Sousa Tribute Band的动态

Did you know that the development of the modern piano can be traced to 2650 B.C.? Most historians agree that the piano was invented in the early 1700s by Bartolomeo Cristofori, but its lineage goes back much further than that, all the way to ancient times. We've taken a look at the long and fascinating evolution of the modern piano, one of the most popular musical instruments ever created and a mainstay of so many different kinds of music, from classical to jazz, pop and beyond. Can you remember your first experience playing a piano? https://yamaha.io/4aIpZnO #Piano #History #Innovation

Check out this review of the 'Orchestra Management Handbook' https://lnkd.in/g2kXWPT3 #orchestramanagement #music #musicbusiness

Saxophone - the Most Rejected Instrument Ever If Saxophone was a person, they've applied for hundreds of job openings, got a couple of interviews that lead nowhere, and even when that single offer comes, they're relegated to some office boy/office girl role with very little justifiable pay. Saxophone's mentor (actually inventor), Adolphe Sax, promised Saxophone that they'll become great members of the music industry. For Sax, he believed the saxophone will bridge the sound gap between woodwind and brass instruments in the orchestra. But after Saxophone entered the world of music, they faced rejection after rejection. A few composers like Debussy and Ravel employed them, but usually for a specific "non-permanent" role. To many, the saxophone sound, despite its immense abilities to blend with the orchestra, was seen as obstructive, 'too poor', and too noisy (all of which aren't true). Depressed, hopeless, Saxophone felt like they will never succeed, until they decided to transform. Saxophone left the industry they thought was meant for them, and found a new place in a brand new genre of music: Jazz Saxophone will end up performing with the likes of Charlie Parker and John Coltrane. They would also feature in various bands in front of Miles Davis, Ella Fitzgerald and Louis Armstrong and more. Saxophones to this day are not regular members of the classical orchestra, and many orchestras today do not have full time saxophonists, nor have the budget allocation to hire them. But in a strange way, its elusiveness in the classical world, is compensated by its popularity in the jazz, pop and film music industries. What we can learn from the saxophone is that when we seem to be running out of options, when our ideas don't seem to be gelling with potential clients, that's when we transform ourselves and look for different audiences. What might not work in Singapore, might work better in Malaysia instead. It is all about diversifying and expanding our own horizons. Next time if someone asks, "why do I not see the saxophone in the orchestra", tell them: "did you see a violin in the jazz band last evening?" Short disclaimer: it is perfectly okay to write for saxophones in orchestras, but it will just be harder for orchestral management to play your piece on budgetary constraints. #Saxophone #Music #Trasformation #Adaptability #ClassicalMusic #Jazz #Orchestra #TheThirdEye

Music Conduction = Projects Management It’s already one and a half years since I participate in courses about classical music conducted by Maestro Gil Shohat, who is one of the greatest musicians of our times. Gil Shohad is a classical music composer, conductor, virtuoso pianist and an outstanding lecturer. As I see and hear more and more musical creations conducted by Gil that can be performed by orchestra only or by orchestra and a variety of other participants: classical singers, choir, ensembles, etc., I understand that the work of a musical conductor is very much similar to Projects Management. We, project managers, conduct our projects. In order to succeed, we must learn and well understand the project essence (the musical philosophy behind the piece), know exactly the role and impact of each step and activate each activity on time, at the right sequence and at the correct volume. And, similarly to an orchestra playing a complicated piece, we must make sure that all the project components are perfectly integrated and “play” in full harmony. So, by carefully listening to classical music pieces performed by orchestra with additional participants you can learn much about conducting complicated projects. What do you think? #projectmanagement #riskmanagement #consulting

Enjoy a CelloBlog! Take a look at "The Shape of Brahms: Looking at His Music" by Anssi Karttunen. "Brahms the Architect One of the keys to understanding the music of Johannes Brahms is through his use of shapes and sizes and the manipulation of them in building his architectural forms. He was always stretching motives and phrases, making them overlap, go in and out of sync, hiding the bar-line and bringing it in sight again. Irregular phrase lengths, hemiolas, working with conflicting slurs in order to make us unsure where the strong beat is – he had many tools to confuse us. What this playing with blocks of material means for us performers is that one should not fall in love with only one line and its details, everything is always part of a larger picture and while detail is important it always relates to larger structures. I feel the best way to appreciate the genius of Brahms is to allow for the discovery of the listeners and not explain him when he clearly wants to confuse us. It is sometimes tempting to underline what is about to happen or point at what just happened, but that undermines his efforts. He is always very clever in the way he brings us back to reality after going to great lengths to confuse us. Brahms the Jeweler Brahms was a fanatic of old music, a collector of manuscripts, a meticulous editor and proof-reader of his own music and the music of others. When reading his manuscripts or urtext scores, it is good to be aware that he really did think about the notation of the details. He knew the instruments and their particularities. Whether he sometimes puts a slur that is surprisingly long or no slur when you would expect one it is at least worth thinking that he may have been trying to tell us something very specific about the music. As an example, in the first movement of the op. 38 sonata in the cello part, the opening has no slurs or very short ones for a long time. He gives the performance indication Piano, espressivo, legato which would make one expect slurs (many editions add them). Underneath he gives the piano a very simple accompaniment in steady chords, articulated as quarter notes with dots under slurs which create a very special acoustic background. On top of this the simplest and most straightforward cello line will appear espressivo and legato even with separate bows. Another theme later appears first with a five..." Read more: https://hubs.la/Q02KTvv00

Part 6 of my blog series, where I ask: why has Brahms' music become so much less popular? (And what does that mean for the classical music business in general?) "Left to their simpler listening devices of tune and mood, the pieces that are staying firm on the favourites lists are those pieces with either clear "hook" tunes that everyone knows (e.g. Beethoven's Choral Symphony, Bolero, Saint-Sa?ns Organ Symphony) or pieces with a clearly defined mood /?theme that is easy to grasp (e.g. The Four Seasons, The Planets). Pieces that require more knowledge of structure and form, with less easily memorable themes - like most things by our friend Brahms - are disappearing from the mental canon of our potential audiences." https://lnkd.in/gUw_h46Q

Orchestras are moving even further away from equal representation, as shown by the latest analysis from DONNE | Women in Music. Why is it that classical music diversity Regressing? The latest report reveals 89% of orchestral works by white men.

Studies?indicate?that in the United States live orchestral concerts and #opera attendance dropped by 30% in recent years. Already some twenty years ago, a Knight Foundation?report found that “only 10-15% of Americans have a close relationship with #ClassicalMusic.” The reasons for these relative losses are complex but encompass both the modern cultural and technological landscape shaping the #music consumption habits of audiences everywhere.? Read more ?? https://lnkd.in/dj2X44dF

Pythagoras was wrong: there are no universal musical harmonies, new study finds . The tone and tuning of musical instruments has the power to manipulate our appreciation of harmony, new research shows. The findings challenge centuries of Western music theory and encourage greater experimentation with instruments from different cultures. #ScienceDailynews #InnovativeResearch #NextGenScience #ExploringFrontiers

As I read this article about classical music I realised that a lot of the steps also apply to L&D pros, especially those running workshops for learners or SMEs. Preparation, flexibility, responsiveness, constant learning - we're all performers in our own ways