{"id":1415,"date":"2023-12-19T09:52:06","date_gmt":"2023-12-19T09:52:06","guid":{"rendered":"http:\/\/meumon.synology.me\/wordpress\/?p=1415"},"modified":"2025-11-02T18:30:29","modified_gmt":"2025-11-02T18:30:29","slug":"musica","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/wordpress\/musica\/","title":{"rendered":"M\u00fasica"},"content":{"rendered":"
<\/div>\n
ANTERIORS<\/div>\n
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EINSTEIN, ALFRED<\/div>\n
Schubert<\/div>\n
M\u00fasica<\/div>\n
p. 274<\/div>\n
<\/div>\n
[Mozart, Beethoven, Schubert]<\/div>\n
Es como si nuestros tres compositores hubieran querido plasmar en esto lo que significaba para ellos, en el fondo, la m\u00fasica: un momento de tiempo ordenado, rescatado a la eternidad y proyectado de nuevo hacia la misma eternidad.<\/div>\n
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mar\u00e7 2018<\/div>\n
https:\/\/www.newyorker.com\/culture\/richard-brody\/listening-to-miles-davis-and-john-coltranes-final-tour<\/a>\u00a0John COltrane i Miles Davis<\/div>\n
TRAP: https:\/\/www.youtube.com\/watch?v=mNrKKRZOmNo<\/u><\/a>, https:\/\/www.youtube.com\/watch?v=ur8yFIXYZjY<\/u><\/a> Yung Beef<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/03\/12\/did-andrew-lloyd-webber-ruin-the-musical-or-rescue-it<\/a>\u00a0Adam Gopnik sobre els musicals opereta d’Anrew Lloyd Weber, que no tindrien el nervi dels cl\u00e0ssics<\/div>\n
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https:\/\/www.youtube.com\/watch?v=IKxptUfUUXo<\/a> baby dodds<\/div>\n
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https:\/\/www.newyorker.com\/culture\/rabbit-holes\/johnny-cashs-train-songs-are-the-only-thing-my-toddler-and-i-can-agree-on<\/a>\u00a0un pare que mira v\u00eddeos de trens amb el seu nen petit, les can\u00e7ons de Johnny Cash.\u00a0\u00a0without my having to explain why it is \u201cnot O.K., no matter what Uncle Johnny says,\u201d to shoot a man in Reno just to watch him die.<\/div>\n
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https:\/\/www.youtube.com\/watch?v=t-w-XSbVDsI<\/a>\u00a0Jon Hopkins<\/div>\n
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https:\/\/www.youtube.com\/watch?v=hHe0nckLiYU<\/a>\u00a0Jon Hopkins<\/div>\n
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John Adams:\u00a0His works include Harmonielehre (1985), Short Ride in a Fast Machine (1986), On the Transmigration of Souls (2002), a choral piece commemorating the victims of the September 11, 2001 attacks (for which he won the Pulitzer Prize for Music in 2003), and Shaker Loops (1978), a minimalist four-movement work for strings.<\/div>\n
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Primavera Sound<\/div>\n
The National<\/div>\n
Father John Misty<\/div>\n
Oumou Sangar\u00e9<\/div>\n
Nick Cave Bad Seeds<\/div>\n
Lorde<\/div>\n
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Nominats Grammy cl\u00e0ssica<\/div>\n
\u2022 Concerto For Orchestra, Zhou Tian, [recorda Mahler]<\/div>\n
\u2022 Adam Schoenberg, Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies [Mahler]<\/div>\n
\u2022 Danielpour: Songs Of Solitude & War Songs<\/div>\n
Jennifer Higdon, All Things Majestic, Viola Concerto & Oboe Concerto<\/div>\n
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https:\/\/www.youtube.com\/watch?v=IKxptUfUUXo<\/a> baby dodds<\/div>\n
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https:\/\/www.youtube.com\/channel\/UCA2r2MIrJz_RGkRm0jqUhoQ<\/a>\u00a0javiera mena<\/div>\n
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Maria m’envia: Banho de folhas<\/div>\n
https:\/\/www.youtube.com\/watch?v=bmWm6I3aAqw<\/a><\/div>\n
https:\/\/www.youtube.com\/watch?v=lKmYTHgBNoE<\/a><\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/06\/25\/paisley-park-princes-lonely-palace<\/a>\u00a0Prince<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/06\/25\/leonard-bernstein-through-his-daughters-eyes<\/a>\u00a0Leonard Bernstein<\/div>\n
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https:\/\/www.youtube.com\/watch?v=Kuqomj-6q5s<\/a>\u00a0nathy peluso<\/div>\n
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https:\/\/www.npr.org\/2018\/08\/17\/639519163\/all-the-things-you-are-aretha-franklin-life-in-jazz<\/a>\u00a0Aretha Franklin<\/div>\n
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https:\/\/www.weeklystandard.com\/dominic-green\/john-coltrane-and-the-end-of-jazz<\/a>\u00a0 an\u00e0lisi musical de Coltrane<\/div>\n
https:\/\/slate.com\/culture\/2018\/09\/playing-changes-nate-chinen-review.html<\/a>\u00a0sobre la continu\u00eftat dels estils de jazz: Playing changes: Jazz for the New Century<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/08\/27\/the-sounds-of-music-in-the-twenty-first-century<\/a>\u00a0la m\u00fasica, de l’avantguarda dels 70 i 80, tornant a la tonalitat els 90<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/09\/17\/how-the-composer-george-benjamin-finally-found-his-voice<\/a>\u00a0George Benjamin<\/div>\n
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Pop Nig\u00e8ria<\/div>\n
2Baba:\u00a0https:\/\/www.youtube.com\/watch?v=T5gxF5f7uu0<\/a><\/div>\n
Maka:\u00a0https:\/\/www.youtube.com\/watch?v=SarItmODpV8<\/a><\/div>\n
Falana:\u00a0https:\/\/www.youtube.com\/watch?v=wjkP9XsCBBo<\/a>\u00a0\u00a0https:\/\/www.youtube.com\/watch?v=d1vnq7LPMZo<\/a><\/div>\n
Adelunke Gold:\u00a0https:\/\/www.youtube.com\/watch?v=1n6PP_At3BY<\/a><\/div>\n
Mars Barzini:\u00a0https:\/\/www.youtube.com\/watch?v=o2Qg2_5hNOg<\/a><\/div>\n
Niniola:\u00a0https:\/\/www.youtube.com\/watch?v=3yvv7bzTe1Y<\/a><\/div>\n
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Sister Nancy: Bam bam:\u00a0https:\/\/www.youtube.com\/watch?v=qXnT3LFTc-s<\/a><\/div>\n
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Cat Power Wanderer<\/div>\n
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Kendrick Lamar To PImp a Butterfly<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/10\/29\/the-velvet-revolution-of-claude-debussy<\/a>\u00a0Debussy<\/div>\n
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https:\/\/www.newyorker.com\/culture\/cultural-comment\/the-accidental-perfection-of-the-beatles-white-album<\/a>\u00a0disc blanc<\/div>\n
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https:\/\/www.youtube.com\/watch?v=S75gYhODS0M<\/a>\u00a0happy birthday en diferents estils<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/11\/19\/reconsidering-the-harp<\/a>\u00a0l’arpa de Jeff Majors Mary Lattimore Manonmars<\/div>\n
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Ferran Plau: Blanc<\/div>\n
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https:\/\/www.fastcompany.com\/90274251\/song-reduces-anxiety-neuroscience<\/a>\u00a0m\u00fasica per relaxar\u00a0https:\/\/open.spotify.com\/playlist\/31lxxIDyC3qYrtH6TpGFwx<\/a><\/div>\n
weightless marconi union<\/div>\n
electra angelumen<\/div>\n
watermark enya<\/div>\n
we can fly Rue du Soleil<\/div>\n
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https:\/\/www.stereogum.com\/2024885\/best-jazz-albums-2018\/franchises\/2018-in-review\/<\/a>\u00a0 [millors \u00e0lbums de jazz: els he estat escoltant i s\u00f3n experimentals i avorrits]<\/div>\n
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Andrew Norman, contemporani<\/div>\n
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https:\/\/www.ranker.com<\/a>\u00a0 llistes votades per usuaris<\/div>\n
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yoyomas i cant dels ocells de Casals\u00a0https:\/\/www.youtube.com\/watch?v=S6Xxb8K91ok<\/a><\/div>\n
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https:\/\/www.newyorker.com\/culture\/2018-in-review\/the-ten-best-albums-of-2018<\/a>\u00a0Cat Power NO Name Fatima Warner, Rosal\u00eda el Mal querer<\/div>\n
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2019<\/div>\n
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Grammys 2019: Cardi B album rap. https:\/\/www.youtube.com\/watch?v=xTlNMmZKwpA<\/a><\/div>\n
This is America Childish Gambino<\/div>\n
Drake God’s plan:\u00a0https:\/\/www.youtube.com\/watch?v=Gp0giuC9IpI<\/a><\/div>\n
Laday gaga Shallow:\u00a0https:\/\/www.youtube.com\/watch?v=bo_efYhYU2A<\/a><\/div>\n
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https:\/\/www.youtube.com\/watch?v=Gp0giuC9IpI<\/a>\u00a0sessi\u00f3 Charlie Christian, I can’t believe 7’21<\/div>\n
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https:\/\/www.facebook.com\/BlackJunctionSocial\/videos\/2259908610934332\/<\/a>\u00a0Sobre com els blancs s’apropien de la m\u00fasica dels negres<\/div>\n
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https:\/\/www.nytimes.com\/2019\/02\/18\/opinion\/the-year-jazz-came-into-its-own.html<\/a>\u00a0 James Reese Europe i el naixement del jazz<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/how-to-find-new-music-you-ll-actually-like<\/a>\u00a0com descrobrir noves m\u00fasiques<\/div>\n
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GRAMMYS 2019<\/div>\n
https:\/\/www.yahoo.com\/entertainment\/grammy-awards-winners-complete-list-210829224.html?guccounter=1<\/a><\/div>\n
https:\/\/www.youtube.com\/watch?v=vYZFN4INkhs&list=PLbcerJq8u6IcBWz7uCW6R6q6VsgaZZnwE<\/a> KAcey Musgraves<\/div>\n
https:\/\/www.youtube.com\/watch?v=ArzDeKl-2MU&list=PLDisKgcnAC4RdgFjst-AN7xV4LGrGWTl5<\/a> Willie NBelson My way<\/div>\n
https:\/\/www.youtube.com\/watch?v=-ZoJSLB2N18&list=PL-E79MQ72MqU0AICz1Ug88nO6ju5BdUV3<\/a> Ariana Grande [OK]<\/div>\n
https:\/\/www.youtube.com\/watch?v=Q4-jOuHO-z4<\/a> Electricity Dua Lipa<\/div>\n
https:\/\/www.youtube.com\/watch?v=-dAQspnIu-4<\/a> Justice mix electronica<\/div>\n
https:\/\/www.youtube.com\/watch?v=Iqets2ZA1a4<\/a> Emancipation procrastination, instrumental, Christian Scott<\/div>\n
https:\/\/www.youtube.com\/watch?v=op9E1fhyV2Y<\/a>\u00a0\u00a0Electric Messiah\u201d \u2014 High On Fire (WINNER) Heavy metal<\/div>\n
https:\/\/www.youtube.com\/watch?v=mkK9fbw8YWs<\/a>\u00a0\u00a0Masseduction\u201d \u2014 Jack Antonoff & Annie Clark, songwriters (St. Vincent)[OK]https:\/\/www.youtube.com\/watch?v=Irewug5tXbs<\/a>\u00a0\u00a0\u201cFrom The Fires\u201d \u2014 Greta Van Fleet [OKOK]<\/div>\n
https:\/\/www.youtube.com\/watch?v=WRCA_Fo0rWA<\/a> Colors Beck<\/div>\n
https:\/\/www.youtube.com\/watch?v=cNnk_oOoLfs<\/a> Bet Ain\u2019t Worth The Hand\u201d \u2014 Leon Bridges<\/div>\n
https:\/\/www.youtube.com\/watch?v=6YNZlXfW6Ho<\/a> \u201cBoo\u2019d Up ella mai<\/div>\n
https:\/\/www.youtube.com\/watch?v=dvQl2Mc46V0<\/a>\u00a0\u00a0\u201cEverything Is Love\u201d \u2014 The Carters<\/div>\n
https:\/\/www.youtube.com\/watch?v=Kw0ih4jPOBo<\/a> \u201cSpace Cowboy\u201d \u2014 Luke Laird, Shane McAnally & Kacey Musgraves (Country) [nyonya]<\/div>\n
https:\/\/www.youtube.com\/watch?v=HBEzWI3MEUc<\/a> opium moon (New Age)<\/div>\n
https:\/\/www.youtube.com\/watch?v=wCHk7lDo6hE<\/a>\u00a0\u00a0jazz solo Don\u2019t Fence Me In\u201d \u2014 John Daversa<\/div>\n
https:\/\/www.youtube.com\/watch?v=_rOR_JaZjC8&list=OLAK5uy_mmsP0aug1C4pSXmj7AkkzzSII5z19KK4Q<\/a>\u00a0\u00a0Jazz vocal The Window\u201d \u2014 C\u00e9cile McLorin Salvant<\/div>\n
https:\/\/www.youtube.com\/watch?v=MyqSTCqbw8U<\/a>\u00a0\u00a0\u201cEmanon\u201d \u2014 The Wayne Shorter Quartet (jazz instrumental)<\/div>\n
https:\/\/youtu.be\/Z1O62_tUOLQ<\/a>\u00a0\u00a0\u00a0\u00a0sent for you yesterday Best Large Jazz Ensemble Album:\u201cAll About That Basie\u201d \u2014 The Count Basie Orchestra Directed By Scotty Barnhart<\/div>\n
\u201cAmerican Dreamers: Voices Of Hope, Music Of Freedom\u201d \u2014 John Daversa Big Band Featuring DACA Artists (WINNER)<\/div>\n
Latin jazz \u201cBack To The Sunset\u201d\u2014 Dafnis Prieto Big Band (WINNER)<\/div>\n
