Max Reinhardt on Cabaret.

Cabaret as a form of satire, its literary, political, philosophical and poetic content are at the forefront of documentary interest; the ongoing collection and scientific utilization of its diverse manifestations is the central task of the German Cabaret Archive

The playful, satirical form of cabaret and its literary, philosophical, and poetic qualities are the focus of our documentary interest. The central task of the German Cabaret Archives is the continuous collection and the availability of these materials to academics and historians

The Angry River - The Hat ft. father John Misty (with lyrics) {YouTube}

site:: [[YouTube]] channel:: fatpetiobaby101 date:: 2014-04-16 url:: https://www.youtube.com/watch?v=hfzrRdarnEs accessed:: 2023-12-18

Nights in White Satin - The Moody Blues - in Paris. Restored video! {YouTube}

site:: [[YouTube]] channel:: Redbaron863 url:: https://www.youtube.com/watch?v=cs4RG9u8IVU accessed:: 2023-12-17 16:30

Emancipator - Kamakura

site:: [[YouTube]] channel:: skimpyyields date:: 2010-01-19 url::https://www.youtube.com/watch?v=bPP9NvUXJhU accessed:: 2023-11-17 03:00

London Grammar (2009-) - Wikipedia, English

site:: [[Wikipedia]] url:: https://en.wikipedia.org/wiki/London_Grammar accessed:: 2023-12-09 12:05

Heilung (2014-) - Wikipedia, English

site:: [[Wikipedia]] url:: https://en.wikipedia.org/wiki/Heilung accessed:: 2023-12-08 11:55

Paulson, Michael. “Aaron Sorkin Revamps ‘Camelot,’ With Challenges Classic and New.” The New York Times, March 22, 2023, sec. Theater. https://www.nytimes.com/2023/03/22/theater/aaron-sorkin-camelot-broadway.html.

Aaron Sorkin earned a B.F.A. in musical theater from Syracuse University, but didn't really put it to use until his work on Camelot which opened in 2023.

Capacidad para interpretar, componer y apreciar pautas musicales.

The authors analogize educational levels and unemployment rates to playing musical chairs to underline the zero sum game being played in the labor market.

This becomes a useful argument for why a universal basic income ought to be implemented, not to mention the bullshit job thesis which pairs with it.

ReconfigBehSci. (2021, May 17). RT @d_spiegel: Great Covid statistical musical video from Italy! Https://youtube.com/watch?v=glueeURebDU (A limited genre, to be true, but surely one tha… [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1394298791600148482

Semasiography are iconic and abstract symbols and languages not based on spoken words, but which carry information.

Mathematical formulas, musical notation, computer icons, emoji, buttons on washing machines, and quipu are considered semasiographic systems which communicate information without speech as an intermediary.

semasiography from - Greek: σημασία (semasia) "signification, meaning" - Greek: γραφία (graphia) "writing") is "writing with signs"

filmstarts.de 2,5/5

Ha! Found a Ruby method to do the same thing in Sonic Pi. https://in-thread.sonic-pi.net/t/exploring-modes-of-pitch-class-sets-using-chord-invert/5874/10?u=enkerli

Glad this is explicitly mentioned here as it was my initial goal as I got into musical applications of Set Theory!

Università degli Studi dell’Insubria. (2021, May 14). Covid-19 Vaccine—The musical. https://www.youtube.com/watch?v=glueeURebDU

I like to listen to these artists, too.

Early music ensembles in costume in 1907.

This is so cool. I highly recommend trying to get a tour.

John Taylor (1687) describes a "kitt" thusly: "Then those pore slaves leave off work and repaire to their houses, where they gett their suppers, make a great fier, and with a kitt (made of a gourd or calabash with one twine string)"

We have interpreted this piece as a call and response between the vocal line and the melody line. Are there other ways to interpret this? We also have not been able to identify what the vocal line means. We presume the language is Central African, but what language might this be? What does the word or phrase mean?

