Is the art of music notation being stifled by software?
When listening to song, in English or any other language, whether aria, lied, ballad, or rap, I simply don’t process the text for meaning but merely for sound.
Composers are responsible for putting students of every other academic discipline in music to shame.
While I make every effort to keep an open mind toward whatever it is I’m listening to at any given moment, I’ve never had a particular fondness for music with narration.
You can run (but I’ll be picnicking).
Musical confessions of emotion and taste.
One man’s journey to title someone else’s music.
In accordance with my role as new music’s self-appointed DARE officer, I want to look at the use of a drug that has a clear, quantifiable impact on a singer’s ability to perform: cortisone.
Ask someone to name their favorite composer and I’d guess that those who don’t give you that baffled “what’s-a-composer” look will inevitably mention someone both long-dead and from another country.
Part exorcist, part Pentecostal channeler, part Antonin Artaud, part Tibetan monk chanting “om” sound-processed to glass-shattering decibels, the regal, Goth-like Galás in Imitation of Life is the incarnation of the mythological Lilith, the she-demon as singing shaman.