Twice now, in the past year, I have packed my Martin acoustic guitar, headed over to two different friends houses where, in each house, there was a 14 year old guitar player. In one case it was a 14 year old girl, the other a 14 year old boy. The girl was still wearing braces, the boy was about 6 feet, a thick head of long hair, curly at the ends and very sultry looking. One house housed, in addition to the teenager, a Fender Stratocaster, in the other house, in addition to the teenager, was an Ibanez electric guitar.
I discovered early on in the attempt to jam with a person more than 40 years my junior, that the Generation Gap was a very large gap. There I was playing nice open chords in the key of G or D and there were my jamming partners playing grungy power chords on out of tune guitars and playing them loudly! I would listen for a while and when they ran out of momentum (only for the moment!) I would suggest they play something a bit more melodic and then I would try to follow along and provide some type of rhythmic accompaniment. This would draw a type of blank stare, one that had an edge of teenage angst associated with it. But, because in each case there was a parent present, they would attempt to cooperate and eventually, within a few minutes, the momentum would once again die down and there was an awkward silence.
Eventually I would put my own guitar down realizing that this was not going to work out. And, little by little the respective teens would start playing stuff they had practiced really well and felt comfortable with and I would offer my compliments on fine guitar playing.
In each of the two cases a few minutes of commonality would pop out. In one case I asked the young lady with her Strat, to play a few simple chores, Am, F, D and G. I showed her the sequence, I started it out on my guitar, she picked up the rhythm, and when she seemed to fall into the groove I took off playing the lead to Apache, one of my favorite guitar instrumentals from the early 1960s. Funnily, after about 90 seconds of sounding really good together, she could not maintain her interest or concentration and lapsed into a power chord sequence from a Green Day tune.
With the young man and his Ibanez electric, the moment came when, after watching him wince in pain at this attempt to play together, I asked if I could show him some of my original songs on my Martin. He and his friend readily agreed and I took a few minutes to retune the guitar to dadgad tuning. He said he had heard of it but was not quite sure what it was. So, I proceeded to play the two instrumental tunes I had written and in the end, there was a few minutes of genuine musical appreciation. We had crossed the gap and appreciated each other for the music. And even later that evening, this fine young man made several references to dadgad tuning and I’m sure it’s something he will fool around with on his own.
If the opportunity presents itself to make music, and to make music with someone across the chasm of musical tastes, I highly recommend working at bridging this gap. Musical appreciation can definitely bring the generations together.
Worldrenowned conductor Nikolaus Harnoncourt’s artistic endeavors will come to a culmination when he conducts seven extraordinary concerts this summer at the ‘Styriarte Festival of Music’ in Graz, the capital of Steiermark (Styria), a Region in the South-Eastern part of Austria.
The first three concerts on June 22nd, 23rd and 24th will be Beethoven’s Mass in C major. This is a work written at times filled with storms, overshadowed by Napoleon’s wars, like the 5th Symphony. “Of my mass, I believe that I dealt with the text as it has only seldom been handled before.” The great depth of this work reflects one of the most important desires of the people of Europe in those times – their longing for hope and their urgent wish for peace. This concert is featuring Julia Kleiter (soprano), Elisabeth von Magnus (mezzo-soprano), Herbert Lippert (tenor), Geert Smits (baritone), the Arnold Schoenberg Choir and the Chamber Orchestra of Europe.
The fourth and fifth concert on June 30th and July 1st will be Haydn’s “The Seasons”. The English poet Thomson from the ‘Europeans of the Enlightenment’ was the Magna Carta of a new era. In his description of a beautiful new world, civic virtues such as being industrious, cheerful and godfearing, are most important. Being the son of a blue-collar worker, these rhymes left an impression on Haydn and he gave them free interpretation in his “Seasons“. Together with an all-star ensemble Harnoncourt angles Haydn’s rich colorful musical score formation to it’s peak. This concert is featuring Genia Kuehmeier (soprano), Ian Bostridge (tenor), Christian Gerhaher (baritone), the Arnold Schoenberg Choir and the Concentus Musicus Wien (Vienna).
