Leopold Mozart Johann Georg Leopold Mozart (November 14, 1719 – May 28, 1787) was a German composer, conductor, teacher, and violinist. Mozart is best known today as the father and teacher of Wolfgang Amadeus Mozart, and for his violin textbook Versuch einer gründlichen Violinschule. Life[edit] Childhood and student years[edit] He was born in Augsburg, son of Johann Georg Mozart (1679–1736), a bookbinder, and his second wife Anna Maria Sulzer (1696–1766).[1] From an early age he sang as a choirboy. While a student in Augsburg, he appeared in student theatrical productions as an actor and singer,[3] and became a skilled violinist and organist.[4] He also developed an interest, which he retained, in microscopes and telescopes.[5] Although his parents had planned a career for Leopold as a Catholic priest, this apparently was not Leopold's own wish. He withdrew from the St. Early career as musician[edit] Anna Maria Pertl Mozart, wife of Leopold The Mozart family on tour: Leopold, Wolfgang, and Nannerl.
Art music Art music (also known as serious music,[1] erudite music,[2] or legitimate music[3][4] (often shortened to legit music)),[5] is an umbrella term used to refer to musical traditions implying advanced structural and theoretical considerations[6] and a written musical tradition.[7] The notion of art music is a frequent and well defined musicological distinction, e.g., referred to by musicologist Philip Tagg as one of an "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics."[8] He explains that each of these three is distinguishable from the others according to certain criteria.[8] The main tradition in the Western world is usually called classical music. In this regard, it is frequently used as a contrasting term to popular music and traditional or folk music.[7][9][10] The term also covers non-Western classical traditions such as Chinese classical music and Traditional Japanese music.[citation needed] Definition[edit] Characteristics[edit] See also[edit] References[edit]
Lucrezia Aguiari Lucrezia Agujari (La Bastardella), attributed to Pietro Melchiorre Ferrari. Lucrezia Aguiari (sometimes spelled Agujari) (1741 – 18 May 1783) was an Italian coloratura soprano. She possessed an unusually agile voice with a large vocal range that spanned slightly more than three and a half octaves; faculties that enabled her to perform the most difficult passage work. In a letter dated 24 March 1770 Leopold Mozart wrote of hearing her perform a C an octave above high C at the Ducal opera of Parma, "I could not believe that she was able to reach C soprano acuto, but my ears convinced me."[1] Aldous Huxley also mentioned this event in his novel, Brave New World. Biography[edit] Born in Parma, during her lifetime Aguiari was often referred to as "La Bastardina" or "La Bastardella". Aguiari studied with Brizio Petrucci in Ferrara and then was further educated at a convent in Florence, where she got singing lessons from Abbé Lambertini. Operatic Roles[edit]
'Chilly' Gonzales: 'I like to be married to lots of people' | Music | The Observer It is sweltering in the north-west Parisian suburb of La Frette-sur-Seine on the afternoon I arrive to meet the performer known once again as "Chilly" Gonzales. Behind an unmarked iron gate lies a rambling, 19th-century manor house, converted into a residential recording studio in the late 60s by French producer Eddie Barclay. It is currently home to Gonzales and the singer Leslie Feist, who are working on the follow-up to her million-selling album The Reminder. "Welcome to paradise," says the newly clean-shaven Gonzales as he shows me inside. "We did one big grocery shop when we arrived and we're not going to leave all week." The studio seems more suited to Feist's ethereal beauty than it is to him. "Chilly" Gonzales, aka "Gonzo", aka Gonzales, aka 38-year-old Canadian Jason Charles Beck, is a producer, a classically trained pianist, a comedian-cum-cabaret artist, a film-maker and a left-field pop star in his own right who runs a gamut of styles.
5 Rock Stars You Won't Believe Are Secretly Musical Geniuses #2. John Mayer Getty The Ridiculous Artist: Sickening sweet bubblegum adult contemporary pop played to arenas filled with screaming women who would really appreciate it if you could buy her and her friends some beer -- because they forgot their IDs at home. Scan the audience at a John Mayer concert, and among the 20,000 women, you'll find like 50 dudes -- 20 of them are gay, 12 are boyfriends forced to go to the concert and the other 18 are guitar players. He's known for making excruciatingly stupid faces while performing, making the entire audience concerned that he's about to throw up at any moment, but he refuses to stop the song long enough to do it. "Dude, are you OK? The Amazing Talent: Sorry, normal, rational, thinking humans. That's him doing not only rhythm guitar, but percussion, by using his thumb and the base of his hand to slap out a beat ... as well as throwing in lead licks, all while maintaining his vocals. #1. The Ridiculous Band:
About us | Tonic. A Creative Music Agency.. about Tonic is an independent creative agency specialising in music. Here, music IS the big idea. We create music content for clients including brands, agencies and production companies. We work across all media – commercials, film, games, integrated entertainment, events, retail identity & strategy, or preferably an intelligent mix of them all. We like to blur the lines, shake shit up, and introduce great music to the world. Simply put, we’re here to make you sound good. Clare Donald Head of Operations, Google Creative Lab “I have worked with Susan in my current role (Google Creative Lab) and in my past role (Head of Operations at Havas London). Olly Chapman Head of Broadcast, BETC London “I’ve known and worked with Susan on pretty much every production I have produced over the past 8 years. Davud Karbassioun Head of Film, BBH London “Angels was the first ever truly global LYNX/AXE film. She was an integral part of our team from start to finish.” Kayt Hall Managing Director, Absolute Post
Diatonic scale Diatonic scale on C, equal tempered Play and just Play . This property of the diatonic scales was historically relevant and possibly contributed to their worldwide diffusion because for centuries it allowed musicians to tune musical instruments easily by ear (see Pythagorean tuning). This article does not include alternative seven-note diatonic scales such as the harmonic minor or the melodic minor. History[edit] Diatonic scales are the foundation of the European musical tradition. Prehistory[edit] The earliest claimed occurrence of diatonic tuning is in the 45,000 year-old so-called "Neanderthal flute" found at Divje Babe. There is evidence that the Sumerians and Babylonians used some version of the diatonic scale.[3] This derives from surviving inscriptions that contain a tuning system and musical composition. Theory[edit] Analysis[edit] The modern piano keyboard is based on the interval patterns of the diatonic scale. Major scale[edit] Natural minor scale[edit] Modes[edit]
Current issue Get exclusive deals for new music events in your inbox. Sign up here. Hear from the voices of new music with guest posts from composers, curators, producers and the Sound and Music team here. Melody The true goal of music—its proper enterprise—is melody. All the parts of harmony have as their ultimate purpose only beautiful melody. Therefore the question of which is the more significant, melody or harmony, is futile. Beyond doubt, the means is subordinate to the end. Elements[edit] Given the many and varied elements and styles of melody "many extant explanations [of melody] confine us to specific stylistic models, and they are too exclusive The melodies existing in most European music written before the 20th century, and popular music throughout the 20th century, featured "fixed and easily discernible frequency patterns", recurring "events, often periodic, at all structural levels" and "recurrence of durations and patterns of durations".[3] Melodies in the 20th century "utilized a greater variety of pitch resources than ha[d] been the custom in any other historical period of Western music." Examples[edit] Different musical styles use melody in different ways. See also[edit]