https:\/\/www.youtube.com\/watch?v=srGIp4LO-XM<\/a> Gospel \u201cNever Alone\u201d \u2014 Tori Kelly Featuring Kirk Franklin; Kirk Franklin & Victoria Kelly, Songwriters (WINNER)<\/div>\n
Christian music\u00a0\u00a0\u201cYou Say\u201d \u2014 Lauren Daigle; Lauren Daigle, Jason Ingram & Paul Mabury, songwriters (WINNER)<\/div>\n
Gospel album \u201cHiding Place\u201d \u2014 Tori Kelly (WINNER)<\/div>\n
https:\/\/www.youtube.com\/watch?v=ZCm7-RGg6Tc<\/a> Best Roots Gospel Album: \u201cUnexpected\u201d \u2014 Jason Crabb (WINNER)<\/div>\n
https:\/\/www.youtube.com\/watch?v=8j4zf4TdGEg&list=OLAK5uy_lX38_ofRg4x5jeWvP6TkbgSEZRK5fyVLg<\/a> Latin Pop \u201cSincera\u201d \u2014 Claudia Brant (WINNER)<\/div>\n
mexican \u201c\u00a1M\u00e9xico Por Siempre!\u201d \u2014 Luis Miguel (WINNER)<\/div>\n
https:\/\/www.youtube.com\/watch?v=J79qzM-tcsY<\/a> tropical latin \u201cAnniversary\u201d \u2014 Spanish Harlem Orchestra (WINNER)<\/div>\n
https:\/\/www.youtube.com\/watch?v=5r6A2NexF88<\/a> american roots \u201cThe Joke\u201d Brandi Carlile (WINNER)<\/div>\n
americana \u201cBy The Way, I Forgive You\u201d \u2014 Brandi Carlile (WINNER)<\/div>\n
https:\/\/www.youtube.com\/watch?v=G6OnMF20MrE<\/a>\u00a0\u00a0bluegrass \u201cThe Travelin\u2019 McCourys\u201d \u2014 The Travelin\u2019 McCourys (WINNER)<\/div>\n
https:\/\/www.youtube.com\/watch?v=FIn_gA2XwL0<\/a> trduitional blues \u201cThe Blues Is Alive and Well\u201d \u2014 Buddy Guy (WINNER)<\/div>\n
https:\/\/www.youtube.com\/watch?v=djWziMwFVWw&list=PLbcerJq8u6Id_lTQjeWchQBHGrhY9r4LC<\/a> contemporary blues\u00a0\u00a0\u201cPlease Don\u2019t Be Dead\u201d \u2014 Fantastic Negrito (WINNER)<\/div>\n
1vhttps:\/\/www.youtube.com\/watch?v=_iZEt2PpMI8&index=4&list=PLbcerJq8u6Id_lTQjeWchQBHGrhY9r4LC folk \u201cAll Ashore\u201d \u2014 Punch Brothers (WINNER)<\/div>\n
1vhttps:\/\/www.youtube.com\/watch?v=_iZEt2PpMI8&index=4&list=PLbcerJq8u6Id_lTQjeWchQBHGrhY9r4LC regional roots \u201cNo \u2018Ane\u2019i\u201d \u2014 c (WINNER)<\/div>\n
1vhttps:\/\/www.youtube.com\/watch?v=_iZEt2PpMI8&index=4&list=PLbcerJq8u6Id_lTQjeWchQBHGrhY9r4LC reggae \u201c44\/876\u201d \u2014 Sting & Shaggy (WINNER)<\/div>\n
1vhttps:\/\/www.youtube.com\/watch?v=_iZEt2PpMI8&index=4&list=PLbcerJq8u6Id_lTQjeWchQBHGrhY9r4LC\u00a0\u00a0wolrd music \u201cFreedom\u201d \u2014 Soweto Gospel Choir (WINNER)<\/div>\n
https:\/\/youtu.be\/bLyMzgRjPbQ<\/a> childeren \u201cAll The Sounds\u201d \u2014 Lucy Kalantari & The Jazz Cats (WINNER)<\/div>\n
https:\/\/youtu.be\/mouW8XZ36L0<\/a> remixed \u201cWalking Away (Mura Masa Remix)\u201d \u2014 Alex Crossan, remixer (Haim) \u2013 WINNER<\/div>\n
https:\/\/youtu.be\/NNiie_zmSr8<\/a> immersive \u201cEye in The Sky \u2013 35th Anniversary Edition\u201d \u2014 Alan Parsons, surround mix engineer; Dave Donnelly, PJ Olsson & Alan Parsons, surround mastering engineers; Alan Parsons, surround producer (The Alan Parsons Project) \u2013 WINNER<\/div>\n
m\u00fasica de cambra \u201cAnderson, Laurie: Landfall\u201d \u2014 Laurie Anderson & Kronos Quartet (WINNER)<\/div>\n
\u201cKernis: Violin Concerto\u201d \u2014 James Ehnes; Ludovic Morlot, conductor (Seattle Symphony) (WINNER)<\/div>\n
Best Classical Compendium:<\/div>\n
\u201cFuchs: Piano Concerto \u2018Spiritualist\u2019; Poems of Life; Glacier; Rush\u201d \u2014 JoAnn Falletta, conductor; Tim Handley, producer<\/div>\n
composici\u00f3 \u201cKernis: Violin Concerto\u201d \u2014 Aaron Jay Kernis, composer (James Ehnes, Ludovic Morlot & Seattle Symphony) (WINNER)<\/div>\n
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https:\/\/youtu.be\/Z1O62_tUOLQ<\/a>\u00a0\u00a0\u00a0\u00a0sent for you yesterday Count Basie orchestra grammy 2019<\/div>\n
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samurai<\/div>\n
https:\/\/www.youtube.com\/watch?v=cDhFpNvkvQs<\/a> timbals taiko<\/div>\n
https:\/\/www.youtube.com\/watch?v=4QtbHaEjAdM<\/a> matsushita tenku no inoru prayer of the firmament<\/div>\n
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https:\/\/narratively.com\/this-black-woman-was-once-the-biggest-star-in-jazz-heres-why-youve-never-heard-of-her\/<\/a>\u00a0Hazel Scott gran pianista marginada<\/div>\n
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https:\/\/www.bbc.com\/news\/science-environment-47543875<\/a>\u00a0El death metal inspira alegria i no viol\u00e8ncia segons una investigaci\u00f3.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/04\/22\/the-shape-shifting-music-of-tyshawn-sorey<\/a>\u00a0TYSHAWN SOREY Pillars<\/div>\n
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https:\/\/www.youtube.com\/watch?v=nayYQXtddXE<\/a><\/div>\n
https:\/\/www.youtube.com\/watch?v=H9fDj5I4gpk&list=RDnayYQXtddXE&index=3<\/a>\u00a0 solo bateria New Orleans\u00a0 Herlin “Homey” Riley – Drums<\/div>\n
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https:\/\/youtu.be\/zkORhAHXJ3o<\/a>\u00a0jazz per a nens narrat per Cannonball Adderley<\/div>\n
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You can read the full<\/a> First Book of Jazz<\/a><\/i> at Winter\u2019s Flickr<\/a>, where he has posted scans of every page hist\u00f2ria del jazz per Langston Hughes<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/06\/03\/antonio-salieris-revenge<\/a>\u00a0Salieri<\/div>\n
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Mac demarco, Indie \/ DJ SCREW\u00a0 \/ Rammstein<\/div>\n
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Joao Gilberto, mort 6\/7\/2019\u00a0 \u201cHe could read a newspaper and sound good,” Miles Davis once said of Gilberto\u2019s tone.\u00a0https:\/\/www.latimes.com\/entertainment\/music\/la-et-ms-joao-gilberto-died-appreciation-pop-20190706-story.html<\/a><\/div>\n
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Brand Nubian. In God We Trust. 1993 – Elektra – DeChalus \/ Murphy \/ Isley \/ Isley<\/div>\n
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Jakub J\u00f3zef Orli\u0144ski – Countertenor: bona veu, guapo i capa\u00e7 de fer breakdance<\/div>\n
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https:\/\/en.wikipedia.org\/wiki\/Erich_Wolfgang_Korngold<\/a><\/div>\n
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https:\/\/www.rollingstone.com\/music\/music-news\/lizzo-2019-mtv-video-music-awards-876645\/<\/a>\u00a0big ass<\/div>\n
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https:\/\/www.youtube.com\/channel\/UC8fqt_PDhDDszL5Zi8EauqA\/search?query=dogg<\/a>\u00a0 swamp dogg<\/div>\n
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https:\/\/www.youtube.com\/watch?v=cY_FGTmwiNI<\/a> m\u00fasica per cuinar<\/div>\n
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https:\/\/www.youtube.com\/watch?v=YkLjqFpBh84<\/a>\u00a0fka twigs video pole dance<\/div>\n
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https:\/\/daily.bandcamp.com\/2019\/09\/17\/minoy-discography-feature\/<\/a>\u00a0soundscapes<\/div>\n
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https:\/\/www.last.fm\/tag\/soundscapes<\/a>\u00a0m\u00fasica immersiva<\/div>\n
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Kelee Patterson, Maiden Voyage 1973<\/div>\n
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https:\/\/en.wikipedia.org\/wiki\/Roy_DeCarava<\/a>\u00a0fotografia de m\u00fasics de jazz, https:\/\/www.newyorker.com\/magazine\/2019\/09\/23\/roy-decaravas-poetics-of-blackness<\/a>,\u00a0 THE SOUND I SAW<\/div>\n
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Ugly God, rap<\/div>\n
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Babymetal japanese heavy metal<\/div>\n
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https:\/\/pitchfork.com\/features\/lists-and-guides\/the-200-best-songs-of-the-2010s\/<\/a><\/div>\n
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T42<\/div>\n
https:\/\/www.youtube.com\/watch?v=8RPfOk2TIxs<\/a> tea for two<\/div>\n
https:\/\/www.youtube.com\/watch?v=w_QeoayyCQo<\/a><\/div>\n
https:\/\/www.youtube.com\/watch?v=Z21c-7q981s<\/a>\u00a0basie peterson<\/div>\n
https:\/\/www.youtube.com\/watch?v=PkSdgAHgwo0<\/a>\u00a0nat king cole i quincy jones<\/div>\n
https:\/\/www.youtube.com\/watch?v=S1nXDMycvKs<\/a>\u00a0clifford brown chet baker\u00a0 <<<<<\/div>\n
https:\/\/www.youtube.com\/watch?v=yVOQDlNsjuk<\/a>\u00a0donald lambert <<<<\/div>\n
https:\/\/www.youtube.com\/watch?v=4AIIsr9lZVk<\/a>\u00a0sara V<\/div>\n
https:\/\/www.youtube.com\/watch?v=h3O4dsHceBk<\/a>\u00a0willie smith<\/div>\n
clake<\/div>\n
https:\/\/www.youtube.com\/watch?v=PupAgON8AdM<\/a>\u00a0harpo<\/div>\n
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http:\/\/www.bbc.com\/culture\/story\/20191007-the-greatest-hip-hop-songs-of-all-time<\/a><\/div>\n
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Dan Tepfer Variacions Goldberg<\/div>\n
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Matthew Halsall, oneness<\/div>\n
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http:\/\/www.bluenote.com\/playlists\/<\/a><\/div>\n
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https:\/\/www.youtube.com\/watch?v=JWhKigsWAMQ<\/a> Coleman Hawkins a Paris<\/div>\n
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https:\/\/www.youtube.com\/channel\/UCS5Kf46fEYqANmFLS0nM62g<\/a>\u00a0canal m\u00fasica vintage<\/div>\n
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https:\/\/pitchfork.com\/features\/lists-and-guides\/<\/a>\u00a0m\u00fasica per d\u00e8cades<\/div>\n
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Freestyle Love Supreme<\/div>\n
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https:\/\/youtu.be\/noTy5F4LsoU<\/a>\u00a0Milt Hinton, Jo Jones<\/div>\n
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LINDA CATLIN SMITH<\/div>\n
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jazz.org<\/a>\u00a0blo, playlists a Spotify\u00a0https:\/\/open.spotify.com\/playlist\/0D6uyf2984Vu0o0yUlEnUT?si=y0Idf9GyQh6A5XNiIygwNA<\/a><\/div>\n
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willie dixon bassology\u00a0https:\/\/youtu.be\/UcqqyL-Y6Go<\/a><\/div>\n
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James romig still aslee mack\u00a0https:\/\/www.youtube.com\/watch?v=tDHwgZFbDOs<\/a>\u00a0inspirat en el pintor clyfford still<\/div>\n
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Pharrell williams: Snoop dog drop it like it’s hot, gwen Stefani Hollaback girl, https:\/\/youtu.be\/Kgjkth6BRRY<\/a>\u00a0Dafp punk get lucky\u00a0https:\/\/youtu.be\/5NV6Rdv1a3I<\/a><\/div>\n
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https:\/\/www.youtube.com\/watch?v=R7XcAaVumgc<\/a>\u00a0onehtrix point never, daniel lopatin<\/div>\n
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https:\/\/www.newyorker.com\/culture\/photo-booth\/fifty-years-of-worship-at-the-church-of-john-coltrane<\/a>\u00a0esgl\u00e9sia Coltrane<\/div>\n
Isao Tomita:\u00a0https:\/\/youtu.be\/EM7X4mHEmPw<\/a><\/div>\n
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https:\/\/youtu.be\/OwBGtgoVPLs<\/a>\u00a0moondog<\/div>\n
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TerryRiley In C<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/1976\/03\/01\/bird-whitney-balliett<\/a>\u00a0charlie parker<\/div>\n
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https:\/\/youtu.be\/TgATVoTnAy8<\/a>\u00a0jimmy heath sobre ben webster sabent les lletres de les can\u00e7ons<\/div>\n
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MIDI 2.0\u00a0https:\/\/qz.com\/1788828\/how-will-midi-2-0-change-music\/<\/a><\/div>\n
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Pinegrov<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/the-60-greatest-motown-songs-of-all-time<\/a>\u00a0motown<\/div>\n
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https:\/\/www.youtube.com\/watch?v=W3q8Od5qJio<\/a>\u00a0Du hast Rammstein [ho fan servir a les presons russes per apallisar els nou vinguts)<\/div>\n
