music
Am 27. April, von 10 bis 20 Uhr, findet bei SNRBS der Tag des Schlagers statt. Highlights – Uwe JensenFrank LiebeMaria Madalena RöderHans Peter Sperber und die goldene Stimme aus Berlin Treptow Jens Rückheim. Das Ganze wird auf SUNSET CITY und SUNSET ONE übertragen.
Ever thought of spending a week without music? If yes, then the time will give you a very good amount of pain and agony. Without music, life becomes monotonous and still. Music gives us an insight into ourselves and lets us understand ourselves in more detail. And particularly, rock music has been able to lift people out of depression very well. Rock music lets one realize the symphony and synergy of the words and lyrics. That’s why to understand rock music in detail. One needs to understand its types. Here are some popular types of rock music nowadays: – 1- Alternative Rock Alternative Rock Music emerged in the mid-1970s and became immensely popular in the 1990s. It was mostly loosely defined and struck the people who loved the lyrics and the music. It had some of the most unorthodox vocals. Alternative Rock destroyed almost every guideline, giving boundaries to the music. For example, the length guidelines were also not followed. Some of the most famous bands and artists of Alternative Rock Music are Nirvana, Radiohead, Pixies, etc. 2- Rap Rock Rap rock had its unique nature of ultra aggressiveness with a perfect blend of the testosterone-carrying voice of the artists. What most people describe rap-rock as the rap flow with a great sense of the mixture of ups and down in the music. Famous artists and bands in the rap-rock genre are Linkin Park, Kid rock, etc. 3- Punk Rock Punk Rock emerged in transition with rap and alternative rock music. It had the features of both alternative and rap-rock. It had short but crisp lyrics. The songs were usually fast-paced with a beautiful melodious voice. Punk Rock touched people’s hearts and was appreciated by all types of music- listeners. Some of the most famous bands and artists of punk rock are Ramones, Green Day, The Clash, Misfits, Black Flag, etc. 4- Grunge If there is rock music with the least number of musical instruments, then it is no other than grunge rock. It used a minimal number of instruments but didn’t compromise the quality of the music. The guitar used in grunge was of high chord and produced a very heavy sound, thus making it more aesthetic. Intense vocals and dark lyrics were also unique characteristics of grunge rock. Some of the most famous bands and artists of grunge rock music that have shaped the course of rock music are Mudhoney, Nirvana, Alice in Chains, Pearl Jam, etc. 5- Classic Rock It was the mother of all types of rock music. It was primarily the first type of rock music to be originated. Classic Rock has used the guitar as a musical instrument to the fullest and fairly used it in simple progressions. The lyrics were the main fodder for the audience. It was lyrics that defined classic rock. Some of the most famous bands and artists of classic rock music are The Rolling Stones, Led Zeppelin, The Beatles, Pink Floyd, Nobel laureate Bob Dylan, etc.
You are about to learn the five critical elements that have fueled the success of all great musicians‘ careers. Until you possess these key elements for yourself, it will be nearly impossible for you to reach your musical dreams and build a successful career in the music business. Read below to discover these five key elements and take action on the information you learn: Music Career Success Key #1 – Don’t Set Realistic Goals All of the most well-known and successful musicians did not achieve their goals by thinking realistically about what seemed possible. On the contrary, they focused their mind like a laser ONLY on what they truly wanted. When you make your goals in line with the things you want most, you will be much more motivated to actually achieve them. More on this in a moment… Think about this – out of the following choices, which choice would inspire you to put all your time and energy into growing a music career?: Making a recording of a demo with a band and possibly playing a few shows around town. Writing chart topping songs for a killer band, then promoting your music by going on a massive world tour – playing to stadiums full of fans, earning tons of money from music sales alone and never working a regular job ever again. Even if your goals in the music business are entirely unrelated to releasing music, the point still applies: don’t let yourself accept anything less than what you truly want in your music career, just for the sake of being realistic. Life is too precious to live it by not doing the things you really desire. When you set goals for yourself that do not inspire you, it is nearly guaranteed that you will NEVER achieve the things you truly desire in music. All the biggest rock stars are people just like you. They began small – whether it was broke without any idea how they’d make it in music, lacking in musical talent or not having a band to play with… Just imagine where they would be now, if they would have told themselves that their music career dreams were unrealistic or didn’t seem