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Giuseppi Logan and the Light. Not since January of this year have I had time to write here at No Sound Left Behind. I devoted every second to getting better at music and writing. At Rutgers, I engaged in an independent study with Dr. Henry Martin to transcribe 6 Duke Ellington small band sides. Coming from my harmelodic perspective, this was an enormous challenge as I attempted to mind meld with Duke, examining every decision he made with a magnifying glass. As I have written before Far Rockaway is far, and the only way there required a forced G train bus transfer, one of the worst MTA scenarios. We spoke for awhile, and I heard that G’s sister’s husband died, but that he would feel better with family back in Virginia.

Finding that G could get WBGO and WKCR on his radio with good reception, I came up with the idea to call WKCR and ask them to play any GL song so that G could hear his music over the radio. Outside a man came up to me and exclaimed: “You’re the guy on the wall!” “Matt is talking about HUMANITY. New theory may explain the ‘music of the meteors’ | Science | AAAS. For centuries, some observers have claimed that shooting stars or meteors hiss as they arc through the night sky. And for just as long, skeptics have scoffed on the grounds that sound waves coming from meteors should arrive several minutes after the light waves, which travel nearly a million times faster. Now, scientists have proposed a theory to explain how our eyes and ears could perceive a meteor at nearly the same time. The hypothesis might also explain how auroras produce sound, a claim made by many indigenous peoples living at high latitudes. Meteors release huge amounts of energy as they disintegrate in the atmosphere.

They also produce low frequency radio waves that travel at the speed of light. Some scientists have suggested that those radio waves produce the sound that accompanies meteors. The waves can cause everyday objects—including fences, hair, and glasses—to vibrate, which our ears pick up as sound between 20 and 20,000 Hertz. But nailing down that scenario isn’t easy.

Why tapes matter – The Hum Blog. I’m pretty obsessed with contemporary cassette culture. Over the last few years, countless young and ambitious efforts have adopted the format – sculpting one of the most vibrant contexts of new music I’ve encountered, yet it seems – caught by the object itself (or simply not having a tape deck), people often miss what makes it so special. It feels reductive to mention the all mighty dollar – but it counts, and is generally downplayed in narrative of seminal music. Art is supposed to come first – and it does, but particularly for those of us who have shuffled through a frustrating flux in formats during the last three decades, it has played a significant role. Though everyone has their preferences and reasons, a largely unspoken factor which contributed to the vinyl revival we are currently witnessing, is that for many years (the 90’s and the first half of the 2000’s) LPs were the cheapest way to buy music.

Structurally, my thoughts contend with two distinct forums. -Bradford Bailey. Plug (Luke Vibert) - Maker Of All. Novachord Restoration Project. The "brain" of the instrument The massive "Generator" consists of the control box in the front, and channels 1 through 9 in the rear. All the audio processing in the Novachord is performed in the generator. The Control Box houses the controls for the instrument as well as all the passive audio processing circuits including the 5 resonators. Channels 1 - 9 house the active vacuum tube circuits. There are 12 oscillators, 60 frequency dividers, 60 band pass filters, 72 VCA's, a pre amp and a hex-vibrati in the generator.

Stripping the underside of the generator. The Control Box The Control Panel before restoration. The Control Box internals before restoration - The rear section (shown above) contains the 18 channel passive mixer with it's Rube Goldberg mechanical keyboard volume balancer. The preset mechanism - The Combination lever engages the 2 preset sounds of the Novachord. The Attack Control - On the left half of the above photo is the attack control. Channel 5 before restoration. Brandford Marsalis on Jerry Garcia & Grateful Dead - Lost Interview 1996. The A=432 Hz Frequency: DNA Tuning and the Bastardization of Music. Brendan D.

Murphy, Guest GA=440Hz: Not Quite Music to My Ears Humankind is the largely unwitting victim of a frequency war on our consciousness that has been waged for decades, if not millennia. The goal has clearly been to keep us as gullible and subservient as possible, through multifarious means. In modern history in particular, there has been what Dr. The American Federation of Musicians had already accepted the A440 as standard pitch in 1917, and the U.S. government followed suit in 1920. It is interesting, also, to note that in October 1953, despite the British and Nazi push for the arbitrary A=440 standard (which is “disharmonic” vis à vis the physico-acoustic laws of creation governing reality), a referendum of 23,000 French musicians voted overwhelmingly in favour of A=432Hz. The Vibration of Sound Interestingly, the difference between 440 and 741 Hz is known in musicology as the Devil’s Interval. Somehow, Austrian genius visionary Rudolph Steiner (1861-1925) was on to all of this.