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jazzmeia horn<\/div>\n
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Carlos Henriquez Bronx Pyramid<\/div>\n
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Chris Botti<\/div>\n
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https:\/\/www.youtube.com\/watch?v=uKT6-jSJAZ4<\/a>\u00a0Ellen Reid Prism<\/div>\n
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http:\/\/haroldandthebeard.com\/<\/a>\u00a0m\u00fasica de l’Alina\u00a0https:\/\/youtu.be\/P5TGO5iKwdQ<\/a><\/div>\n
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https:\/\/daily.bandcamp.com\/best-beat-tapes\/the-best-beat-tapes-on-bandcamp-march-2020<\/a><\/div>\n
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https:\/\/getpocket.com\/explore\/item\/a-little-bit-softer-now-a-little-bit-softer-now<\/a>\u00a0fade out en m\u00fasica<\/div>\n
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Nigeria has been mourning music legend Victor Olaiya, who created Nigeria’s highlife rhythms and influenced a generation of musicians including Fela Anikulapo-Kuti.\u00a0https:\/\/youtu.be\/8Vv0BOGDH5E<\/a><\/div>\n
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http:\/\/www.smosmusic.com\/discography.html<\/a>\u00a0 SMOS<\/div>\n
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https:\/\/www.youtube.com\/watch?v=9sEVYTdybZ8<\/a> Freddie Green i companyia<\/div>\n
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https:\/\/www.youtube.com\/watch?v=fhPuf5Akbhs<\/a> wess coltrane<\/div>\n
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JLCO Monk\u00a0https:\/\/youtu.be\/h-z0vtPubKQ<\/a><\/div>\n
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https:\/\/www.bbc.com\/news\/entertainment-arts-52131818<\/a>\u00a0m\u00fasica dels 60 als 2010<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/jimi-hendrix-s-are-you-experienced-10-things-you-didn-t-know<\/a>\u00a0jimi hendrix<\/div>\n
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WIllaert salmi spezzati<\/div>\n
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https:\/\/www.newyorker.com\/culture\/cultural-comment\/grieving-with-brahms<\/a>\u00a0Ross sobre Brahms\u00a0 I spent the flight listening to late-period works by Johannes Brahms: his two clarinet sonatas, his Clarinet Quintet and Trio, his final pieces for piano. I broke down in tears only once, when Radu Lupu, on his incomparable Decca recording of the later piano music, offered up the Intermezzo Opus 117, No.\u00a01<\/a>. \/\/\u00a0 I turned to Brahms because I always turn to Brahms, in moods bright or dark. I identify with the protagonist of Wallace Stevens\u2019s \u201cAnglais Mort \u00e0 Florence,\u201d for whom Brahms is a \u201cdark familiar.\u201d People who claim to find Brahms dry or dismal\u2014it\u2019s not an uncommon opinion, even among otherwise discerning music lovers\u2014are speaking gibberish that I can\u2019t debate, because I don\u2019t understand a word. I find him the most companionable, the most sympathetic of composers. There is enormous sadness in his work, and yet it is a sadness that glows with understanding, that eases gloom by sharing its own. The music seems in a strange way to be listening to you, even as you listen to it. At a time when an uncommonly large number of people are experiencing grief, I recommend Brahms as a counsellor and confidant.\/\/\u00a0 I\u2019m not proposing that this or any music should be used as a palliative. We rob the art form of its dignity when we treat it as a utility to manage our emotions. Philip Kennicott, in his new book \u201cCounterpoint: A Memoir of Bach and Mourning<\/a>,\u201d speaks my mind: \u201cI bristle at the idea that music is consoling or has healing power. It is a clich\u00e9 of lazy music talk, the sort of thing said by people who give money to the symphony and have their names chiseled on the wall of the opera house.\u201d It is also a clich\u00e9 of the digital age, which routinely subjugates music to life-style needs: individual creative voices are bundled into playlists designed to help us wake up, focus, zone out, make love, and fall asleep. Kennicott continues, \u201cMusic, if anything, makes us raw, more susceptible to pain, nostalgia, and memory.\u201d His lyrical and haunting book tells of how he immersed himself in Bach\u2019s Goldberg Variations in the wake of his own mother\u2019s death. The music guides him through the complexity of his feelings\u2014his experience as a son was far more fraught than mine\u2014and lets him emerge on the other side.\/\/ In the world of Brahms, it is, above all, always late. Light is waning, shadows are growing, silence is encroaching. The topic of lateness and loneliness in Brahms is a familiar one; the adjectives \u201cautumnal\u201d and \u201celegiac\u201d follow him everywhere. Scholars have tried to parse Brahmsian melancholy in terms biographical, philosophical, and sociopolitical.\/\/Opus 117, No. 1 begins with a lullaby of heartbreaking simplicity and purity, but it gives way to a middle section of brooding, bass-excavating arpeggios, and when the lullaby returns it is embroidered, dispersed, distanced from reality. Before the final cadence, it comes to a halt, as if silently shuddering. \/\/The idea that there is something surreptitiously radical about Brahms is hardly new. In 1933, Arnold Schoenberg<\/a> delivered a lecture titled \u201cBrahms the Progressive,\u201d describing how his predecessor\u2019s intricate developmental techniques influenced his own modernist methods. There are moments in Brahms when the entire tonal system seems to be hanging by a thread. This happens especially in some of the late piano pieces, when stable tonal progressions grow scarce and you feel an abyss opening underneath a calm surface. The atmosphere of fragility is of a piece with Brahms\u2019s skepticism toward organized religion, his almost existential sense of the human condition. He pondered the tremendous questions that Schopenhauer and Nietzsche raised in their philosophical writing, though he did not necessarily accept their answers.<\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/where-indian-villagers-have-musical-names<\/a>\u00a0un poble indi on les mares inventen melodies per anomenar els nens<\/div>\n
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https:\/\/www.bbc.com\/news\/entertainment-arts-52562046<\/a>\u00a0Kraftwerk<\/div>\n
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https:\/\/www.bbc.com\/news\/entertainment-arts-17372753<\/a>\u00a0little Richard<\/div>\n
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https:\/\/www.newyorker.com\/culture\/culture-desk\/a-dangerous-and-evil-piano-piece<\/a>\u00a0SATIE VExations<\/div>\n
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WYNTON MARSALIS 50 discos:\u00a0https:\/\/www.jazz.org\/blog\/wynton-marsalis-top-50-jazz-recordings\/<\/a><\/div>\n
https:\/\/getpocket.com\/explore\/item\/wynton-marsalis-on-12-essential-jazz-recordings<\/a><\/div>\n
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M\u00fasica R&B PAUL GAYTEN<\/div>\n
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https:\/\/youtu.be\/n_EBVJcGG3M<\/a>\u00a0JLCO Jelly Roll Morton amb Aaron Diehl, Sullivan Fortner, Joel Wenhardt<\/div>\n
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Micah Thomas<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/the-100-greatest-metal-albums-of-all-time<\/a>\u00a0Metal albums<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/1971\/05\/29\/mingus-at-peace<\/a>\u00a0Charles Mingus<\/div>\n
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https:\/\/www.bbc.com\/culture\/article\/20200811-why-be-my-baby-is-the-perfect-pop-song<\/a>\u00a0be my baby<\/div>\n
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https:\/\/youtu.be\/tVuWAocX-9E<\/a>\u00a0JLCO Big bands, Don Redman<\/div>\n
https:\/\/youtu.be\/vlwSKbz_U4U<\/a>\u00a0JLCO Billy Strayhorn<\/div>\n
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https:\/\/www.bbc.com\/news\/world-europe-54041568<\/a>\u00a0pe\u00e7a de JOhn Cage que ha de durar 600 anys<\/div>\n
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https:\/\/www.youtube.com\/watch?v=BTCSsml_A4s<\/a>\u00a0verzuz projecte que posa dos artistes de hiphop un al costat de l’altre<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/08\/31\/how-wagner-shaped-hollywood<\/a>\u00a0Wagner i Hollywood<\/div>\n
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https:\/\/pitchfork.com\/features\/article\/enya-is-everywhere\/<\/a>\u00a0ENYA i la seva influ\u00e8ncia<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/bill-withers-the-soul-man-who-walked-away<\/a>\u00a0Bill Withers ain’t no sunshine<\/div>\n
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https:\/\/www.rollingstone.com\/music\/music-lists\/best-albums-of-all-time-1062063\/the-beatles-abbey-road-2-1063228\/<\/a>\u00a0els millors 500 \u00e0lbums<\/div>\n
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https:\/\/songexploder.net\/episodes<\/a> podcast sobre\u00a0 com estan fetes les can\u00e7ons<\/div>\n
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https:\/\/youtu.be\/no_06MeVlrQ<\/a><\/div>\n
JLCO Monk<\/div>\n
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Gata Cattana, rapera i poeta<\/div>\n
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http:\/\/www.bbc.com\/travel\/story\/20210106-kulning-a-hypnotic-swedish-singing-tradition<\/a> kulning \u00e9s el cant dels pastors suecs per fe venir les vaques, i hauria influ\u00eft en Frozen. Aquesta seria l’aut\u00e8ntica Elsa<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/01\/18\/a-road-trip-with-david-hockney-and-richard-wagner<\/a> una playlist associada amb un recorregut per carretera, David Hockney i Wagner<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/02\/08\/audrey-hepburns-favorite-song<\/a> dibuixant com Pal Chambers va compondre una can\u00e7\u00f3 per a Audrey Hepburn<\/div>\n
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https:\/\/www.nbcnews.com\/news\/nbcblk\/soundtrack-history-how-black-music-has-shaped-american-culture-through-n1258474<\/a> tota la m\u00fasica t\u00e9 arrel negra<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/01\/25\/the-obsessive-beat-making-of-madlib<\/a> madlib hip hop, sound ancestors [ Teo Macero,<\/div>\n
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Grammys 2021: Burna boy Wizkid\u00a0 https:\/\/www.bbc.com\/news\/entertainment-arts-56350432<\/a>\u00a0 BTS korea \/\/ Anderson paak https:\/\/www.youtube.com\/watch?v=NLctj2iNif4<\/a> chick corea all blues<\/div>\n
Ahir, catorze de mar\u00e7, pels matem\u00e0tics va ser el dia pi 3.14, per alguns afortunats hi va haver un concert extraordinari del Chino a la Iguana dins del Cocoa 2021, i pels amants de la m\u00fasica en general es van concedir els premis grammy, entre ells dues categories de blues. Us convidem a escoltar els guanyadors i a explorar la resta de nominats.<\/div>\n
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Blues tradicional: Rawer Than Raw, Bobby Rush https:\/\/youtu.be\/-SF3E94aakM<\/div>\n
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Nominats: Frank Bey, All My Dues Are Paid. Don Bryant, You Make Me Feel. Robert Cray, That’s What I Heard. Jimmy “Duck” Holmes, Cypress Grove.<\/div>\n
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Blues contemporani: Have You Lost Your Mind Yet?, Fantastic Negrito https:\/\/youtu.be\/6boFZf95_Jw<\/div>\n
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Nominats: Ruthie Foster, Live At The Paramount. G. Love, The Juice. Bettye LaVette, Blackbirds. North Mississippi Allstars,<\/div>\n
