As CD sales sour, the music market is evolving in a strange method. Music fans' are turning their attention to the past, reverting back to vinyl records. For some it is a satisfying hobby, regaining a part of their youth. For others, collecting vinyl records is a passion, as they search the online web websites, record conventions, garage and rummage sales and small resale stores to protect their favorite records and include to their gathering collage of vinyl.
If you were to ask them why records are so enticing most will inform you it is the sound of vinyl that is the most satisfying. They might be tired of the sterilized music reproduction of a cd or digitized download. You will hear the term, "vinyl just has a warmer noise" or that they enjoy the experience, an almost ceremonial pattern that is associated with playing a vinyl record. I think the best method to explain the noise that vinyl exudes is an example I like to use. Alternatively, digital sound is like a copy of that "finger print" and something is lost when the music is compressed into 1's and 0's, or what I refer to as "binary sound."
Now, this phenomenon might be satisfying to some and the CD certainly has its place as a musical format. In our discard society, CD's deal convenience and a technique to play music that the vinyl record can not provide. But "binary sound," to me, is simply too clear- you are missing out on essential components of the taped noise, sounds that the artist who tape-recorded the music desired you to hear.
In our digitized world there are compelling arguments for whatever sound recreation format a person chooses. However you will never take the vinyl enthusiast out of me. If you were to ask them why records are so appealing most will inform you it is the sound of vinyl that is the most satisfying. You will hear the term, "vinyl just has a warmer noise" or that they like the experience, a practically ceremonial pattern that is involved in playing a vinyl record. "binary sound," to me, is simply too clear- you are missing important elements of the tape-recorded noise, sounds that the artist who taped the music desired you to hear.
Cylinder music boxes were when a way of providing live music without entertainers. The music produced resembled an ensemble of harpists or bell choir. It was not without its constraints, however. Back in those days, a music box came with some specific sounds, and those were the noises you needed to listen. So, in order to supply some brand-new tunes and improve the music quality of these music boxes, a moving cylinder was created.
There were two sets of pins on the cylinders. As one of the sets of pins on the cylinder sounded the resonating "teeth" of the "comb" the other sets of pins passed quietly in between the teeth. When the tune was over, the cylinder would turn over, making the next set of pins to line up with the "teeth". What was the result of these actions? Well, on some music boxes, you could even get 12 various sounds. After a few years, a brand-new kind of cylinder was created: the interchangeable cylinder. These interchangeable cylinder music boxes had the great advantage of being replaced, with a new cylinder with new tunes.
These cylinders were typically made from strong products, like metal and powered by a spring. In a few of the last designs, the cylinders could be eliminated to alter melodies, thanks to an invention in 1862, and in some exceptional designs, there were 4 springs, to provide continuous play for up to 3 hours. Due to the fact that individuals weren't pleased by the performances of these cylinder music boxes, as brand-new devices appeared, the constraints of the cylinder led to the development of Symphonion disc music box. The disc music boxes were then capable of playing 24 or 27 inch discs.
The music boxes were specially developed to play separate song discs, and this method with simply one music box you might listen for numerous plays. The majority of today do not turn to music boxes for their routine music repair due to the fact that of improving science and innovation. Individuals acquire music boxes today not to replace their mp3 players and Ipods. It is a method of delighting in music of the other day and relish in the appeal and art of the days passed by. Yet, for those who are fans, old clocks and watches with little musical pieces are extremely suggested. Old wood disc or cylinder music boxes are ending up being a rarity nowadays, and can be thought about valuable antiques. Simply go to a museum and see some designs. From time to time, you can even see them offered online.
The music and the craftsmanship of these amazing music boxes will leave you with the yearning to buy one afterwards. Cylinder music boxes were once a method of providing live music without performers. In order to offer some new tunes and improve the music quality of these music boxes, a moving cylinder was created. Since people weren't satisfied by the efficiencies of these cylinder music boxes, as new gadgets appeared, the limitations of the cylinder led to the advancement of Symphonion disc music box. The music boxes were specifically designed to play different song discs, and this method with just one music box you could listen for numerous plays. Because of enhancing science and technology, the majority of today do not turn to music boxes for their routine music fix.
