered the correspondence between the pitch of a note and the length of a string. But they did not progress to a calculation of pitch on the basis of vibrations, though an attempt was made to connect sounds with underlying motions. The Lab is a platform, set up in partnership with KU Leuven, for experiment, co-creation and creative talent development. A setting in which influential creatives, pioneers and outcasts inspire the next generation to unravel their own talent. The San Francisco Public Library system is dedicated to free and equal access to information, knowledge, independent learning and the joys of reading for our diverse community. Titonton Duvante has long been a cult favourite of those who know for well over two decades.
I know that Aboriginal artists are not specifically including musical references, and most do not use music as the inspiration for their art, however, the colours, shapes, designs, and forms speak loudly of music to me. Helping students become global citizens has long been an important part of what Art & Music Histories does. Art history program accredited in the United States where most of the study—two of three semesters—is conducted in Italy. We equip students to be globally engaged and intellectually enterprising professionals in the visual and performing arts, cultural heritage, and academic sectors.
Elīna Garanča joins GM Art & Music for worldwide general management only for opera
This belief, however, doesn’t explain why music and art can evoke emotion in the audience if it’s not simply due to an exploitation of more basic senses. With dancefloors in mind Pandhora and Tim Kari created ‘Farewell’, a track that stands out for its energy and refined sound synthesis. A long emotional break precedes an intense, progressive and grandiose drop. Scabeni’s ‘Swank and Hatter’ seduces the listener with the metallic textures present throughout the piece. A futuristic mixture between jazz and eastern notations achieves a spacey feeling to play with from dawn to dusk. This release wouldn’t be complete without a track from 9DEEP and Veytik!
Bychkov gives some interesting accents on the low string theme that follows, particularly the first time around, emphasizing the sadness of the music. From the very first notes of the Schoenberg Klavierstücke, one is aware of the fact that Iman is an artist and not just a technician. His phrasing and subtle use of dynamics mold and shape this music in ways I’ve never quite heard before. There is a certain “curvelinear” feel to his phrasing that attracts the listener, despite the fact that this is already 12-tone Schoenberg. In addition, his piano is recorded perfectly, giving his sound great clarity with just enough natural reverb around the instrument to not make it sound like an echo chamber.
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Here, the harpsichord plays rambling, circular figures, busy music that basically goes nowhere. Weinberg continues to play with this phone-ringing motif on and off throughout the movement. Projecting deep feeling into the sounds you discover will bring them to life. By playing and practicing inside the Matrices and Cosmograms a musician will develop dexterity on any instrument in ways that are different from practicing scales and arpeggios.
And Witzel’s solo is an extension of that theme, using its harmonic base to improvise on but also extending the time—and the harmony—within his improvised choruses. In other words, the solo, too, is a composition, just a spontaneously created one. While my readers know very well that I am not a big fan of this modern trend towards soft-grained jazz guitar playing, it is what Witzel plays rather than the style in which he plays it that grabbed my attention. His solos are wonderfully creative, far better than the first “soft jazz” guitarists of the 1990s were.