Up And Rolling<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/03\/15\/genre-is-disappearing-what-comes-next<\/a> la classificaci\u00f3 de la m\u00fasica en g\u00e8neres, audi\u00e8ncies blanca i negra.\u00a0 jamaican dancehall\u00a0 https:\/\/youtu.be\/Cc7M0i78wrU , mamie smith crazy blues, Lil Nas X Old town road https:\/\/youtu.be\/w2Ov5jzm3j8\u00a0 rap caviar a Spotify<\/div>\n
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Hildur Gu\u00f0nad\u00f3ttir<\/a>, Joker<\/div>\n
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Mar Serra Grup<\/div>\n
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Wolff became an American citizen in 1946. When he was sixteen (in 1950) his piano teacher Grete Sultan<\/a> sent him for lessons in composition to the new music<\/a> composer John Cage<\/a>. Wolff soon became a close associate of Cage and his artistic circle which was part of the New York School<\/a> and included the fellow composers Earle Brown<\/a> and Morton Feldman<\/a>, the pianist David Tudor<\/a>, and the dancer and choreographer Merce Cunningham<\/a>. Cage relates several anecdotes about Wolff in his one-minute Indeterminacy<\/a><\/i> pieces<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/03\/22\/conjuring-the-music-of-prousts-salons<\/a>\u00a0 evocant el que podia haver escoltat Proust<\/div>\n
Schumann Fantasiast\u00fccke<\/div>\n
Faur\u00e9 sonata per viol\u00ed no.1 A M<\/div>\n
Faur\u00e9, Berceuse op.16 viol\u00ed i piano<\/div>\n
Couperin baricades misterieuses<\/div>\n
Faur\u00e9: Faur\u00e9: Trois M\u00e9lodies, Op.7: Apr\u00e8s un r\u00eave cello i piano<\/div>\n
Faur\u00e9, Nocturne No. 6 in D-Flat, Op. 63<\/div>\n
Reynaldo Hahn \u00e0 CLoris, 7 Chansons grises: V. L’Heure exquise<\/div>\n
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https:\/\/www.bbc.com\/culture\/article\/20210510-get-ur-freak-on-the-most-iconic-21st-century-dance-anthem<\/a> missy elliot https:\/\/youtu.be\/FPoKiGQzbSQ<\/div>\n
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https:\/\/www.newyorker.com\/culture\/photo-booth\/the-photographer-who-captured-the-birth-of-hip-hop<\/a> fotos de Joe Conzo al bronx als inicis del hiphop<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/06\/21\/the-musical-mysteries-of-josquin<\/a> Josquin des prez<\/div>\n
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https:\/\/www.bbc.com\/culture\/article\/20210628-aint-no-way-one-of-our-most-misunderstood-love-songs<\/a> Ain’t no way, una can\u00e7\u00f3 de Carolyn Franklin que podria ser una can\u00e7\u00f3 d’amor queer\u00a0 , https:\/\/www.youtube.com\/watch?v=-M068hBBaOw<\/a> les dues germanes a l’estudi<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/07\/05\/questloves-summer-of-soul-pulses-with-long-silenced-beats<\/div>\n
Wonder, Mahalia Jackson, Nina Simone, Sly and the Family Stone, B. B. King, Hugh Masekela, David Ruffin\u2014as thin as a barber\u2019s pole, in a pink bow tie, with a falsetto sent from God\u2014and Gladys Knight and the Pips. Especially the Pips. Their curveting dance routines, around a single microphone, are a thing of calibrated beauty. (We long to know more, and Thompson, an ace of the educative cutaway, obliges by bringing in Knight. She credits the band\u2019s choreographer, Cholly Atkins, who schooled them for ten or eleven hours a day.) Then, there\u2019s the gleeful confession of Ray Barretto, bespectacled and busy at his drums: \u201cIn my blood I got Black\u2014and white\u2014red\u2014Puerto Rican\u2014Indian. I\u2019m all messed up<\/div>\n
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At the risk of blasphemy, I reckon that the clothes in \u201cSummer of Soul\u201d are very nearly as entertaining as the music. The cravats! The fringes! The hectic ruffs! Lawrence, as befits the master of ceremonies, sports an ever-changing cycle of outfits, including a white lace top with a carmine vest, and a shiny shirt that looks like an explosion in a host of golden daffodils. Imagine the envious glances he would have drawn at the court of Louis XIV.<\/div>\n
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David Ruffin:<\/div>\n
https:\/\/www.youtube.com\/watch?v=hr2J1XLDJOs<\/a><\/div>\n
Gladys Knight and the Pips: https:\/\/youtu.be\/WWvwP72FuVg,<\/a> https:\/\/youtu.be\/nl_5YUO5b4c<\/div>\n
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Maytals Louie Louie:<\/div>\n
https:\/\/www.youtube.com\/watch?v=zu00S13cWCM<\/a><\/div>\n
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Bernie Cummins<\/div>\n
https:\/\/www.youtube.com\/watch?v=rDwSdMVXcbU&list=PL13Bsg3xDsct7dIaYc2pLM6kXr5BafSNv<\/a><\/div>\n
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https:\/\/www.youtube.com\/watch?v=eFt4eGwMqNI\u00a0\u00a0 new orleans funk<\/div>\n
https:\/\/www.youtube.com\/watch?v=Zt2zeG1ii3Y billy may<\/div>\n
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deux filles, m\u00fasica ambient de 1982 de dos m\u00fasic de londres que es van fer passar per dues noies franceses amb una hist\u00f2ria tr\u00e0gica : https:\/\/youtu.be\/gs-tOKjS0XQ<\/a><\/div>\n
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Regina Carter<\/div>\n
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Gerard Clayton<\/div>\n
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m\u00fasica dels 90 : https:\/\/www.elnacional.cat\/ca\/cultura\/millors-discos-any-1991_636671_102.html<\/a><\/div>\n
Massive Attack ‘Blue Lines’<\/div>\n
P.M. Dawn ‘Of the Heart, Of the Soul, and of the Cross’<\/div>\n
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https:\/\/www.newyorker.com\/culture\/cultural-comment\/the-misunderstood-talent-of-gladys-knight<\/a> gladys knight<\/div>\n
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https:\/\/www.bbc.com\/news\/entertainment-arts-58329477<\/a> one republic, i el fet que la majoria de m\u00fasica que es descarrega no es la que es fa ara sin\u00f3 m\u00e9s antiga. Cada dia es pugen 62000 can\u00e7ons a spotify<\/div>\n
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Michelle Zander Jubilee https:\/\/youtu.be\/aA5l2qsX_O8<\/a><\/div>\n
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https:\/\/www.rollingstone.com\/music\/music-lists\/best-songs-of-all-time-1224767\/public-enemy-fight-the-power-5-1225336\/<\/a> les millors 500 can\u00e7ons de tots els temps<\/div>\n
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https:\/\/youtu.be\/fHI8X4OXluQ<\/a>\u00a0 blinding lights,90 setmanes no 1 ??<\/div>\n
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https:\/\/www.rollingstone.com\/music\/music-features\/beatles-get-back-best-moments-1263945\/<\/a> Beatles<\/div>\n
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https:\/\/www.guitarplayer.com\/news\/the-greatest-guitar-solos-of-all-time<\/a> els millros solos de guitarra<\/div>\n
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the Solo Performances of Hasaan Ibn Ali Expand the History of Jazz<\/div>\n
The pianist\u2019s \u201cRetrospect In Retirement Of Delay\u201d is a historic outpouring of musical imagination.<\/div>\n
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As a teen-ager, Hasaan was already an artist among artists and, in his early twenties, was a recognized innovator.<\/div>\n
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The pianist and composer Hasaan Ibn Ali is an unduly elusive presence in the history of jazz. His first album, with a trio, was released in 1965; his second, with a quartet, recorded later that year, wasn\u2019t released until early in 2021. Both showed him to be a distinctive and original musician, but what they offered, above all, was the sound of possibility, of unfulfilled potential. The new release of Hasaan\u2019s \u201cRetrospect In Retirement Of Delay: The Solo Recordings\u201d (Omnivore Recordings), which features him in privately recorded performances from 1962 to 1965, reveals his profundity, his overwhelming power, his mighty virtuosity. It does more than put him on the map of jazz history\u2014it expands the map to include the vast expanse of his musical achievement.<\/div>\n
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Hasaan was something of a legend in Philadelphia, but played little elsewhere. His solo recordings were made by David Shrier and Alan Sukoenig, two jazz-aficionado undergraduates at the University of Pennsylvania who\u2019d befriended him. He visited them at the university and allowed them to record him playing pianos in dormitory and student-union lounges as well as in Shrier\u2019s apartment and in a New York apartment to which Hasaan summoned Sukoenig and his tape recorder. Those circumstances sound ripe for music of modest intimacy; instead, what Hasaan played is torrential. (The sense of short-term urgency is reflected in the amazing fact that nine of the tracks, including the four longest of them, were all recorded on the same day\u2014October 25, 1964\u2014at three different venues.) The album\u2019s twenty piano performances emerge like contents under pressure, like furies of musical imagination that had been building up within Hasaan for a long time, as if he knew that he was playing on the biggest stage of all: the stage of eternity.<\/div>\n
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Born in Philadelphia in 1931, and performing originally as William Langford, a modified version of his given name (his parents spelled the family name \u201cLankford\u201d), Hasaan gigged there in the late forties and early fifties with the city\u2019s rising young musicians, including John Coltrane, four years his senior, who is said to have studied with Hasaan. (Later, Hasaan reportedly claimed that Coltrane had stolen his ideas.) In other words, as a teen-ager Hasaan was already an artist among artists and, in his early twenties, was a recognized innovator. His approach to music was so unusual that, despite the place of honor he won among the city\u2019s greats (including Philly Joe Jones, Benny Golson, Jimmy Heath, and the brothers Bill and Kenny Barron), his professional and commercial opportunities were limited. Hasaan lived his entire life in Philadelphia and did much of his performing, according to the saxophonist Odean Pope, in private: \u201cAt night, after he got dressed, there were three or four houses he would visit, where they had pianos. The people would serve him coffee or cake, give him a few cigarettes or maybe a couple of dollars from time to time.\u201d In the early sixties, at a time when his musical peers were already famous and already amply recorded, Hasaan\u2014in his thirties\u2014was being recorded by students with amateur equipment. (His first album, \u201cThe Max Roach Trio Featuring the Legendary Hasaan,\u201d was recorded in December, 1964; the long-unissued quartet album, \u201cMetaphysics,\u201d is also an Omnivore Recordings release.)<\/div>\n
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What\u2019s most miraculous about the preservation of Hasaan\u2019s solo performances and the survival of the tapes is the artistry displayed in the performances themselves. The astonishments of the new album begin with the very first notes of the first track, the standard \u201cFalling In Love With Love,\u201d which Hasaan begins with a jaunty, tango-like bass riff that recurs throughout like a one-hand big-band accompaniment. That percussive figure maintains a rhythmic foundation that prompts Hasaan to cut loose with crystalline, florid barrages of high notes in shifting forms and meters that cascade and swirl and swarm in ever more daringly chromatic and far-reaching harmonies. Hasaan had worked out, a decade earlier, a so-called system by which he\u2019d use substitute chords that both vastly varied yet recognizably retained the composition\u2019s original framework. This is what Coltrane is believed to have derived from their time together, and the wild profusion of notes unleashed by Hasaan\u2019s right hand, like a skyful of brilliant stars scattered by the fistful, is indeed reminiscent of what the critic Ira Gitler famously termed Coltrane\u2019s \u201csheets of sound.\u201d<\/div>\n