The sixth and seventh concert on July 7th and 8th will be Schubert’s “Intende voci” and Beethoven’s “Christ at Mount Olives” – this is the turning point of our history from the point of view of Christianity: Jesus drinks from the chalice of affliction and starts to approach the Passion and Resurrection. In his oratorio of 1803, Beethoven focused on the events of that night in the “Gardens of Gethsemane”. Performed not as often as the Mass in C major, it is nonetheless one of his greatest influential pieces. It is featuring Laura Aikin (soprano), Herbert Lippert (tenor), Florian Boesch (baritone), the Arnold Schoenberg Choir and the Concentus Musicus Wien.
Tickets to these events range from Euros 10 to 110. Many other events are scheduled during the Styriarte festival, which will take place between June 22 and July 22, 2007.
Nikolaus Harnoncourt’s musical career spans almost 60 years and his career as a conductor of both orchestral works and opera comprehends Viennese Classicism, the Romantic repertoire and works from the 20th century. In 1953 he founded the Concentus Musicus Wien (Vienna) together with his wife Alice, a violinist, to provide an outlet for his increasingly intensive work with instruments of the Renaissance and baroque period’s musical tradition.
The Austrian conductor Harnoncourt was born in Berlin, brought up in Graz and studied music in Vienna. His mother was Ladislaja Gräfin von Meran, Freiin von Brandhoven and she was the granddaughter of the Styrian Archduke Johann. His father, Eberhard de la Fontaine Graf d’Harnoncourt-Unverzagt was an engineer working in Berlin. The family eventually moved to Graz, where Harnoncourt still resides.
Founded in 1985, the Styriarte Festival of Music, under the direction of Harnoncourt, has built its reputation on attracting high-profile musicians, such as principal players from major orchestras, in addition to stars like violinist Riccardo Minasi and piano virtuoso Pierre-Laurent Aimard. Artists like Viennese Symphonics principal oboist, Paul Kaiser, return year after year to share their talents with the community and to relive the invigorating spirit that is found in the people and the beauty of Graz. Harnoncourt encourages the Festival to be a rediscovery of long-lost variations of our musical heritage and with this years motto “Wanted: Europe” the Styriarte 2007 sets out on a search for the abducted princess of a mythical past, while at the same time strives to explore the continent of Europe and its changing identity.
Magnificent German soprano Julia Kleiter sets examples that wonderful music can even be more elated with her flawless artistic direction as a musician. Kleiter has a pure, rich, chime sounding voice with no rough edges whatsoever. The connoisseur of music can only respond with pleasure to the quality of her singing. She is a terrific Beethoven interpreter and has a true feel how to shape the phrasing.
Austrian mezzo-soprano Elisabeth von Magnus, who is also Harnoncourt’s daughter, and probably best known for her work in sacred music with her velvet and warm voice, is a steady mezzo-soprano, rounded and beautiful and with a great deal of temperament. No matter what — her interpretations etch themselves into ones memory.
Herbert Lippert from Vienna, a smooth and engaging tenor is a real standout. “In mir brennt das Feuer ganz gross!” – “In me the fire is burning very high”, says the polite and straightforward thoroughbred musician. Above all he shows that he is feeling good when singing while enjoyment and beauty are transferred to the listener.
Vibrant baritone Geert Smits, who was born in Holland, manages a convincing portrayal of his roles with a pleasing vocalism. He handles the passages with precision, displaying a beautifully resonant tone.
Sweet and young soprano, the exquisite Genia Kühmeier from Salzburg is full of undoubted gifts, simply golden!
London born tenor Ian Bostridge is well known for his Schubert interpretations and admired for his high approach to singing the songs. He has a perfect glorious, light and radiant tenor that indicates emotional weight and intensity with some transparency.
Young German baritone Christian Gerhaher who has studied with Dietrich Fischer-Dieskau, shows a considerable care for coloration, phrasing, articulation and enunciation with his fine-spun tone.
World renowned American soprano Laura Aikin is considered a leader amongst the generation of dynamic young sopranos today. She possesses a range of over three octaves and has a mesmerizing stage presence. She is impressive, both in musical accuracy as well as dramatic pertinency.
Austrian baritone Florian Boesch sings with a deep, resonant, crystal-clear voice that is forceful and dramatic where required, but can also be gentle and soft whenever it is called for.
The Arnold Schoenberg Choir is an established and highly praised choir among conductors, critics and the musical scene in Europe and the Concentus Musicus Wien, founded by Nikolaus Harnoncourt, plays early music on instruments of that period and has paved the way for historical performances with great success. The Chamber Orchestra of Europe draws its membership of fifty musicians from fifteen countries and are performing with the world’s leading conductors, besides recording albums and winning many international awards.
