Listing the ten best shows for a music director to work on is as subjective as choosing the ten greatest composers, or painters, or novelists, so it’s worthwhile to stipulate some qualities the winners must have, subjectively speaking. Yet these qualities can only reveal themselves by working through the reasoning of what makes a show a music director’s favorite.
The Harp is a string instrument of very ancient lineage that is synonymous with classical music and cupid’s lyre. Over the years, the harp has morphed from its primitive hunting bow shape to its modern day use in corporate branding. Across the globe, each culture has its own variation of this whimsical soft-sounding instrument. Check out these ten fun facts about the harp.
How do you approach the history of love? Is it through psychology and the understanding of emotion? Is it through the great works of literature? Or is it through sound — from the chord that pulls the heart strings to the lyric that melts your heart? But this music has a strange history of its own. We can trace our ‘saccharine’ comments to Ancient Rome and the language of servitude to the Convivencia.
A recent study of commercial recordings finds that 90% are attributed to men—and most often men in their peak years of sexual activity. Perhaps this discrepancy is the result of bias in the music industry or among audiences, or maybe a little of both. Or perhaps we can conclude that Darwin was right about music.
With the catchy melodies of Richard Rodgers’ music, and the cheeky wit of Lorenz Hart’s lyrics, the early collaborative songs of Rodgers-and-Hart are characteristic of 1920s jazz at its finest — and some of the best examples of early classics from the Great American Songbook. Most of the shows from this period have sunk into obscurity, but the songs have stood the test of time. You won’t be able to resist tapping your feet along to these ten great hits!
Giovanni Battista Lamperti (1839 – 1910), one of the first great vocal pedagogues, is quoted as saying in his Maxims that the breath is the basis of good singing. ”What is your approach to breath?” is a simple question, but the answers to this question are anything but simple. Master singers have varying ideas about breath control
Near to Salamone Rossi’s time, and working at the Mantuan court, is the harpist Abramino dall’Arpa. His story illustrates the unrelenting pressure brought on Jews to convert and, at the same time, Abramino’s refusal to do so.
In February 2012 a group of young women wearing balaclavas went into Moscow’s most grandiose Russian Orthodox cathedral and sang about 40 seconds of an anti-Putin song they’d written, before being bodily removed from the premises. Pussy Riot quickly became a household name. The chorus of their “Punk Prayer” prevailed upon the Virgin Mary to kick Putin out of power, and included the line: “Shit, shit, holy shit.”
For ballet rehearsals in theatres around the world the piano has long been the musical instrument of choice. To engage orchestras to do the detailed, volatile work required in routine rehearsals would be impractical and prohibitively costly, and only at the dress rehearsal will dancers and the orchestra finally come together. The music at all earlier rehearsals is provided through a specially written version of the score called a ‘piano reduction’.
Throughout the month, we’ve examining the myriad aspects of the human voice. But who better to discuss it than a singer herself? We asked Jenny Forsyth, member of the Sospiri choir in Oxford, what it takes to be part of a successful choir.
This Christmas, London’s Royal Opera House played host to Christopher Wheeldon’s critically acclaimed Alice’s Adventures in Wonderland, performed by the Royal Ballet and with a score by Joby Talbot. Indeed, Lewis Carroll’s seminal work Alice’s Adventures in Wonderland (1865) has long inspired classical compositions, in forms as diverse as ballet, opera, chamber music, song, as well as, of course, film scores.
‘Oh, that this too, too solid flesh would melt,’ so wrote the other bard, Shakespeare. Scotland’s bard, Robert Burns, has had a surfeit of biographical attention: upwards of three hundred biographical treatments, and as if many of these were not fanciful enough hundreds of novels, short stories, theatrical, television, and film treatments that often strain well beyond credulity.
The neat thing about the voice is that, while we don’t usually change the material, the shape is very flexible, and we can manipulate it to change our timbre. Overtone singing like Hefele’s takes an element of vocal sound and turns it into a new sort of instrument, inverting the typical relationship between instrument and timbre.
As a Jewish musician working for the Mantuan court, and competing for the favors that its Christian musicians and composers hoped to gain, it was only inevitable for Rossi to have been considered an intruder.
More than half a century after its founding, Motown is still remembered by fans, musicians, and historians as the mover and shaker of its generation. From The Temptations’ “My Girl” to Marvin Gaye’s “I Heard It Through The Grapevine,” its reverberating influence is recognized even today, echoed in modern hits like Mark Ronson and Bruno Mars’ wildly popular “Uptown Funk.”
Starting in the early 1960s, female artists embarked upon solo careers with the Motown label. The first to be signed to the label was Mable John, a blues vocalist born in Bastrop, Louisiana. Slow melodic songs like “No Love” and “Who Wouldn’t Love a Man Like That” stood firmly in the blues genre yet only appealed to a limited, mature audience and did not translate into commercial success.