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With tacit but manifest audacity, Hasaan appears to be self-consciously claiming his place in the history of jazz, picking up gauntlets thrown by the greats\u2014playing a thirteen-minute version of \u201cBody and Soul,\u201d which Coleman Hawkins made the culminating solo of the swing era in 1939; a ten-minute version of \u201cCherokee,\u201d the tune that first brought Charlie Parker fame and that is identified with the birth of bebop; selections from Miles Davis\u2019s repertory (\u201cOn Green Dolphin Street\u201d and \u201cIt Could Happen to You\u201d); and Thelonious Monk\u2019s \u201cOff Minor.\u201d Hasaan introduces \u201cBody and Soul\u201d with a new countermelody of his own that helps him break up the familiar tune so surprisingly that, twenty seconds in, the interpretation is already historic. He turns the Rodgers and Hart waltz \u201cLover\u201d into a fifteen-minute up-tempo romp with a syncopation of its melody that becomes the dominant stomping figure of his bass line while his right hand throws off barrages of rapid-fire scintillations that subdivides measures into infinitesimals. In a thirteen-minute expatiation on the harmonically complex ballad \u201cIt Could Happen to You,\u201d Hasaan turns the clich\u00e9s of melodramatic tremolos into a percussively thunderous rumble; amid shimmering storms of high notes, he returns to the melody with a sudden stop-and-fragment-and-restart that\u2019s both breathtakingly dramatic and side-shakingly funny.<\/div>\n
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The outpouring of physical energy and display of intellectual stamina in these extended performances is matched by Hasaan\u2019s inexhaustible inventiveness and far-ranging inspiration. The succession within each song of so many differently shaped, differently toned, sharply etched, flamboyantly characterized figures suggests a musical imagination of seemingly infinite variety, which is all the more astounding for its blend of uninhibited freedom and meticulous tethering to the melodies and structures of the compositions themselves. Hasaan\u2019s hands are nearly quicker than the ears\u2014the astounding speed of his playing is balanced only by the crystalline precision that makes each note stand out with a gem-like gleam. The experience of listening to these twenty extended solos is relentless, emotionally overwhelming, nearly vicariously exhausting in the experience of feeling a musician tap so deeply into himself and unleash such mighty forces. (Touchingly, one brief supplementary track features Hasaan singing one of his own compositions.)<\/div>\n
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It seems to me no mere happenstance that Hasaan\u2019s mighty, mural-like musical self-portrait in real time comes in the form of solo piano. In his trio and quartet recordings, the accompaniment of bass and drums seems to inhibit him, to channel his solos into forms that would accommodate the musicians\u2019 interpretations (however splendid) of the essentials of rhythm and harmony that he generated for himself, copiously and ingeniously, with his own two hands. His musical concept comes off as comprehensive, mercurial, eruptive\u2014not that of a chamber musician but that of a one-person orchestra. He provides more than the intimate image of a musical mind at work; he conveys the galvanic sense of a heroically physical musical battle against time.<\/div>\n
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Hasaan\u2019s career went from decrescendo to catastrophe. Disheartened by his truncated recording career, Sukoenig writes in his richly informative liner notes, Hasaan became withdrawn. He was living with his parents when their house caught fire, killing his mother, leaving his father incapacitated, consuming Hasaan\u2019s compositions, and leaving him mentally debilitated. He was housed in a group home, was in drug treatment, had a devastating stroke, and died in 1980, at the age of forty-nine. In a 1978 interview that Sukoenig quotes, Roach (who died in 2007) said that he made home recordings of Hasaan when the pianist visited him: \u201cI have hours of him playing solo piano that\u2019s unbelievable.\u201d Sukoenig says, however, that no other recordings, commercial or private, of Hasaan have surfaced. In any case, \u201cRetrospect In Retirement Of Delay\u201d proves that Hasaan was no might-have-been\u2014he was, he is among the handful of greats.<\/div>\n
Richard Brody<\/div>\n
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https:\/\/www.bbc.com\/news\/business-59878572<\/a> Creaci\u00f3 de can\u00e7ons amb AI, Boomy https:\/\/boomy.com\/<\/a>, partitures en un servidor que s’actualitza a tots els membres de l’orquestra.<\/div>\n
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Ronnie Spector<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/01\/31\/led-zeppelin-gets-into-your-soul-jimmy-page-robert-plant-and-bob-spitz-biography<\/a><\/div>\n
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Oddly classless and placeless, they were less angry rockers than nerdy but cool transatlantic archivists, cleverly raiding the blues and folk traditions to patch together some of their own best songs\u2014\u201cRock and Roll\u201d (the famous drum intro was inspired by a Little Richard song), \u201cBabe I\u2019m Gonna Leave You\u201d (they got it from Joan Baez), \u201cI Can\u2019t Quit You Baby\u201d (from Willie Dixon), \u201cWhole Lotta Love\u201d (Dixon again), \u201cThe Lemon Song\u201d (from Howlin\u2019 Wolf), \u201cWhen the Levee Breaks\u201d (from Memphis Minnie and Kansas Joe McCoy).<\/div>\n
If half the group\u2019s energy was proto-punk destruction, the other half was musically refined restoration: it was the world\u2019s most brilliantly belated blues band. Its violence tore things apart which its musicianship put back together. In this respect, Led Zeppelin was the opposite of punk, whose anarchic negation was premised on not being able to play one\u2019s instrument well, or, in some cases, at all. But Page was already one of London\u2019s most successful session guitarists, and a member of the group the Yardbirds, when, in the summer of 1968, he began to pick the members of his new group, aiming for a declaration of musical supremacy. Led Zeppelin, that is, functioned first and foremost as a collection of great musicians.<\/div>\n
Page, then twenty-four, chose a fellow session player, John Paul Jones, as the group\u2019s bassist (after toying with the idea of poaching the Who\u2019s John Entwistle). Jones, who grew up in Kent, was one of the few bassists in London who, in his own words, could \u201cplay a Motown feel convincingly in those days.\u201d Dexterous, imaginative, mobile, Jones is always sharking around at the bottom of the score, hunting for rhythmic tension and tonal complexity. His parts, in songs like \u201cRamble On\u201d and \u201cWhat Is and What Should Never Be,\u201d are pungent melodies in their own right.<\/div>\n
John Bonham, like Robert Plant, was from farther north, near Birmingham. When Page came calling, Bonham and Plant were jobbing musicians, barely out of their teens, doing the circuits at provincial pubs and halls. On July 20, 1968, Page was in the audience when Plant performed at a teachers\u2019 training college in Walsall with a group of little distinction called Obs-Tweedle. Ambitious and calculating, Page surely understood what he had found in his singer and his drummer, though even he couldn\u2019t know that in a few short years Bonham would establish himself as one of the world\u2019s greatest drummers, perhaps the greatest in rock history. He had a comprehensive collection of percussive talents: speed and complexity rendered with a forbiddingly flawless technique; an instantly identifiable and original sound (best I can tell, the celebrated Bonham snare makes a dry bark in part because he seems to have hit the more resonant edge of the skin rather than the buzzier center); a wonderful feel for the groove of a song.<\/div>\n
Spitz\u2019s biography situates Led Zeppelin\u2019s formation in the context of the nineteen-sixties English scene. Those skinny white boys with big heads and dead eyes were obsessed with American music, and with the blues above all. It was difficult to get hold of blues albums in England. You might wait a month for something to arrive from the States. Mick Jagger hung around the basement annex at Dobell\u2019s Record Shop, on the Charing Cross Road, waiting for shipments. Jagger, Page, Keith Richards, and Brian Jones eagerly travelled from London to Manchester, in October, 1962, to see John Lee Hooker, Memphis Slim, and Willie Dixon play on the same stage: the adoration of the Magi.<\/div>\n
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Listen to Eric Burdon and the Animals performing their 1968 slow blues song \u201cAs the Years Go Passing By,\u201d and you\u2019ll hear Burdon, born not in Mississippi but in Newcastle Upon Tyne, in 1941, solemnly intoning, \u201cAh, the blues, the ball and chain that is round every English musician\u2019s leg.\u201d<\/div>\n
Page\u2014who wrote most of the group\u2019s music, as Plant wrote most of the lyrics\u2014had no intention of being imprisoned by the blues. He wanted to treat them with a strange and never previously attempted alloy of hard rock and acoustic folk. Acoustic alternating with electric; quiet verses and hard choruses\u2014many of the best-known Led Zeppelin songs, like \u201cBabe I\u2019m Gonna Leave You,\u201d \u201cRamble On,\u201d and \u201cStairway to Heaven,\u201d adhere to a sort of velvet-followed-by-fist form. Some of the gentler ones, such as the sweet-natured \u201cThank You,\u201d a favorite of mine, or the lovely Joni Mitchell tribute \u201cGoing to California,\u201d are all velvet. Spitz puts it well when he says that Led Zeppelin \u201cclaimed new musical territory by narrowing the distance between genres.\u201d<\/div>\n
Already experienced in the studio, Page seems to have known precisely what sounds he wanted, and he worked fast. The band recorded its first album, untitled and known as \u201cLed Zeppelin I,\u201d in September, 1968, in London. Page paid for the sessions, and the whole album was recorded in thirty-six hours.<\/div>\n
On those first four albums are most of the band\u2019s major songs, the ones that have dominated the past fifty years, including \u201cBlack Dog,\u201d \u201cStairway to Heaven,\u201d \u201cWhole Lotta Love,\u201d and \u201cDazed and Confused.\u201d Listeners clamored for this music; by 1973, Spitz tells us, the band\u2019s revenue constituted thirty per cent of the turnover of its label, Atlantic Records. The professionals were harder to convince. Mick Jagger and George Harrison hated the d\u00e9but album.<\/div>\n
Through the years, the band has been sued or petitioned by Willie Dixon (\u201cWhole Lotta Love\u201d took words from Dixon\u2019s \u201cYou Need Love\u201d), Howlin\u2019 Wolf (\u201cThe Lemon Song\u201d borrowed its opening riff and some lyrics from his \u201cKilling Floor\u201d), Anne Bredon (who wrote the original song that Joan Baez, and then Led Zeppelin, made famous as \u201cBabe I\u2019m Gonna Leave You\u201d), and the band Spirit, whose \u201cTaurus\u201d contains a passage that indeed sounds \u201csuspiciously close\u201d to the opening chords of \u201cStairway to Heaven\u201d (though Spirit lost a lawsuit it brought in 2016).<\/div>\n