Harnoncourt shows the world with “his” Styriarte that music is opening horizons beyond borders, scrutinizes all prejudices and shows that Europe is not a frozen entity, but always inventing itself anew again: as vision, chance and hope.–www.austriatravel.ws
this is the Harding CHarter Prep 40’s music doing a medley of the andre sisters (left to right)me, Crystal, And Megan.Boys-Robert, Jason Setwalekar, and Clayton Moore
The music scene is alive and well – thriving even – in the UK. While there are thousands of artists dreaming of their big break, the music industry offers far more to the job hunter than the life of a performer. All those bands and singers and musicians need a support framework, after all. If you’re a music lover looking for music related jobs in UK companies, there’s no lack of positions open to you. Here are just ten music related jobs in UK production, broadcasting and media that are in demand.
Music Publicist
Someone has to get the word out about new music. A music publicist works with the media to be sure that artists are getting publicity to boost sales of their music and their value to a recording label.
Label Manager
A label manager works for a recording company and facilitates the releases of new music by artists recording for a particular label. In this music related job in UK recording, you’ll be working as a liaison between the various departments of the recording company to make sure that all the details are covered for a smooth release of CDs and digital singles.
Management Assistant
No matter what the industry, there’s always a need for management assistants to deal with daily administrative duties from filing invoices to setting up interviews and hotel rooms for touring artists to updating the company website. It may not sound like the most exciting music related job in UK industry, but it’s a great entry level job that will get your foot in the door. In many companies, management assistants easily move into other positions because of their experience in the music business.
Digital Research Analyst
Music companies have always employed market analysts to follow the latest trends in music and help position the company’s artists and assets to best ride the wave to success. The digital revolution rings in new changes nearly every day, and the market analyst position is giving way to a digital analyst who keeps a finger on the pulse of the market, analyzes new technology and emerging trends and forecasts the implications for the company’s products. The position requires experience and skill both in the music industry and in management.
Online Editorial Manager
In today’s digital age, an Internet presence is a total necessity for any music company. In addition to publicists, managers and PR people, there are music related jobs in UK media companies that focus on web production. From producing copy for artist profiles and stories to creating new media presentations for streaming and downloading, there are jobs for music professionals with web and digital experience.
Junior Events Producer
Live events are the heart of the music industry. From creating a schedule to ensuring that all the guests arrive on time to deciding on the invitation list so that all the right media are including, the events producer plays a key role. Junior events producers work under an events producer helping to manage aspects of the planning and execution of live events.
Intern
Internships at recording studios, radio stations and event venues are an excellent way to get to know the music industry and make valuable contacts. While the pay for an internship may be low, interns often have the chance to work on exciting projects as they learn. And in at least one recent survey, over 90% of companies who use interns say that they often hire on an intern full time when the internship period has ended.
There are many more music related jobs in UK companies, ranging from clerical work to throwing parties. If you’re looking for music related jobs in the UK, you’ll find many specialty web sites specifically for jobs in the entertainment and music business.
This is an interpretation of a piece of music from the film ‘House of the Flying Daggers’. The instrument being played is called a Yayli Divan. It is from the family of instruments called Baglama, but it is unusual in that it is bowed not plucked. This instrument can be found in the regions of Turkmenistan. It is being played by Makmed the Miller, who is also a member of Forgotten Fish Memory Orchestra.
Have you always dreamed about working with music, but weren’t sure where to look for jobs in music and the music industry? The good news is that there are a lot more jobs in music than most people think. Performing positions include working with a studio band, playing with an orchestra and playing with a band at weddings, dances and local clubs. Outside performing, there are many other jobs in music that help support musicians from education through selling their music. The bad news is that those jobs in music are a little harder to find than most jobs. If you’re hoping to score yourself one of those jobs in music here are some hints and tips to help you along.
1. Yes, you’ll find some jobs in music in the newspaper ads.
Look under Professional in the Sunday job listings for the best luck, but ads for companies hiring in the music business are few and far between. You’ll have far better luck if you subscribe to some of the industry’s professional papers and magazines. If you’re looking for a job teaching music, for instance, regularly check the job listings in papers aimed at teachers and education professionals.