Any songwriter knows that a tune will not make it without having well-written music and completely crafted lyrics. The interaction between music and lyrics in a song positions two questions. The very first is which is more important and the second is which need to be composed first. Nevertheless, the 2nd concern is not truly an issue; as it is just a matter of individual choice and practice.
The concern that actually needs answering remains in truth the first: "Which is more crucial?!". To answer this question, we need to analyze the audience understanding of songs. Songs are composed for people to hear them; for that reason the method they relate to songs is most important and relevant to the songwriting process. An excellent songwriter must take a look at his/her audience in advance and, consequently, form the tune to be as easily developed as possible by its desired audience.
As I come from western music by education (classical music) and to oriental music by birth (being from Egypt), I have actually taken a look at -as deeply as I might- the understanding of songs by both Arabic listeners and European listeners. My conclusion is that those two different cultures produced really differently biased people. The Arabic culture and legacy is based greatly on poetry while music stayed minor.
Consequently, for Arabic listeners the lyrics precede and music is decreased to a melodic vehicle for the lyrics with the least quantity of plan possible. Lyrics come first for Arabic listeners! On the other hand, Europe's music heritage is huge with a great deal of genius composers who will always be remembered. At the exact same time, Europe's terrific poets utilized the kind of language that today needs a great deal of simplification to understand.
The music reaches the European listener before the lyrics! Does this mean that one can write "bad" lyrics for European listeners and get away with it ?! Of course NOT!! They eventually catch up. Arabic listeners will not listen to a song with bad music. The concept is that if your audiences care less for lyrics, then they would not "value" a complex lyric. In fact, they wouldn't comprehend it and will identify it as "bad". It has to be "great" but not "complicated". It's everything about intricacy. Arabic listeners will settle with a nice melody that fits the lyrics well. It has to be nice, however it CAN'T be complicated!!
My mother thinks that Dvorak's "New World Symphony" is "louder" than music should be. I believe she meant to state: "too complicated for music". Alternatively, European listeners will not go for a great tune, you have to have strong chord developments, a powerful base line and a strong drum line. I compose more complicated lyrics for Arabic listeners and more complex music for European listeners. Study YOUR OWN audiences and see what they like and to which side they are biased, so you understand the best ways to change your song's intricacy. Beware; often "less complicated" means "more hard to compose" ... Wish you easy songwriting!! Any songwriter understands that a tune will not make it without having well-written music and completely crafted lyrics.
The interaction between music and lyrics in a song presents 2 concerns. For Arabic listeners the lyrics come first and music is reduced to a melodic car for the lyrics with the least quantity of arrangement possible. Arabic listeners will not listen to a song with bad music. I write more complicated lyrics for Arabic listeners and more complex music for European listeners.
Courtesy of one of our arabic speaking Members
COULD YOU BE WAM’S NEXT WAMFEST DIRECTOR? WAM is looking to engage a visionary director who can see the potential for WAMFest to be a major force in the WA arts and culture calendar and a driving force for the advancement of WA music. The successful applicant will possess the strategic capacity and skills to...
A major step towards making Western Australia’s music venues safer places to visit has taken place, with a $60,000 investment from the McGowan Government’s Contemporary Music Fund. Culture and the Arts Minister David Templeman announced that community sector organisation, Safer Venues WA would receive the funding over three years. It will work with venues, audiences, artists...
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Entries are now open for the Act-Belong-Commit Fairbridge Festival Quest song-writing competition for young West Australian songwriters of folk and world music. The competition will be open to two creative categories (CRAFT and PERFORMANCE) and two age categories (12-15 YEARS and 16-18 YEARS). The four winners will receive: Fairbridge Festival live performance (Sunday 28 April) John Butler...
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The Country Arts WA Project Fund is designed to benefit regional and remote artists, arts workers, audiences and communities by supporting and promoting participation in, and access to, art and culture. Funding can cover artist, arts worker and cultural adviser fees, travel, accommodation, materials, venue, equipment hire and insurance. Activity in all art forms including visual...
With just a few weeks until WA’s newest venue Freo.Social opens its doors, organisers have announced a massive list of more than 40 shows confirmed for the venue’s Entertainment Hall. The venue is kicking off on 3 April with FREO.WEEK, which will celebrate the venue’s musical heritage and showcase Fremantle’s significant cultural and musical credentials. FREO.WEEK...
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