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Page has certainly been parsimonious with credit-sharing, and, in at least one case, shabbily slow to do the right thing\u2014he should have credited the American performer Jake Holmes, who created the musical basis for \u201cDazed and Confused,\u201d on \u201cLed Zeppelin I.\u201d (Holmes sued and won a settlement in 2011.) But the blues evolved as an ecosystem of borrowing and recycling. The musical form cleaves to the twelve-bar template of I-IV-I-V-IV-I. Musically, you need some or all of this chord progression to cook up anything that feels bluesy, as a roux demands flour and fat, or a whodunnit a murder; originality in this regard would be something of a category error.<\/div>\n
Robert Plant\u2019s tendency to lift words and formulas from old songs should be seen in this light. Plagiarism is private subterfuge made haplessly public. But to take Willie Dixon\u2019s \u201cYou\u2019ve got yearnin\u2019 and I got burnin\u2019 \u201d and put the words into \u201cWhole Lotta Love\u201d as \u201cYou need cooling \/ Baby, I\u2019m not fooling\u201d; to reverse the opening lines of Moby Grape\u2019s 1968 song \u201cNever,\u201d from \u201cWorking from eleven \/ To seven every night \/ Ought to make life a drag,\u201d and put them into \u201cSince I\u2019ve Been Loving You\u201d as \u201cWorkin\u2019 from seven to eleven every night \/ Really makes life a drag\u201d; to punctuate \u201cThe Lemon Song,\u201d which is obviously indebted to Howlin\u2019 Wolf\u2019s \u201cKilling Floor,\u201d with the repeated allusion \u201cdown on this killing floor,\u201d while guilelessly referring to Roosevelt Sykes\u2019s \u201cShe Squeezed My Lemon\u201d (1937)\u2014to make these moves, in a musical community that was utterly familiar with all the source material, testifies not to the anxiety of plagiarism but to the relaxedness of homage.<\/div>\n
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Plagiarists do what they do out of weakness, because they need stolen assistance. Does that sound like Led Zeppelin? The genius of \u201cWhole Lotta Love\u201d lies in its opening five-note riff, which has no obvious musical connection to Dixon\u2019s song.<\/div>\n
Besides, Led Zeppelin did credit many of its sources. The first album names Willie Dixon as the composer of \u201cYou Shook Me\u201d and \u201cI Can\u2019t Quit You Baby.\u201d Generally, on the matter of homage and appropriation, I agree with Jean-Michel Guesdon and Philippe Margotin, who, in \u201cLed Zeppelin: All the Songs,\u201d call the band\u2019s version of the latter song \u201cone of the most beautiful and moving tributes ever paid by a British group to its African American elders.\u201d<\/div>\n
Tellingly, we learn that the band behaved much better in Britain than in America. At home, Page said, \u201cyour family\u201d would come along to the shows. \u201cBut when we went out to the States, we didn\u2019t give a fuck and became total showoffs.\u201d It was 1973, and they had reached the high altar. Referring to Plant, Spitz breathlessly annotates the American moment: \u201cWhat a life! He was the lead singer of the most successful rock \u2019n\u2019 roll band in the world. He had all the money he\u2019d ever need, a loving family back home, unlimited girls on the road. Every need, every whim taken care of. Not a care in the world. The city of Los Angeles stretched out before him like a magic carpet.\u201d<\/div>\n
The funniest boys-gone-wild detail in the book may be that, in the first year and a half of the band\u2019s existence, Bonham bought twenty-eight cars.<\/div>\n
Grant had essentially bullied exceptionally favorable terms from promoters, who were commanded to pay in cash, partly to avoid punitive British taxes. The band journeyed throughout the United States accompanied by sacks stuffed with hundreds of thousands of dollars. Drugs followed the money. Grant was a coke addict by 1972; he helped himself to bags of the stuff. Jimmy Page soon caught up, and eventually added heroin. Although Page\u2019s addiction appears to have turned him sleepy and sloppy\u2014benignly vampiric, he slept during the day and palely loitered at night\u2014drugs and alcohol made Bonham, seemingly sweet-natured when sober, an energetic monster. At one point, he bit a woman\u2019s finger for no apparent reason, drawing blood. The reader of Spitz\u2019s book becomes inured to the horrors that \u201cBonzo\u201d would inflict, including near-rapes of women, random assaults, repellent practical jokes: \u201cOn the overnight train to Osaka, he drank himself silly again, and while Jimmy and his Japanese girlfriend were in the dining car, Bonzo found her handbag and shit in it.\u201d<\/div>\n
Still, it\u2019s unsettling when Page, at twenty-nine, takes up with a fourteen-year-old named Lori Mattix. \u201cHe was the rock-god prince to me,\u201d she recalled, \u201ca magical, mystical person. . . . It was no secret he liked young girls.\u201d Page phoned Mattix\u2019s mother to get the O.K., in what he seems to have imagined was an act of gallantry, whereupon Betty Iannaci, a receptionist at Atlantic Records, was tasked with collecting Mattix from a Westwood motel room. Iannaci recounts, \u201cIt was clear that her mother was grooming her for a night out with Jimmy Page. And I knew he was mixing it up with heroin.\u201d<\/div>\n
Meanwhile, the recorded music was in decline. Listen to \u201cCustard Pie,\u201d or \u201cThe Wanton Song,\u201d from the band\u2019s 1975 album, \u201cPhysical Graffiti.\u201d Compared with the nervous heavy swing, the brutish dance of the early music, these are monotonous, grounded stomps. \u201cKashmir,\u201d from the same record, has an interesting enough chord progression, but no one ever wished it longer. The starship had crashed to earth. The band\u2019s last proper album, \u201cIn Through the Out Door,\u201d was released in 1979, and, although it was an immense commercial success, offered little of musical value.<\/div>\n
(1979) A year later, John Bonham died in his sleep, after drinking forty shots of vodka, and Led Zeppelin promptly died with him.<\/div>\n
That\u2019s the good satanism. What about the actual diabolical activity\u2014the violence, the rape, the pillage, the sheer wastage of lives? Jimmy Page was a devoted follower of the satanic \u201cmagick\u201d of Aleister Crowley, whose Sadean permissions can be reduced to one decree: \u201cThere is no law beyond do what thou wilt.\u201d If the predetermined task of rock gods and goddesses is to sacrifice themselves on the Dionysian altar of excess so that gentle teen-agers the world over don\u2019t have to do it themselves\u2014which seems to be the basic rock-and-roll contract\u2014then the lives of these deities are never exactly wasted, especially when they are foreshortened.<\/div>\n
In this sense, it would seem as if the music can\u2019t easily be separated from its darkest energies. But it would be nice if the sacrifice were limited only to self-sacrifice and didn\u2019t involve less willing partners. And surely all kinds of demonic and powerful art, including many varieties of music, both classical and popular, have been created by people who didn\u2019t live demonically. What about Flaubert\u2019s mantra about living like a bourgeois in order to create wild art? In Led Zeppelin\u2019s case, the great music, the stuff that is still violently radical, was made early in the band\u2019s career, when its members were most sober. The closer the band got to actual violence, the tamer the music became. So perhaps the music can be separated from its darker energies.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/01\/31\/chopins-nocturnes-are-arias-for-the-piano<\/a><\/div>\n
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Chopin\u2019s Nocturne No. 7, in C-sharp minor, begins with a low, ashen sound: a prowling arpeggio in the left hand, consisting only of C-sharps and G-sharps. It\u2019s a hollowed-out harmony, in limbo between major and minor. Three bars in, the right hand enters on E, seemingly establishing minor, but a move to E-sharp clouds the issue, pointing toward major. Although the ambiguity dissipates in the measures that follow, a nimbus of uncertainty persists. Something even eerier happens in the tenth bar. The melody abruptly halts on the leading tone of B-sharp while the left hand gets stuck in another barren pattern\u2014this one incorporating the notes D, A, and C-sharp. It\u2019s almost like a glitch, a frozen screen. Then comes a moment of wistful clarity: an immaculate phrase descends an octave, with a courtly little turn on the fourth step of the scale. It is heard only once more before it disappears. I always yearn in vain for the tune\u2019s return: a sweetly murmuring coda doesn\u2019t quite make up for its absence. Ultimate beauty always passes too quickly.<\/div>\n
In a program note for his recording, Hough remarks that the Nocturnes are a \u201ccorpus of some of the finest operatic arias ever written.\u201d The observation is hardly novel; Chopin\u2019s love of bel-canto opera has been noted innumerable times. Yet I\u2019m not sure if any pianist on record has fleshed out the link as thoroughly and as persuasively as Hough has.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/02\/05\/the-rediscovery-of-florence-price<\/a><\/div>\n
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In a 1943 letter to the conductor Serge Koussevitzky, she introduced herself thus: \u201cMy dear Dr. Koussevitzky, To begin with I have two handicaps\u2014those of sex and race. I am a woman; and I have some Negro blood in my veins.\u201d<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/02\/14\/how-caetano-veloso-revolutionized-brazils-sound-and-spirit<\/a> Caetano Veloso<\/div>\n
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Veloso\u2019s greatest inspiration was a Bahian by the name of Jo\u00e3o Gilberto. In 1959, when Veloso was seventeen, Gilberto released the album \u201cChega de Saudade,\u201d which introduced a style called bossa nova. The music featured intricate yet understated harmonies, sly dissonances, and a repertoire of rediscovered Brazilian songs that had fallen into obscurity. \u201cIt was a new old sound,\u201d Veloso told me. Bossa nova became an international sensation, particularly in the U.S., but Veloso experienced it as a private epiphany.<\/div>\n
Other encounters in Salvador were less poetic but more eventful. Walking down Rua Chile one afternoon, Veloso bumped into the most important collaborator of his artistic life: Gilberto Gil, a buoyant Black musician with sharp, arching eyebrows and the charged air of a revolutionary. Gil was a prodigy of limitless interests and played the guitar unlike anyone Veloso had ever seen. They were the same age, and were united by a fascination with the Beatles, Jimi Hendrix, and the blues. \u201cI learned how to play the guitar by imitating the positions of Gil\u2019s hands,\u201d Veloso said.<\/div>\n
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Veloso retreated from the factionalism, watching the march in disgust from the window of a hotel room, where he sat with the singer Nara Le\u00e3o, known as \u201cthe muse of bossa nova.\u201d As the crowds chanted \u201cDown with the electric guitar,\u201d she turned to Veloso and said, \u201cThis looks like a fascist march.\u201d<\/div>\n
