An annotated score of Berg’s Lyric Suite was discovered, which he secretly dedicated to Hanna Fuchs-Robettin, with whom he was in love. Without delving too deep, the secret meaning of the Lyric Suite also made its way into Lulu, where Berg’s special use of the two notes, H (musical German for B) and F — for “Hanna Fuchs” — made yet another example of Berg’s unique predilection for coding emotion in musical geometry.
In 2013, a 20-year-old Miley Cyrus was trying to shed her Hannah Montana good-girl youth image. Stuff like that can usually take an album or two, a couple promotion campaigns, and some time to sculpt, but not for Miley. Her image was resculpted in a matter of minutes with this viral good-girl-gone-bad performance at the the VMAs alongside the also-controversial Robin Thicke.
Valhalla is known for its digital reverbs and delays that pay homage to digital reverbs of the late 1970s and early ’80s, and otherworldly algorithmic reverbs that sounded huge and atmospheric. The Valhalla Frequency Echo is a combination of a vintage echo delay and a frequency shifter, giving you sonic results that “range from subtle chorusing and double tracking to barber pole phasing and flanging to endless glissandos and runaway echos.” Whether you’re putting mono or stereo signal in, it converts to a stereo signal out.
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The instrument has an eerie, otherworldly quality that has led it to becoming prominent in sound design and soundtracks for films over the last 60 years. Its entertaining playability and portability have also provided the theremin with a place on the stage in rock and prog rock acts. Although it’s rare, we’ve even seen some orchestral and symphonic composers adopt the theremin as a solo melodic vehicle in concert music.
“Drip Too Hard”: They double the choruses and end the second verse with some title/refrain stuff. Hey, you know, one trend that I’d like to call cemented this year is that song form is becoming more and more lyric based. As songs are increasingly built around one single loop phrase, you have to base their form off of something, so it might as well be words. Because it used to be that the chorus, verse, and bridge would all have different chord changes, which would help determine the form. That’s just no longer so.
Following one of the first major hip-hop settlements between De La Soul and The Turtles in 1989, Biz Markie was sued over his hit single “Alone Again.” Markie’s song samples the piano chords from Gilbert O’Sullivan’s “Alone Again (Naturally)” and uses the same lyrical hook. Markie’s record label initially tried to get the rights to “Alone Again (Naturally),” but when O’Sullivan refused, the label released the song anyway. Markie was in turn found guilty of copyright infringement.
We’ll return to the story of its eventual completion later, noting that at the time of his death Berg had already completed all the thematic compositional material for the opera. Lulu is famous for pushing the strictures of serialism to their limits. Serialism is one of the most important musical movements of the 20th century, and in brief it treats all 12 notes of the chromatic scale as possessing equal value and forbids any regression back to conventional tonality.
Let’s say that we ran two of these sine waves simultaneously. We’d find that the total amplitude would be the sum of the two identical sine waves. So far, so good. But what if we were to “flip” the waveform, so that what was a peak is now a trough, and vice versa? What we get is… silence.
And then of course, all the notes that aren’t in the scale would be numbered and identified in relation to their function in a chord, but we won’t go into that right now. This all came about as a result of music psychologist Carol Krumhansl’s experiments on how average listeners judged the placement of a “probe tone” in a short melodic excerpt. These tests would later be known as “the probe tone experiments.”
The music industry has once again gone through a tremendous transformation. Traditional roles in the business of creating music have been redefined and revolutionized.
The short answer is: I don’t. I grade for effort, in a very coarse-grained way. If the student completes the project, following all the guidelines and requirements, they get full credit, regardless of the quality of the resulting music. (My assignment guidelines are always technical in nature; I don’t put any restrictions on musical style.) If students don’t follow the guidelines and requirements, or hand the assignment in late, or obviously half-ass it, I deduct points accordingly. I don’t give any consideration to the music itself when grading because then I’d just be grading on how closely the student’s musical taste is to mine, which would be arbitrary and unfair.
Like everyone in the music biz, mixers and producers have a reverence for the giants whose shoulders they stand on. We love to learn from the greats and, in this book, journalist and engineer Howard Massey sits down with 37 of them to record their hard-won insights. From Sir George Martin to Phil Ramone to Alan Parsons, we’re treated to intimate insights into how these producers makes great records and what makes each of them tick. Many of the common lessons here we knew already — such as the importance of getting the best performance over fixing things during the mixing process — but there’s real value in the way that these sentiments and lessons are articulated differently by each interviewee.