possible. Well, of course they didn’t… they followed their dreams and went on to achieve them! You must do what they did. Start building your music career by focusing on what you WANT, not what seems possible. Music Career Success Key #2 – Manifest Your Musical Dreams Into Reality Before They Actually Are Reality Musicians who never achieve anything significant in this industry, build paths to their goals by starting from where they are in the present moment. On the other hand, musicians who achieve great success do something completely different. They plan their music career by beginning from the end point of achieving their goals, and work backwards to the present day. They imagine themselves having already accomplished their major goals, then build their lives around this vision. This is a much more effective way of accurately determining the actions required for putting together your music career. Music Career Success Key #3 – Start Living Or Start Dying The two keys I mentioned above are critical for building a successful music career. With this in mind, you need more than just goals and a plan of action to realize your musical dreams. You have to take action each and every day to bring yourself closer to your goals. You might think this is common knowledge, but you would be shocked at how many musicians give up on their musical dreams simply due to lack of effort (in terms of taking physical action). Visualize this scenario (I use this as inspiration for the professional musicians whom I mentor): You’ve just found out about a disease you contracted that requires major surgery. If you don’t get this surgery, you are guaranteed to die in no more than half a year. To make matters worse, the surgery is extremely expensive and cannot be covered by your insurance company (also you can’t borrow money to pay for it). So you have a decision to make: You can allow yourself to die, OR you can take whatever action is necessary to get the money needed for the surgery. Certainly this example is extreme, but it is a perfect illustration of the kind of mindset you need to have in order to build a successful music career. Making big moves (by taking action) in your music career is completely different than sitting around waiting for things to happen for you (allowing yourself to ‚die‘). With this in mind, hard work/consistent action does not necessarily equal music career success, when you don’t know exactly what you should be doing to reach your goals. Music Career Success Key #4 – Have MASSIVE Reasons For Achieving Your Musical Goals No matter what you do, something will always go wrong in your music career plans. Whenever you are faced with unexpected events in your music career, this is the time when your commitment will be put to the test. For instance, here are some challenging situations you could face: Working at a day job you hate while regretting the fact that you never developed a music career backup plan to help you make a living doing what you love. Playing at crappy bars all the time with your band because you don’t know how to move to bigger venues. Trying to record an album, but doing so at an extremely slow and frustrating pace because you never practiced developing your recording skills. Working with unmotivated band members who are bringing you (and the entire band) down. Not understanding how to attract more music fans to listen to the music you worked so hard to create. Here is what you need to do in order to maintain your commitment and dedication to achieving your music career goals: Take out the piece of paper you have that contains the list of your
As festival season rapidly rolls in, we’re constantly being reminded of the continuing lack of diversity on our lineups. With a recent study indicating 86 per cent of the lineups of 12 major music festivals last year including Glastonbury, Reading and Leeds and Creamfields were male, it seems that the ears at the top are still unwilling to break up the boys club that makes up our live music industry. Without music, life would be a mistake. That’s not to say the diversity – and demand – isn’t there. With collectives such as SIREN and Discwoman championing female talent in the electronic music scene, and artists such as Björk, Grimes and Kesha speaking out in defence of women’s rights in the industry, there’s never seemed a more appropriate time to shake up our lineups. One group unwilling to wait for the wider industry to take note is Sad Grrrls Club. Originally founded by Rachel Maria Cox as a record label and booking agency in order for them to support non-binary and female acts and challenge Australia’s male-dominated live music scene, Cox has grown the organisation from it’s DIY roots to fully fledged music festival taking place across two cities. Inspired by the Riot Grrrl movement as well as Audrey Wollen’s Sad Girl Theory, Sad Grrrls Fest showcases bands and musicians that have at least one female or non-binary member. But are all-female lineups breaking down the gender divide, or widening it even further? Below we caught up with the festival’s founder to discuss safer space policies, reverse sexism and the power of expressing our emotions.