The responses to Tropic\u00e1lia weren\u2019t always so enthusiastic. The movement came to include the work of poets, filmmakers, and visual artists who put on provocative concerts, performances, and exhibitions, all meant to goad Brazilians and to expose them to the influences of the wider world. Veloso elicited violent reactions from students and doctrinaire activists on the left. He had grown his hair out and wore crop tops and tight-fitting pants that emphasized his androgynous features; he and his sister Beth\u00e2nia looked identical. At one event, Veloso appeared in a green-and-black plastic jumpsuit, his chest covered in necklaces made of electrical wires. He did an erotic dance while reciting a mystical poem by the Portuguese writer Fernando Pessoa. The louder the crowds booed, the more intensely he writhed. A group of frequent collaborators, the rock band Os Mutantes, who were playing beside him, turned their backs to the audience. Gil jumped onstage to stand next to Veloso in solidarity. Abandoning the poem, Veloso shouted, \u201cSo you\u2019re the young people who say they want to take power! If you\u2019re the same in politics as you are in music, we\u2019re done for.\u201d<\/div>\n
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That year, Veloso released his first record, with Gal Costa. It was the work of someone still in thrall to bossa nova.<\/div>\n
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On December 13, 1968, the military introduced Institutional Order No. 5, which shut down Congress and authorized the government to detain and torture anyone it considered subversive of the public order. Veloso, who was then twenty-six, was writing songs such as \u201c\u00c9 Proibido Proibir\u201d (\u201cIt\u2019s Prohibited to Prohibit\u201d), with his leftist detractors in mind.<\/div>\n
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Depression and homesickness marked Veloso\u2019s years in Britain, where Ded\u00e9 lived with him. He learned English haltingly, and he socialized almost exclusively with Brazilians, who reinforced his sense of dislocation. \u201cLondon represented for me a period of utter vulnerability,\u201d he wrote in his memoir, \u201cTropical Truth.\u201d\u00a0 \/\/ It also helped that English record producers loved the way he played the guitar. In Brazil, he\u2019d felt self-conscious alongside so many technical virtuosos. In London, he said, \u201cI lost my sense of embarrassment.\u201d<\/div>\n
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Inspiration strikes frequently but unpredictably for Veloso. Most of the time he begins a composition with a sound in his ears that he calls \u201csung words.\u201d It can be a phrase, a single idea, a reference. But he knows he\u2019s onto something when the words are attached to a scrap of melody. When that happens, he usually follows the melody through as it unspools, singing it to himself before the rest of the lyrics start to materialize. Often, when he finally fetches a guitar, he told me, \u201cI have already sung a little piece of the song, and I know what chords will go along with it.\u201d<\/div>\n
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One of his most interesting albums is \u201cNoites do Norte,\u201d or \u201cNorthern Nights,\u201d which took its name from a text written by the nineteenth-century Brazilian abolitionist Joaquim Nabuco. Veloso set Nabuco\u2019s words to music, then built around them with compositions of his own. Slavery was abolished in Brazil in 1888; until then, Bahia had been a major hub of the country\u2019s slave trade.<\/div>\n
Veloso never learned to read or write music. He arranges some of his songs himself, but others require help. \u201cCaetano shows me a song on his guitar, and sings three or four phrases\u2014I make notes and go home,\u201d Jaques Morelenbaum, a cellist, composer, and arranger told me.<\/div>\n
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The album \u201cLivro,\u201d for which Veloso won a Grammy in 1999, was a direct response to \u201cQuiet Nights,\u201d by Miles Davis and Gil Evans.\u00a0 He sambas, in the Santo Amaro style.<\/div>\n
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Hal Blaine https:\/\/youtu.be\/_Y4tVH4aHfE\u00a0 \u00a0 bateria<\/div>\n
https:\/\/youtu.be\/cshVhyASuUM<\/a><\/div>\n
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lata mangeshkar<\/div>\n
https:\/\/youtu.be\/UBKEIFNiHd8<\/a><\/div>\n
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Carmell Jones https:\/\/youtu.be\/3IrQCj-CqSs<\/div>\n
Harlan Leonard 2 juliol\u00a0 \u00a0 https:\/\/youtu.be\/tOp0khfJ1UY\u00a0\u00a0 https:\/\/youtu.be\/HRLQ_UTKM6Y https:\/\/youtu.be\/5K94LYCVXas<\/div>\n
st Louis Jimmy\u00a0\u00a0 https:\/\/youtu.be\/A_70mdkHMB4<\/div>\n
little brother montgomery\u00a0 https:\/\/youtu.be\/RtD2iP2kJ7M<\/div>\n
Ira Sullivan https:\/\/youtu.be\/I-BmYoYlc0M trompeta<\/div>\n
Wardell gray https:\/\/youtu.be\/3EpCPfvJZ2M saxo bebop<\/div>\n
Carl perkins\u00a0 https:\/\/youtu.be\/n50-cG-e-9o piano<\/div>\n
Joe albany\u00a0 https:\/\/youtu.be\/3n2TMauCv7U piano suau<\/div>\n
chico hamilton zen https:\/\/youtu.be\/47EYASOeCBI Katz up que ja tinc<\/div>\n
Jesse Fuller https:\/\/youtu.be\/uBME_J0pf3o blues<\/div>\n
Blue Mitchell https:\/\/www.youtube.com\/playlist?list=OLAK5uy_maQD1GbjtrgsT8RR3s7FORNlwORbWd3y4<\/div>\n
Donald Byrd https:\/\/youtu.be\/6Bh84TRKGBw<\/div>\n
Jimmy Mcparland https:\/\/youtu.be\/NKUKQKzFSN0<\/div>\n
sidney de Paris https:\/\/youtu.be\/YO7TnJqK9vE<\/div>\n
Ted Cuson https:\/\/youtu.be\/wcBd6NXny9U<\/div>\n
George Russel lydian tonal impro<\/div>\n
mjq<\/div>\n
https:\/\/youtu.be\/2QOF6r5LzpY<\/a><\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/03\/14\/music-fills-the-rothko-chapel\u00a0 In a space of abyssal stillness, Tyshawn Sorey conducted his gripping new work. https:\/\/youtu.be\/dv6tWCLh8cQ\u00a0 https:\/\/www.tyshawnsorey.com\/media<\/a><\/div>\n
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https:\/\/www.newyorker.com\/culture\/culture-desk\/rosalia-levels-up-as-a-global-pop-superstar<\/div>\n
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The Spanish pop star Rosal\u00eda is the rarest kind of modern musician: a relentlessly innovative aesthetic omnivore who also happens to have a decade of Old World, genre-specific formal training under her belt. As a teen-ager living on the outskirts of Barcelona, she was introduced to flamenco music by a group of friends from Andalusia, a region in the south of Spain where the style originated. Hearing the music of the flamenco giant Camar\u00f3n de la Isla, she once told El Mundo, made her feel as if her \u201chead exploded.\u201d The discovery prompted Rosal\u00eda to throw her entire being into the practice of flamenco, an elemental genre built around hand-clapping, acoustic guitar, and a fierce and improvisational vocal style. She took flamenco dance classes; she learned guitar and piano, and, most important, she enrolled at the Catalonia College of Music, under the tutelage of the decorated flamenco singer and teacher Chiqui de la L\u00ednea.<\/div>\n
Her first major-label production, \u201cEl Mal Querer\u201d (\u201cBad Love\u201d), from 2018, was a high-concept reinvention of flamenco that she began working on as a school project, with each song based on a chapter from a medieval romance novel called \u201cFlamenca.\u201d On the record, she took the bones of flamenco\u2014acoustic guitar, vocals, and rhythmically complex handclaps, or palmas\u2014and augmented them with experimental electronic flourishes and flavors of R. & B. (One song, \u201cBagdad,\u201d is an interpolation of Justin Timberlake\u2019s \u201cCry Me a River.\u201d) \u201cEl Mal Querer\u201d\u2014recorded entirely in Spanish\u2014sounded like nothing else. Though exquisitely beautiful, it was a challenging album not especially designed for global-pop crossover.<\/div>\n
She zips confidently from free-form jazz to piano balladry to blustering reggaet\u00f3n and trap, pitching her vocals to a broad spectrum of human and alien-like tones. She inserts unexpected samples and harsh transitions throughout the record, and pairs specific styles with incongruous lyrical themes. There\u2019s a song called \u201cCuuuuuuuuuute,\u201d whose drums sound like machine guns; there\u2019s a hypersexual piano ballad called \u201cHentai\u201d (a reference to anime pornography) on which she purrs a stream of lyrics so dirty that they\u2019d make Madonna blush.<\/div>\n
Like her most talented contemporaries, she understands that effective pop storytelling is as visual as it is musical. She\u2019s released a number of extravagant music videos during the rollout of \u201cMotomami,\u201d flexing her ambitious and bold appetites for iconography and choreography.<\/div>\n
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https:\/\/www.rollingstone.com\/music\/music-features\/private-concerts-fees-performers-1324577\/<\/a> als m\u00fasics se’ls ofereixen milions de $ per tocar en concerts privats per a gent rica.<\/div>\n
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https:\/\/www.bbc.com\/news\/av\/world-asia-india-61015974 jove 15 anys de mumbai amb hijab rapping sobre la vida<\/div>\n
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GRAMMYS 2022<\/div>\n
General<\/div>\n
Leave The Door Open – Silk Sonic: https:\/\/youtu.be\/adLGHcj_fmA<\/div>\n
Jon Batiste We are – https:\/\/youtu.be\/aAh41m4LvK4<\/div>\n
Pop<\/div>\n
drivers license – Olivia Rodrigo\u00a0 https:\/\/youtu.be\/ZmDBbnmKpqQ<\/div>\n
Kiss Me More – WINNER Doja Cat Featuring SZA https:\/\/youtu.be\/0EVVKs6DQLo<\/div>\n
Love For Sale – WINNER Tony Bennett & Lady Gaga https:\/\/youtu.be\/0mv5nYdOBq4<\/div>\n
Dance Electronic<\/div>\n
Alive – WINNNER R\u00fcf\u00fcs Du Sol https:\/\/youtu.be\/e7VveWeRwUU<\/div>\n
Subconsciously – WINNER Black Coffee\u00a0 https:\/\/youtu.be\/Nw6brdDsPYQ\u00a0 https:\/\/youtu.be\/wkG613IRjjs<\/div>\n
Instrumental<\/div>\n
Tree Falls – WINNER Taylor Eigsti\u00a0 https:\/\/youtu.be\/-kPP1W-M5UY<\/div>\n
Rock<\/div>\n
Making A Fire – WINNER Foo Fighters https:\/\/youtu.be\/kJ9YKVJjU1M<\/div>\n
The Alien – WINNER Dream Theater\u00a0 https:\/\/youtu.be\/V462IsOV3js<\/div>\n
Foo Fighters – Waiting On A War (Official Video) https:\/\/youtu.be\/CJd82T1_o1A<\/div>\n
Rap<\/div>\n
Call Me If You Get Lost,” Tyler, the Creator\u00a0 https:\/\/www.youtube.com\/watch?v=Lqvwm3zAILI&list=OLAK5uy_lzJXyds7tiw-cUS9Zg9wXRSiWpNJM6i7s&index=2<\/div>\n
“Family Ties,” Baby Keem, Kendrick Lamar *WINNER https:\/\/youtu.be\/v6HBZC9pZHQ<\/div>\n
“Jail,” Kanye West, Jay-Z *WINNER<\/div>\n
https:\/\/youtu.be\/SPO3HuLZQPI<\/a><\/div>\n
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m\u00fasica que fa posar la pell de gallina<\/div>\n
https:\/\/open.spotify.com\/playlist\/54ZA9LXFvvFujmOVWXpHga?si=7e9506d21c684f40<\/a><\/div>\n
https:\/\/bigthink.com\/neuropsych\/frisson-song-playlist\/<\/a><\/div>\n
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\u00a0 jazzy Jump Up Super Star from Super Mario Odyssey (composed by Naoto Kubo, 2017). “The piece has a variety of ‘Easter Eggs’, both in the words and in the music,” says Swedlund la m\u00fasica dels v\u00eddeojocs<\/div>\n
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https:\/\/www.newyorker.com\/culture\/culture-desk\/joining-the-bts-army<\/a><\/div>\n
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https:\/\/www.newyorker.com\/culture\/cultural-comment\/listening-to-russian-music-in-putins-shadow<\/a><\/div>\n
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Xostak\u00f3vitx<\/div>\n
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https:\/\/www.jazzwise.com\/features\/article\/thelonious-monk-the-man-and-the-myth<\/a><\/div>\n
Thelonius Monk<\/div>\n
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Ed Sheeran:<\/div>\n
https:\/\/www.youtube.com\/watch?v=QJJqm5cClxk<\/a><\/div>\n
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Ringtone Nokia i Tarrega<\/div>\n