John Coltrane's Handwritten Outline for His Masterpiece A Love Supreme. Click the image above to view it in a larger format. The great jazz saxophone player John Coltrane was born 87 years ago today. To mark the occasion we present this rare document from the Smithsonian’s National Museum of American History: Coltrane’s handwritten outline of his groundbreaking jazz composition A Love Supreme. Recorded in December of 1964 and released in 1965, A Love Supreme is Coltrane’s personal declaration of his faith in God and his awareness of being on a spiritual path. “No road is an easy one,” writes Coltrane in a prayer at the bottom of his own liner notes for the album, “but they all go back to God.” If you click the image above and examine a larger copy of the manuscript, you will notice that Coltrane has written the same sentiment at the bottom of the page. In the manuscript, Coltrane writes that the “A Love Supreme” motif should be “played in all keys together.” Related content: John Coltrane’s ‘Giant Steps’ Animated.

György ligeti’s artikulation (with score and audio) – The Hum Blog. Score for György Ligeti’s Artikulation Following the inexplicable success of my piece focusing on Cornelius Cardew’s Treatise, I thought it might be nice to shine the light on another seminal work from the cannon of avant-garde gestures within Twentieth Century Classical Music – György Ligeti’s Artikulation. Ligeti will be familiar to most. With Iannis Xenakis, Pierre Boulez, Luciano Berio, and Karlheinz Stockhausen, he is one of the most most noted European composers of the Post-War period. His works are imbued with a sensitivity and emotion that I often find less present in his peers.

They occupy a special place in my heart. Ligeti was a Hungarian Jew. One interesting distinction about this work, is the score itself. I leave you know with the work itself. György Ligeti – Artikulation (1956) Like this: Like Loading... The A=432 Hz Frequency: DNA Tuning and the Bastardization of Music. Speaking in tongues, a documentary on milford graves from 1982 featuring david murray (in three parts) – The Hum Blog.

Made at the tail end of an era which saw profound expressions of African American self-actualization, nationalism, political optimism, and social realism, Speaking in Tongues is an important document. Made for German TV and aired in 1982, it is deeply Afro-centric creative expression by the filmmaker Doug Harris, using the remarkable Free-Jazz drummer Milford Graves as a vehicle to discuss the expanded Black consciousness and spirituality which grew from the gestures of Albert Ayler. Graves has always been one of my favorite drummers, composers, and improvisors. This is a rare glimpse into his world, featuring numerous performances, interviews, and insights, which also focus their lens on the wonderful saxophonist David Murray.

I hope you enjoy this window into another time. Speaking in Tongues – Part One Speaking in Tongues – Part Two Speaking in Tongues – Part Three Like this: Like Loading... The Tragedy of A Relationship | superaalifragilistic. In August 2000, Ravi Shankar’s first wife, the reclusive surbahar virtuoso Annapurna Devi, did her only interview in 60 years with me in which she spoke about her torturous marriage and the tragic life of their son Shubho. Originally published in Man’s World, it was rediscovered by a journalist in December 2012 after the demise of Pandit Ravi Shankar. Since then, the story of Annapurna Devi has gone viral logging in over 10k Likes on Facebook and 900 shares. It’s an amazing, unforgettable story of a rare modern-day musician mystic. In the Hindustani classical music fraternity, Annapurna Devi’s genius is part of a growing mythology. The tragedy is that her music is lost to the world. Annapurna Devi’s aloofness from the world extends to not even taking phone calls.

Annapurna Devi’s sixth floor flat at South Mumbai’s Akashganga Apartments bears her name plate and a plastic plaque which says, “Please ring the bell only three times. Straight ahead is a door, which is firmly shut. Like this: A collection of photos of la monte young & co – The Hum Blog. I’m a big La Monte Young fan.

The number of hours I’ve spent with his recordings, and immersed in the Dream House, is incalculable. I’ve seen him sing on a number of occasions, and go to see performances of his music whenever I can. He has shaped the way I hear. Young is a contentious figure. Tania Mouraud, Terry Riley, Ann Riley, Pandit Pran Nath, La Monte Young, and Marian Zazeela Anne Riley, Terry Riley, Pandit Pran Nath, La Monte Young and Marian Zazeela Theatre of Eternal Music – Tony Conrad, La Monte Young, Marian Zazeela, and John Cale La Monte Young La Monte Young and Marian Zazeela Terry Riley, La Monte Young, and Pandit Pran Nath La Monte Young, Pandit Pran Nath, and Marian Zazeela La Monte Young and Yoko Ono Like this: Like Loading...