Chances are, you are already ruining your potential to succeed in the music industry because you believe in one or more music career myths. How do I know? I am sent e-mail messages on a constant basis by tons of musicians (all seeking the answers to the WRONG questions). These are questions that may seem like good questions on the top level, but are really highly damaging questions that take them far away from their musical dreams. To put together a successful career in music as soon as possible, you’ve got to know the questions you do NOT need to be seeking answers to, and understand how to ask much higher quality questions that will put you on the right track toward reaching your music industry goals. These are the 4 worst music career questions you should avoid asking in order to build a successful career as a professional musician: Bad Music Career Question #1: Do I Have To Become A ‚Starving Artist‘? A lot of people believe that making a living as a professional musician means one of two things: Either you ‚make it‘ and go on to tour the world and sell millions of albums or you ‚become a starving artist‘ and have to play at crappy bars and street corners just to get by. This music business myth makes sabotages people’s careers from the start, either by making them believe they need to get full time jobs unrelated to music and ‚try to do music on the side‘, or be afraid of trying to enter the music business. Fact is, the music business is made up of a large middle class and there are countless ways to earn a living. You’d be surprised at how easy it is to make a good living in the music industry versus becoming successful in an outside field. However, before you will make a lot of money, you must stop asking low quality questions. Stop worrying about becoming a starving artist and start envisioning all the different ways you can make money as a musician. As you work in the music business, you are not forced to live from one paycheck to the next like in a normal day job. Instead, it’s always possible to be earning multiple sources of income at the same time. This makes becoming a professional musician a much more stable career choice since you don’t have to be dependent on just ONE source of income. In addition to the obvious ways that musicians seek to make money in music (selling albums/downloads, playing live shows or recording as a session musician), there is one thing you can do right now that will quickly boost your music related income: Start growing a music teaching business. This will immediately produce multiple sources of income (your students) for you while you work much less than full time hours each week. When you build many sources of musical income as discussed above, it’s very possible (and not as hard as you might think) to annually earn more than $100k in your music career (I know this, because I’ve helped many musicians to do it). Bad Music Career Question #2: How Do I Get A Recording Contract? In order to understand why this is not a good questions to ask, answer this: „Why should someone give YOU a recording contract?“ If you think it’s because you write good music… try again. This is never a good enough reason for someone to sign you to a recording contract. No one is going to invest many thousands of dollars into you just because you can write good music. This would be WAY too risky of an investment (so much so that it doesn’t even make sense). Imagine that you saved up $200,000, would you then go to a casino and put it all on the line for one spin of the roulette? OR would you instead invest it into someone who has proven that they can help you earn even more (at least at a smaller level)? No doubt, you would make the wise choice and invest it into someone who would help you make more money. This is how recording labels think. So stop wondering about how you can get signed to a recording contract and start turning yourself into a ‚wise investment‘ that any label would immediately see as valuable. This requires much more than writing great music, playing your instrument well or having a Facebook page. Here are the actions you should be taking to make yourself into a valuable investment for a record company: 1. Understand what the music industry is looking for in musicians before they begin working with them. 2. Work every day to build your music career. Record companies want to see that you have a good track record before they will begin working with you. The more things you do as an independent musician, the more likely it is that you will gain the interest of a record company. 3. Get music industry training from a successful mentor who has already accomplished big things in the music industry and helped others get signed to recording contracts. Once you begin developing your music career on your own, you will make yourself like a beacon of light and record companies will come searching for YOU! Bad Music Career Question #3: How Can I Get My Music ‚Heard‘ By More People? The majority of musicians want to get their music heard by as many people as possible, believing that this will help them earn money and become successful pro musicians. However, the quantity of people who listen to your music is not very significant in and of itself. What really matters is the amount of people you are able to turn into a highly dedicated fans who will do anything to support you and your music. Stop asking yourself how to get more people to hear your music and start transforming anyone who is already your fan into
The 90s undoubtedly marked the Golden Age of underground music zines cataloguing subcultural movements. Without an avalanche of Tumblr accounts offering endless information on what your favourite band is wearing, Soundcloud recommendations about who to listen to next, or Twitter documenting your most-loved guitar player’s childhood fear, publications such as the pioneering DIY zine Sniffin’ Glue and groupie-focused Star found their way into the eager hands of music fans around the world. To celebrate a simpler time, here is our rundown of the five most iconic underground zines you might not have heard of, and where you can read them. Starting off this list with the OG of all zines, Sniffin’ Glue was the first publication to chronicle punk from an insider’s point of view. Created in the UK in 1976, right after editor Mark Perry (who was a bank clerk at the time) watched a Ramones concert, Sniffin’ Glue’s haphazard DIY style, with felt-tip titles, shabby grammar, swear words and informal writing paved the way for the many punk zines that followed. Submitting to the movement’s idea of creating your own culture and rejecting the old, it did not subscribe to any traditional forms of publishing, and in fact was closed down after only 14 issues due to fear of becoming incorporated into the mainstream music press. Unfortunately, it is not catalogued online – but if you’re London-based, you can check out the full archive at the London College of Communication’s zine library. Considered scandalous at the time, 1973’s LA-based Star magazine was aimed at teenage girls and chronicled the lives of the decade’s most iconic groupies, from Sable Starr to the hyper-controversial Sunset Strip “baby groupies”. With a manifesto that could almost be called feminist, the first issue opened riddled with angry letters from teachers and parents – one of them surprised the magazine “didn’t come wrapped in plain brown paper” as a porn magazine would – to which the editorial team answered: “How about letting Arkansas’ girls decide about Star?” It even featured a commentator that could’ve come straight from 2016, who stated that men like him don’t like this “Women’s Lib baloney” that the magazine advocates. Referring to their readers as Foxy Ladies (also a name used for baby groupies), Star never undermined their pheromone-ridden teen readers, and featured plenty of pictures of a young Mick Jagger, alongside comic strips of fantasy scenarios, for example where a fan dresses up as glam rock icon Marc Bolan to get backstage. With five printed issues painstakingly collected and digitalized, you can access the whole archive here.
