March 2015 Web stuff

• Medium sez: Guitar heroes who lit the fuse include Hendrix, Hampton, and Verlaine.

• Live (listen for the coughing!) classical music concerts from around the world are streaming online daily for free via World Concert Hall. Check the schedule to see what’s playing now and over the next week. (Be sure to enable cookies and javascript.)

It’s been 3 years since the Alan Lomax Archive went online. 17,400 recordings by the world-famous traditional folk music recording pioneer are available for your listening at the click of a button (streaming and/or download), sorted by Song, Artist, Genre, Location and Culture.

Modest Mouse is still actually good.

The story of AllMusic.

Erlewine founded All Music Guide in 1990, releasing the first All Music Guide book, at a whopping 1,200 pages in 1991, along with a CD-ROM.

The Atlantic considers why an electric guitar sounds like an electric guitar.
After discussing happy amplifier accidents, and a myriad of stompboxes, they never get to the answer. Maybe the article should be called “Why my Strat doesn’t sound like your strat”.

• An article about the Power of music therapy includes a list of several recent films. (Written by a professor of music therapy at Berklee.)

• Production tactics for Mozart’s boldest opera has-uhm-entered a new phaser. Fascinating. [SLYT]

• Music labels are pushing for limits on free streaming.
That might help, until people discover internet radio.
Update: Kendrick Lamar just made $1M in one day on Spotify.

Are streaming music services about to bite the dust?

Both musicians and record industry fat cats—normally at odds by definition—are united only in their anger at dwindling album sales and a foolish wistfulness for a broken, bygone era of album sales. Consumers are blissfully ignorant, mostly content to endure a few ads to listen to unlimited free music.

BMI forces small restaurant to replace live music with a jukebox.

Stakeholders in the music business as it’s currently configured talk the good game about art, cultivating audiences and all the rest. But they typically act according to the interests of that faceless Machine Pink Floyd was welcoming us to….

One More Time: Why we love repetition in music.

No matter the constituent material, whether it’s strings of syllables or strings of pitches, it seems that the brute force of repetition can work to musicalise sequences of sounds, triggering a profound shift in the way we hear them.

• Over at NewMusicBox, you might want to check out article Biting Breaks: Sampling and ownership, the first of a promised series on modern EM production. [via MeFi] It’s by blogger Ethan Hein, who calls himself “an outspoken anti-fan of avant-garde modernism” (I heard that) and points out the many genres represented at NMB.

Hein writes well: try this lengthy piece on Visualizing Music.

Dolby’s Atmos adds 3D surround-sound to virtual reality – even without speakers.

Why audiophiles are paying $1000 for Tom Port’s “hot stamper” vinyl LPs. In case you don’t have an $8,000 Odyssey RCM MKV (German record-cleaning machine).

• Stanford prof Jonathan Berger discusses How music hijacks our sense of time, using Schubert’s unforgettable String Quintet in C major as a prime example.

One of his footnotes recalls that “The capacity of the first audio CDs (about 73 minutes) was, by all accounts, set by Sony President Norio Ohga’s desire to hold the entirety of Beethoven’s 9th Symphony on a single disc.”

It’s seldom recalled these days that one side of a 78rpm recording typically lasts only 3 or 4 minutes, one side of an LP about 20 minutes.
Long works of music meant that the listener had to manually flip the record over (or wait for the changer to drop the next disk) several times. It’s a pretty rude experience to drop into the middle of a tender passage. Before CDs, listening to a long recorded performance uninterrupted was a luxury reserved for reel-to-reel tape users and concertgoers.

Peace, love, unity and the Science Centre: a brief history of the Toronto rave scene

———— (February 2015 Web Stuff)