2. Internet job search sites are a good place to find jobs in music…
…but skip the big name sites. http://Monster.com and HotJobs! tend to attract hordes of applicants – which the music companies have already. One difference is music teaching and music therapy jobs. If you’re looking for jobs in music therapy or education, the big boards are likely to have far more job leads for you than they will for performers. The same holds true for those seeking jobs in accounting, management or advertising within the music industry. Even then, though, you’ll have better luck at job sites aimed directly at performers and the music industry like http://www.performingjobs.com and http://www.findagig.com.
3. Do some research and approach the companies where you’d like to work directly.
It takes a lot of nerve, but then, that’s what this business is all about, isn’t it? If you’re serious about finding jobs in music production, performance or promotion, you need to show the hiring agents you have what it takes. If you can’t promote yourself, why would they think you can promote someone else? Get out there and do your research to find record labels, production companies and indie companies that you’d like to work with, and then get your resume out into the hands of the people who make the hiring decisions.
4. For teaching and education jobs, approach school departments directly.
According to the Bureau of Labor Statistics, jobs in music education are going to be one of the fastest growing segments of the music industry through 2014. If your ambition is to teach music, organize a school band or head up a school orchestra, the direct approach is the best. Research school departments to find out which are (or may be) hiring, and find out the names of the people who make the decisions on hiring music professionals for the schools. Try to make personal contact before sending your resume so that when your resume arrives on the desk, they’ll already be looking for it.
5. Networking is the one strategy that always works.
Especially in jobs in music promotion and production, where your value lies in how well you can network to get the word out about the bands that you’re promoting. Join local professional associations, hook up with agents and performers and get to know the movers and shakers in your local music scene. That’s the best way to get your foot in the door.
6. Take advantage of school resources.
If you’re in school, take advantage of school resources to get placements as an intern with a radio station, production company or other media company. On the job experience is invaluable in music jobs.
7. Be persistent.
The music industry is volatile and ever changing. The company that isn’t hiring today could be looking for five new publicists tomorrow. Keep on top of job openings in the music industry by checking back on directory and job listings often.
Three Powerful Reasons why children benefit from music education as part of their Curriculum, especially at a young age. There has been plenty of research done about the benefits of music education for young children.
1. Playing music improves concentration, memory and self-expression
One two-year study in Switzerland run with 1200 children in more than 50 classes scientifically showed how playing music improved children’s reading and verbal skills through improving concentration, memory and self-expression.(1) Younger children who had three more music classes per week and three fewer main curriculums made rapid developments in speech and learned to read with greater ease.
Other effects revealed by the study showed that children learned to like each other more, enjoyed school more (as did their teachers) and were less stressed during the various tests, indicating they were better able to handle performance pressure.
2. Playing music improves the ability to think
Ongoing research at the University of California-Irvine and the University of Wisconsin-Oshkosh (2) demonstrate that learning and playing music builds or modifies Neural pathways related to spatial reasoning tasks, which are crucial for higher brain functions like complex maths, chess and science.
The first studies showed that listening to a Mozart sonata temporarily improved a child’s spatial abilities. Further studies compared children who had computer lessons, children who had singing lessons, children who learned music using a Keyboard and children who did nothing additional. The children who had had the Music classes scored significantly higher – up to 35% higher – than the children did Who had computer classes or did nothing additional.(3)
3. Learning music helps under-performing students to improve
Researchers at Brown University in the US (4) discovered that children aged 5-7 years who had been lagging behind in their school performance had caught up with their peers in reading and were ahead of them in math’s after seven months of music lessons. The children’s classroom attitudes and behavior ratings had also Significantly improved, and after a year of music classes were rated as better than the children who had had no additional classes.
1. E W Weber, M Spychiger and J-L Patry, Musik macht Schule. Biografie und Ergebnisse eines Schulversuchs mit erweitertemMusikuntericcht. Padagogik in der Blauen Eule, Bd17. 1993.
2. Various studies by Dr. Gordon Shaw (University of California-Irvine) and Dr. Fran Rauscher (University of Wisconsin-Oshkosh), with others.Including those published in Nature 365:611 and Neuroscience Letters 185:44-47
3. E L Wright, W R Dennis & R L Newcomb. Neurological Res.19:2-8. 1997
4. M F Gardiner, A Fox, F Knowles & D Jeffrey. Learning improved by arts training. Nature 381:284. 1996.