As a bassist, bandleader, teacher, and music copyist, I’ve worked with hundreds of singers throughout the years. Though working musicians know hundreds of tunes, singers need to have good charts in order to have their music played the way they want. I define a „good chart“ as a piece of written music that effectively tells the musicians what they should play. Written music comes in seven basic forms: chord charts, sheet music, songbooks, lead sheets, fake books, master rhythm charts and fully notated parts. As a musician has a responsibility to play the chart before him correctly, the supplier of the chart has the responsibility of providing the right kind of chart. Knowing what type of chart to use for what kind of tune or gig is very important. This article explains what the different types of charts are, and under what circumstances to use them. I hope you find it useful. TYPES OF EDM MUSIC Charts can be simple or elaborate according to the style of music and type of gig. Cover tunes are traditionally learned from recordings; classical and choral music can be found in sheet music stores as well as in various music catalogs; numerous tunes will be found in music books of all kinds; and many public libraries carry recordings and written music for your use. The word „chart“ refers to any piece of written music or any arrangement (music that has been adapted in a unique manner) of a tune. Decades ago it was strictly a „cool“ slang term for a tune, but any piece of music could be called a chart these days, though a classical buff might not refer to a Mozart work as a „chart.“ Knowing what type of chart to use for what kind of tune is very important. When you’re playing a gig and someone hands you a chart — it is what it is and you either read it well or not. But, if you buy charts, have them made for you or provide them yourself, you need to know which kinds to use for which situations. Years back, while doing singer showcases, singers brought in all kinds of charts: good ones, bad ones, incorrect ones, inappropriate ones, and it was a real pain. The singers who provided the right kinds of charts got their music played the way they wanted. The singers who had the wrong kinds of charts didn’t, and weren’t very happy about it. Unless a musician already knows the specific parts, he can only play according to what’s on the chart before him. Though a good musician can improvise a good part in any style, if a specific musical line needs to be played, it needs to be written out. As a musician has a responsibility to correctly play the chart before him, the supplier of the chart has the responsibility of providing an appropriate one. Without getting into too many music notation specifics, here are the different kinds of charts and when they are used: 1. HOUSE A chord chart contains the chords, meter (how the song is counted, e.g., in 4 or in 3 (like a waltz), and the form of the song (the exact order of the sections). This type of chart is primarily used when: 1. the specific musical parts are improvised or already known, but the form and chords need to be referred to, 2. to provide chords to improvise over, or 3. when a last-minute chart needs to be written, and there isn’t time for anything more elaborate. A chord chart does not contain the melody or any specific instrumental parts to be played. To play from simple chord charts a musician basically needs to have steady time, know the chords, and improvise his part in whatever style the tune is in. 2. TECH HOUSE Sheet music is a store-bought version of a song printed by a publisher, which contains the instrumental part, chords, lyrics, melody and form. An instrumental piece will, of course, have just the music. Sheet music is written for both piano and guitar. Guitar sheet music is in standard notation (often classical), as well as in TAB. A good piece of sheet music will always say whether it’s for piano or guitar. Most sheet music is not meant to be completely representative of the actual recording, and the actual arrangement that you’ve heard on a recording is seldom present. Many people have experienced the frustration of getting the sheet music to a song they like, playing it, and discovering that the chords are different from the recording, and sometimes the form is too. Unfortunately that’s the way it is a lot, and it could be for a number of different reasons. To get the exact arrangement and chords, you need to do a „takedown“ of the song: learn it by ear. A takedown is when you listen to a piece of music and write it down. Takedowns can range from simple chord charts to elaborate orchestral parts or anything in between. In order to do good takedowns, you need to have good ears, understand and be fluid with music notation to the complexity of the type of music you’re working with, and preferably understand music (the more the better). Having „good ears“ consists of recognizing and understanding the music, whether heard on the radio, played by another musician, or heard in your head. 3. DEEP HOUSE Songbooks are compilations of many tunes and often contain the same information that sheet music does, along with the chords and arrangement being different from the recording most of the time. Sheet music commonly has full introductions and endings, whereas songbook tunes are generally shortened to create space in the book for more tunes. Sheet music is generally written to be played on a keyboard, but songbooks come in different styles and for different instruments. They are compiled by artist, style, decade, and in various collections including movie themes, Broadway hits, etc. Songbooks are a good reference source when other,