During the Jamaica Musical Passage Workshop, Earl "Chinna" Smith heard a song called "Runaway" within this piece. You can see them interpret it here:

https://youtu.be/wlxc75J_ZxM

This was powerfully illustrated at the end of the Musical Passage Workshop in Jamaica, which concluded with a recognition and celebration of Rastafari elder Sam Clayton through song & dance:

https://youtu.be/vwndevpkmns

Welcome to the Musical Passage discussion!

We are delighted to hear your thoughts both about the current state of the site and some of the ways we might envision expanding it, particularly in order to include contemporary interpretations of the music.

We participated in a workshop held at the Institute of Jamaica in Kingston on March 17, 2017, during which Rastafari musicians listened to interpretations of Sloane offered here and then played their own versions of the sings. You can watch five videos of the workshop, which include interpretations of Koromanti 2, Koromanti 1, Angola, & Papa, starting here:

https://youtu.be/f9AC6BsskDE

We hope to organize other such events involving a variety of musicians in the future. We are curious therefore if you have thoughts about the following questions:

Are there ways we might incorporate such material directly in the site?

Or would it be better to create some kind of other portal or site to showcase this material and other interpretations by musicians? If so, what types of approaches/ tools would be best for this?

We also welcome your thoughts about any other aspects of design or content!

Thank you,

Laurent Dubois, David Garner, and Mary Caton Lingold

In the Musical Passage Workshop in Jamaica, Earl "Chinna" Smith did a great improvisation on the piece using slide guitar, which was a really interesting way of engaging with the scales laid out in the piece:

His solo is here about 7 minutes into the video:

https://youtu.be/f9AC6BsskDE?t=7m10s

There was an interesting discussion between a scholar named Peter Espeut & Earl "Chinna" Smith about the beat of this song during the Jamaica Musical Passage Workshop (starting about 10:20 in the video below)

https://youtu.be/o9_B23_gAoo

My thoughts exactly.

And it carries over to much of the world of expressiveness in electronic music, centred around the emerging MPE standard: Multidimensional Polyphonic Expression.

Let me geek out a minute. ;)

Coming late to this MPE game, been really taken by the fact that Bevin’s name is everywhere. Given his work with many manufacturers, it’s no exaggeration to say that this type of musical expressiveness wouldn’t have expanded the way it did if it weren’t for Geert Bevin. Of course, MPE isn’t that mainstream, yet. You could even say that it’s a bit of a niche, in terms of the already peculiar world of electronic music. Besides, it’s just an implementation of some things which have been in the MIDI specifications from the start, over 30 years ago. But there’s more than smoke, here.

A few days ago, ROLI has announced the Seaboard Block, which might be the most affordable MPE device as of yet. It’s also the missing piece of the puzzle in ROLI’s lineup, linking the Seaboard line of highly expressive keyboards with the Blocks line of modular controllers. Some have been saying that the Seaboard Block is the point at which the Blocks line starts to make sense. Both there are more dots to connect. One is that ROLI also owns JUCE, which is fast becoming the tool of choice to develop music apps on multiple platforms, including mobile. Not sure how sophisticated JUCE’s MPE support is, but it does have some MPE-specific classes. Another point, mentioned in the comments on this interview, is that Bevin was instrumental in the MPE support in Moog’s Model 15 and Animoog synths on iOS. As these apps are quite influential, their continued development can have a big impact on the iOS part of the MPE scene.

Speaking of iOS, the fact that the latest version of Audiobus can route MIDI could open up interesting possibilities. Jesse Chappell, developer of two MPE-savvy iOS apps (ThumbJam and DrumJam) has been teasing a forthcoming app which would somehow deal with MPE in a thorough way.

And there’s a broader context for all of this. Hardware and software devices for electronic music (controllers, synthesizers, loopers, etc.) have been integrating into complete solutions. Several manufacturers have been doing both hardware and software. There aren’t that many hardware solutions for the sound output from MPE, but it’d only take a fairly simple box (maybe Arduino-based?) to allow much of the hardware synth world to receive MPE in an appropriate way (something which is already possible in software).

So it really is a fascinating time to be getting into musical expressiveness through digital means.