Tibetan buddhist tantric scores – The Hum Blog. I’ve been a devotee of Tibetan Buddhist Tantric music for years. I love it so much, that I impulsively buy it on faith whenever I come across a record that I know I don’t have. My collection of it is pretty expansive at this point. I’ve lost track, but I must have somewhere between 50 and 75 LPs stretching across its traditions. It’s an incredible, deeply spiritual, and complex music. Despite my countless hours listening to it, I don’t pretend to have more than a cursory understanding. Its tonal relationships and rhythmic structures have almost no equivalent. This morning as I woke, I checked Facebook and noticed that someone (named Chuping Chen) had posted an image of one of the incredible scores from which Tibetan Buddhist chant is drawn.

Like this: Like Loading... A collection of photos of la monte young & co – The Hum Blog. Photo album for the 1960’s & 70’s american avant-garde – The Hum Blog. Everyone has seemed to love the photo albums I posted on La Monte Young and Joan La Barbara, so I thought I’d round it out, and broaden my subject to the breadth of avant-garde music from the 1960’s and 70’s. This is one of my favorite periods of music. These are images that I’ve collected while wanderings around the internet. I’ve done my best to cover as broad a range as seemed reasonable (roughly 60 images), but I haven’t managed to be as inclusive as I might have liked. Let’s chock it up to taste for now, as those represented are among my favorites of the generation. I hope you enjoy, and that they give you a window into an incredibly exciting period of thought, experiment, and sound.

Terry Riley 1970’s Terry Riley 1960’s Terry Riley W/ Kronos Quartet Terry Riley & Morton Feldman The Sonic Arts Union (Alvin Lucier, Gordon Mumma, Robert Ashley and David Behrman) San Fransisco Tape Music Center Alvin Lucier Alvin Lucier & Friends Pauline Oliveros Pauline Oliveros – Performance of Valentine. New Ways Into the Brain’s ‘Music Room’ The new paper “takes a very innovative approach and is of great importance,” said Josef Rauschecker, director of the Laboratory of Integrative Neuroscience and Cognition at Georgetown University. “The idea that the brain gives specialized treatment to music recognition, that it regards music as fundamental a category as speech, is very exciting to me.”

In fact, Dr. Rauschecker said, music sensitivity may be more fundamental to the human brain than is speech perception. “There are theories that music is older than speech or language,” he said. “Some even argue that speech evolved from music.” And though the survival value that music held for our ancestors may not be as immediately obvious as the power to recognize words, Dr. “The story was, oh, what’s special about music perception is how it recruits areas from all over the brain, how it draws on the motor system, speech circuitry, social understanding, and brings it all together,” she said. Dr. To address the question, Dr. Vijay Iyer, the Harvard Professor Changing Jazz. Vijay Iyer’s music can be jubilant and dramatic, but Iyer is not. He tends to stand slightly farther from someone he is speaking with than people usually do.

Seated, he sometimes leans back from an engagement, as if the extra room allowed him more time to reach a judgment. His gaze is examining, and he occasionally looks at people askance, which makes him appear skeptical. In conversation, he seems cautious but precise and quietly determined. He stands with his feet spread and his knees locked, like someone in the military. He has a round, handsome face and a sharp nose. Lately, Iyer, who is forty-four and a Harvard professor, has been the most lauded piano player in jazz.

Iyer is currently the Metropolitan Museum of Art’s artist-in-residence, and in March he will perform during the course of eighteen days at the opening of the Met Breuer, the former home of the Whitney Museum. Iyer pressed several keys. “It’s a bad idea,” Iyer said. “I would never recommend it to any young person. Inside Abbey Road. David Bowie. David Bowie is not simply the prettiest star—he’s a constellation. No matter which Bowie you first encountered—the orange-haired alien androgyne of Ziggy Stardust, the creepy clown in the “Ashes to Ashes” video, the louche lothario of the Let’s Dance era, or even the guy refereeing Derek Zoolander’s walk-offs—you were instantly disarmed by his style, sophistication, and presence.

But Bowie was the rare rock legend whose mythology is defined more by his intellectual curiosities than his cocaine-fuelled debauchery. The famous parade of personae that defined his astounding 1970s discography represented not just new sounds and aesthetics; Bowie was essentially a human Internet, with each album serving as a hyperlink into a vast network of underground music, avant-garde art, art-house film, and left-field literature. Bowie was the nexus through which many rock fans were first introduced to not just the Velvet Underground and the Stooges and Kraftwerk and Neu! , but also William S. Kurt Schwitters - Ursonate. Reverse Engineering: Danny Hyde On Coil, Backwards & NIN. Composer_ivan_wyschnegradsky_s_color_wheels_representing_his_microtonal. Naturjuuz.