Music is a form of art that involves organized and audible sounds and silence. It is normally expressed in terms of pitch (which includes melody and harmony), rhythm (which includes tempo and meter), and the quality of sound (which includes timbre, articulation, dynamics, and texture). Music may also involve complex generative forms in time through the construction of patterns and combinations of natural stimuli, principally sound. Music may be used for artistic or aesthetic, communicative, entertainment, or ceremonial purposes. The definition of what constitutes music varies according to culture and social context. Greek philosophers and medieval theorists defined music as tones ordered horizontally as melodies, and vertically as harmonies. If painting can be viewed as a visual art form, music can be viewed as an auditory art form. The broadest definition of music is organized sound. There are observable patterns to what is broadly labeled music, and while there are understandable cultural variations, the properties of music are the properties of sound as perceived and processed by humans and animals (birds and insects also make music). Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. Music theory, within this realm, is studied with the pre-supposition that music is orderly and often pleasant to hear. However, in the 20th century, composers challenged the notion that music had to be pleasant by creating music that explored harsher, darker timbres. The existence of some modern-day genres such as grindcore and noise music, which enjoy an extensive underground following, indicate that even the crudest noises can be considered music if the listener is so inclined. 20th century composer John Cage disagreed with the notion that music must consist of pleasant, discernible melodies, and he challenged the notion that it can communicate anything. Instead, he argued that any sounds we can hear can be music, saying, for example, „There is no noise, only sound,“[3]. According to musicologist Jean-Jacques Nattiez (1990 p.47-8,55): „The border between music and noise is always culturally defined–which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus…. By all accounts there is no single and intercultural universal concept defining what music might be.“
We had some truly stellar photos come out of our photographers this week, as they attended shows from Vance Joy, Ball Park Music, Matt Corby and Groovin The Moo sideshows, with the common theme being some amazing light shows. As Forbes notes, in the missive, Sixx and bandmates James Michael and DJ Ashba implore YouTube to work harder to protect the rights of artists whose work frequently appears on the platform without proper payment, clearance or copyright, noting their own positions of privilege as successful musicians — and wanting to use that advantage for the benefit of smaller acts, in keeping with their history of artist advocacy. „We recently completed our fourth album called Prayers For The Damned, in our singer/producer James Michael’s recording studio,“ the band began. „We are a lucky band, grateful to have all had success prior to the creation of Sixx:A.M. Music expresses that which cannot be put into words and that which cannot remain silent. „Nikki came from Mötley Crüe, DJ played guitar in Guns N‘ Roses for the past six years and James has had a successful career as a writer and producer. Releasing an album and being part of a tour going on sale allows us to use the promoters‘ marketing money to create a larger platform to get our message out, and having a record company that generates publicity gives us an opportunity to speak up about issues we think are important — specifically the crisis with the music business and YouTube.“ The band go on to recall the occasion on which they backed Taylor Swift „when she spoke up about the absence of royalty payments to artists by Apple Music“, as well as explaining that the band has „long been an advocate for new artists“, as evidenced by Sixx’s predilection for featuring emerging acts on his radio show, before taking aim at Google (and its founders, Larry Page and Sergey Brin) for its payment strategies through the framework of comparing its annual revenue to that of the global music industry.
The line-up for the industrial, EBM and synthpop festival E-tropolis in Turbinenhalle in Oberhausen, Ruhr, on March 28 is complete. For the most part, though, people just happening to pass by the two-block campus during Public Practice sessions are at the best advantage to enjoy the notes in the air, mixing with the environment. “We organize it so that several musicians are playing concurrently, in different areas of the campus,” explains Ming Ng, director of Active Arts. “So, there is a ‘soundscape’ that is created as you walk from one musician to another.” Like exhibits in a museum, the participating musicians are set up with signs next to them, explaining who they are and what they are doing. Once in a while, people will stop to listen or to ask the musicians a quick question, but some don’t quite know what to make of the situation. “One man tried to drop a dollar into my saxophone case,” Oto recalls with a laugh. Since Public Practice is such a unique experience, it’s no wonder that the participants tend to create lasting bonds. The relationships begin outdoors on the Music Center campus, when one musician might stroll up to another to sight-read through some duos. At the end of the project everyone takes part in a group dinner and discussion, and the relationships often extend far beyond that day. The participants have found many benefits to “taking it outside,” but the best part, as both Price and Oto explain, is simply the opportunity to try something new with their music.
SNRBS SUNSET CITY 