Ringtone culture arguably began in the mid-\u201990s with the Nokia Tune, which borrowed from the song \u201cGran Vals\u201d by classical guitarist Francisco T\u00e1rrega. Wherever you went back then, it was impossible to escape the sound of T\u00e1rrega\u2019s greatest legacy. Timo Anttila, one of Nokia\u2019s early in-house composers, bought his first phone, a Nokia 2110, in 1996. \u201cSuddenly everybody got their own phone and everyone wanted to have personal ringtones and background images,\u201d he says. \u201cFirst buzzer tunes were\u2026 really annoying, but those were iconic and changed the sonic environment quite dramatically.\u201d When Nokia unveiled the world\u2019s first polyphonic ringtone in 2002, piercing melodies became a ubiquitous part of daily life and took on new significance as a form of personal expression.<\/div>\n
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https:\/\/www.youtube.com\/watch?v=uSQzUx3QW2Y<\/a><\/div>\n
https:\/\/www.newyorker.com\/culture\/culture-desk\/the-ghostly-songs-of-othmar-schoeck<\/div>\n
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https:\/\/www.bbc.com\/news\/entertainment-arts-63074469 Gangstas paradise<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/10\/17\/the-science-and-emotions-of-lincoln-centers-new-sound<\/div>\n
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https:\/\/consequence.net\/2022\/09\/best-albums-all-time-list\/ 100 \u00e0lbums<\/div>\n
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https:\/\/www.newyorker.com\/culture\/the-front-row\/the-thrills-and-frustrations-of-a-rediscovered-thelonious-monk-recording<\/a><\/div>\n
1. \u201cThe Best of Thelonious Monk,\u201d selected Blue Note recordings, 1947\u20131952. 2. \u201cPiano Solo,\u201d Paris, 1954.3. \u201cThe Complete 1957 Riverside Recordings,\u201d with John Coltrane \/ \u201cMonk\u2019s Music,\u201d 19574. \u201cLive at the Jazz Workshop,\u201d 1964. 5. \u201cParis 1969,\u201d live from Salle Pleyel, Paris, France, 1969<\/div>\n
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https:\/\/www.youtube.com\/watch?v=vUzn0zHQ_xc 2 degrees east 3 degrees west<\/div>\n
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https:\/\/jazzfuel.com\/female-trumpet-players\/<\/a> dones trompetistes<\/div>\n
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https:\/\/www.bbc.com\/culture\/article\/20221103-arseny-avraamov-the-man-who-conducted-a-city<\/a> Avraamov, l’home que va convertir una ciutat sencera en una orquestra<\/div>\n
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—————————<\/div>\n
https:\/\/www.newyorker.com\/magazine\/2022\/11\/14\/what-the-suzuki-method-really-taught<\/a><\/div>\n
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The Japanese appetite for the emotional intensity of much so-called classical music coincided with a Western appetite for Eastern art, the japonisme that, through the prints of Hiroshige in particular, swept European painting in the second half of the nineteenth century, wresting it from a blind faith in Renaissance one-point perspective. Van Gogh and Manet, Whistler and Degas\u2014they were as much enthralled by Japanese art as Suzuki\u2019s generation was by European music.<\/div>\n
he didn\u2019t think that musical prodigies were a special class of children, with some special innate gift. On the other hand, he believed that kids learned music not by drill and repetition but by exposure and instinct. All you had to do to activate the music instinct was expose them early to the right input. This ambiguity proved fruitful as a public-relations tool\u2014he could point to this or that wunderkind who had been trained by his method as proof that it worked. But he could also insist, in the face of all the kids who would never play at the concert-hall level, that the point was not to make wunderkinder but to make kids wonder, to allow the power of music to expand their emotional repertory. No bad result was possible.<\/div>\n
This dream of the ready-made musical child is to pedagogy what the perpetual-motion machine is to physics: always wished for, endlessly proposed, and never demonstrated. What was new in the Suzuki method was the insistence that musical children could be nurtured en masse, and the belief that doing so was the key to a broader revolution in human understanding. If children all over the globe were sawing away at Vivaldi, they would not make war with each other when they grew up. This belief is not obviously supported by history, murderous rivalry among musicians being rather the rule, but it spoke to an understandable pacifism and wishful universalism that had swept Japan.<\/div>\n
Above all, kids learn language early, and so they should be taught their instruments early\u2014at two or three or four, not later.<\/div>\n
Yet it\u2019s hard to quarrel with Suzuki\u2019s practical idea that small children are surprisingly capable of learning difficult things if they\u2019re motivated by their own curiosity and someone else\u2019s enthusiasm.<\/div>\n
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https:\/\/tedium.co\/2022\/11\/09\/the-death-of-the-key-change\/<\/a><\/div>\n
com canvia l’\u00fas de claus per l’\u00fas de l’ordinador.<\/div>\n
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https:\/\/www.newyorker.com\/culture\/culture-desk\/how-ahmad-jamal-expanded-the-spatial-frontiers-of-jazz<\/a><\/div>\n
ahmad jamal<\/div>\n
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https:\/\/www.bbc.com\/news\/entertainment-arts-64124718<\/a> millors 25 can\u00e7ons de 2022, v\u00eddeos impressionants per\u00f2 nom\u00e9s tornaria a escoltar 2 de m\u00fasica negra: Kojey Radical – Payback (feat Knucks) \/\u00a0 Little Simz – Gorilla<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/12\/05\/the-enduring-metal-genius-of-metallica<\/a> Metallica<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2023\/01\/30\/whos-afraid-of-brunnhilde-at-the-slurpee-machine<\/a> \u00f2pera als 7eleven per allunyar vagabunds \u201cStudies have shown that the classical music is annoying. Opera is annoying.\u201d<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2023\/02\/06\/hildegard-of-bingen-composes-the-cosmos<\/a> Hildegard von Bingen<\/div>\n
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casts the Word as \u201csacred sound<\/div>\n
Hildegard herself devised such music\u2014a cycle of seventy-seven liturgical songs, which she called \u201cSymphonia armonie celestium revelationum,\u201d or \u201cSymphony of the Harmony of Celestial Revelations<\/div>\n
<\/div>\n
When Jutta died, in 1136, Hildegard assumed leadership of the Disibodenberg convent, which eventually grew to include about twenty women. A few years later, she had her first full-scale visions, which were usually accompanied by spells of trancelike immobility and racking pain. Recounting these incidents in the third person, Hildegard says that she \u201csuffers in her inmost being and in the veins of her flesh\u201d\u2014that she is \u201cdistressed in mind and sense and endures great pain of body.\u201d Various attempts have been made to attribute these spells to illness; one theory, popularized by Oliver Sacks, holds that she experienced severe migraines.<\/div>\n
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https:\/\/hlbrm.digitale-sammlungen.hebis.de\/handschriften-hlbrm\/content\/titleinfo\/449618<\/a><\/div>\n
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https:\/\/aeon.co\/essays\/what-drum-machines-can-teach-us-about-artificial-intelligence<\/a><\/div>\n
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Dilla time, fa servir un MPC-1 per crear nous ritmes. Companies are already autogenerating \u2018functional music\u2019, made to provide aural wallpaper rather than artistic novelty. Their machines feed on historic music data, but unlike with Stubblefield\u2019s sample, we won\u2019t know where they get their inspiration from. There need be no credit, just profit. Musicians do not just fear their own redundancy. They also fear the devaluing of their art.<\/div>\n
AKAI MPC<\/div>\n
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https:\/\/www.bbc.com\/news\/newsbeat-65018463 Spotify no renova els drets de can\u00e7ons de Bollywood i la gent perd les llistes<\/div>\n
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https:\/\/www.bbc.com\/news\/world-africa-65100892<\/a> Emahoy Tsegu\u00e9-Maryam Gu\u00e8brou, 30\/03\/2023<\/div>\n
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https:\/\/www.latimes.com\/entertainment-arts\/music\/story\/2023-07-06\/ai-articifical-intelligence-music-fake-drake-beatles-john-lennon-grimes?utm_source=pocket_mylist mayk.it<\/a><\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2023\/06\/05\/the-secret-sound-of-stax<\/a> STAX<\/p>\n

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2024<\/div>\n
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M\u00fasica i AI, NY20240205<\/a><\/div>\n
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2013 etiopia video Lemma Demisew. Youtube<\/a>1 i 2<\/a>. El fill<\/a>?<\/div>\n
Rrome alone, rapper al corredor de la mort gravant per tel\u00e8fon. YT<\/a>\u00a0 https:\/\/youtu.be\/AZksLHLEJzc<\/div>\n
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Plega Finale, l’aplicaci\u00f3 per compondre m\u00e9s comuna juntament amb Sibelius. Slate<\/a><\/div>\n
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https:\/\/radiooooo.com\/ selecci\u00f3 de m\u00fasica per d\u00e8cades barrejant g\u00e8neres<\/div>\n
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https:\/\/www.bbc.com\/news\/articles\/czr7pnx6d08o Quincy Jones va fer una trobada amb gangs de rap per aturar la viol\u00e8ncia<\/p>\n

https:\/\/vm.tiktok.com\/ZGd6HkVUL\/ Claudio Abbado aguanta el silenci 4 min despr\u00e9s de la Tit\u00e0nica de Mahler<\/p>\n

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2025<\/p>\n

https:\/\/www.npr.org\/sections\/ablogsupreme\/2009\/12\/the_women_who_made_thelonious_monk.html Thelonius Monk i Mary Lou Williams<\/p>\n

https:\/\/www.npr.org\/2019\/09\/10\/749743012\/how-mary-lou-williams-shaped-the-sound-of-the-big-band-era<\/p>\n

First rapper from the 1940 https:\/\/youtu.be\/Xij0RcW6FTA que ve del Gospel, un tema sobre l’arca de No\u00e9<\/p>\n

https:\/\/www.honest-broker.com\/p\/the-music-business-is-healthy-again
\nSpotify contracta emrpeses que generin m\u00fasica per AI, o m\u00fasics malpagats, per afegir a les llistes. La idea \u00e9s reproduir contingut que els resulti barat.<\/p>\n

N\u00fameros primers en la m\u00fasica de Messiaen<\/a><\/p>\n<\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

ANTERIORS EINSTEIN, ALFRED Schubert M\u00fasica p. 274 [Mozart, Beethoven, Schubert] Es como si nuestros tres compositores hubieran querido plasmar en esto lo que significaba para ellos, en el fondo, la m\u00fasica: un momento de tiempo ordenado, rescatado a la eternidad y proyectado de nuevo hacia la misma eternidad. mar\u00e7 2018 https:\/\/www.newyorker.com\/culture\/richard-brody\/listening-to-miles-davis-and-john-coltranes-final-tour\u00a0John COltrane i Miles Davis … <\/p>\n

Continue reading “M\u00fasica”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[35],"_links":{"self":[{"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/posts\/1415"}],"collection":[{"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/comments?post=1415"}],"version-history":[{"count":11,"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/posts\/1415\/revisions"}],"predecessor-version":[{"id":1939,"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/posts\/1415\/revisions\/1939"}],"wp:attachment":[{"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/media?parent=1415"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/categories?post=1415"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/meumon.synology.me\/wordpress\/wp-json\/wp\/v2\/tags?post=1415"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}