Girl groups became the hot ticket in the globe of K-Pop music

In 2009, girl groups became the hot ticket in the globe of K-Pop music. Throughout just that one year’s time about 12 girl groups had comebacks or created their debut. The recognition of girl groups goes way back. Even though they are an important part of K-pop music now, they did not just appear as part of the musical globe in 2009. It actually began in the 1950s.

Since 2003, K-pop has given J-pop a run for their money as far as popularity goes. In 2010, Girls’ Generation and KARA splashed across the Japanese charts with two hit singles, “Genie” and “Mister.” These songs had been each born out of Korean culture and once translated, enjoyed just as much popularity in Japan. Both of these groups not run at the top of the charts in Japan and have each broken records for foreign artists’ sales in Japan. Their debut albums have reached double platinum which is the initial for any of the Korean girl groups ever!

K-pop groups are becoming much more and much more well-liked in Japan and beginning to blend in to the island’s musicscape. Western artists are nonetheless well-liked in Japan but they pretty a lot just fly more than when they have a new album they want to sell. Artists like Beyonce and Lady Gaga come via occasionally for a short tour and then move on. But the newest K-pop artists just keep sticking around and running the tops of the Japanese music charts. Girls’ Generation and KARA continue to be regulars on Japanese television.

 

They are consistently asked to perform singles on numerous shows and have both appeared on Japan’s version of Saturday Night Live. They have both learned how to speak Japanese and have now begun to release songs that had been produced specifically for the Japanese marketplace. Other Korean groups have followed this trend and begun to take advantage of Japan’s acceptance of their music. 2NE1, 2PM and Brown Eyed Girls have all begun to run the music circuit in Japan. 2PM, which is a boy band in the world of K-pop, debuted their single and it sat fourth on Japan’s Oricon Charts.

Many works make use of musical development

Looking back in history, the term ‘classical music’ did not crop up until the early 19th century and it is not referred to English dictionaries until after the period ended. There are various styles of music that fall into the definition of classical; these include symphonies, opera, choral works and chamber music.

Common with its musical characteristics are the use of dynamics and orchestral colour in a thematic way; the use of rhythm, including periodic structure and harmonic rhythm, to provide structure in large-scale forms, along with the use of modulation to build longer spans of tension and release.

This form of music is easily identifiable by its wide use of instruments of varying tones and pitches used to create a deep, rich sound. The development of new and more complicated instruments seriously impacted styles of classical music as they became available. There are no set instruments that had to be used for classical music, composers wrote for different groupings including orchestras, wind ensembles or various combinations of instruments for chamber music. Instruments like the piano, violins, cellos, flutes and trumpets were used. Singers were also used, which invented its own series of classical music, namelythe Opera. Composers also wrote solo pieces for a specific instrument, accompanied by piano.

Classical music composers often aspired to instil in their music a very complex relationship between its affective (emotional) content and the intellectual means by which is it achieved. Many works make use of musical development, the process by which a musical idea is repeated in different contexts or in altered form. Music scholars study this use of form and repetition and seek to unlock the reasons why some composers manage to execute the technique effectively while others simply fall into the trap of further harming their compositions. Some of classical music’s greatest melodies have used the process so well they have remained in the minds of listeners for centuries.

Another identifier of the classical style is the way it is passed on accurately using written music notation rather by oral transmission, which would undoubtedly create numerous variations. This is a very good method of preserving the piece as the written music contains the technical instructions for performing the work. Music notation from the classical era does however leave some interpretation open in several areas like performance, apart from directions for dynamics, tempo and expression; this is left to the discretion of the performers, who are guided by their personal experience and musical education or their knowledge of the work’s idiom.

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This performance marked Scholl’s Celebrity Series of Boston debut

Yesterday, in New England Conservatory’s Jordan Hall, the Celebrity Series of Boston and The Boston Early Music Festival presented The English Concert, led by Harry Bicket and featuring acclaimed countertenor Andreas Scholl.

This performance marked Scholl’s Celebrity Series of Boston debut. As one of the most highly esteemed countertenors in the opera world today, he did not disappoint and radiated confidence and sincerity in his interpretations of some of Purcell’s most beautiful music. The program gave Scholl the opportunity to showcase both his crisp coloratura and bewitching lyricism. Baroque pieces are often largely repetitive in their text, but Scholl gave every repeated phrase a different tone and emphasis, digging deeper into the subtext with every repetition.

The program began with Heinrich Biber’s regal Sonata a 6 for Trumpet, Strings, and Continuo. Even while playing the harpsichord, Bicket exhibited great control over the ensemble, sometimes fully conducting, sometimes with only one hand, and often only with eye contact and body language. The ensemble played expressively and attentively. The players could be seen cuing each other with their eyes and bodies throughout the concert; the result was an impeccably unified sound on both a rhythmic and dynamic level.

Some of the highlights of the program were “Sweeter than roses,” from Purcell’s Three Airs, “What Power Art Thou,” from Purcell’s King Arthur, and “Dido’s Lament,” from Purcell’s Dido and Aeneas. “Sweeter than roses,” with only the harpsichord, theorbo, and cello accompanying the melismatic vocal line, begins tenderly. Scholl starts legato, with a sensuous, dark tone, then moves to concise trills on his repetition of the word “trembling.” When he abruptly moves to a passionate upbeat section on the words “then shot like fire,” Scholl kindles the listener’s imagination.

“What Power Art Thou” from King Arthur, in contrast with the ardent love song, “Sweeter than roses,” had Scholl explore his artistry in a very different way. The vocal line, consisting of little more than ascending and descending staccato scales with minor embellishments and chromatic alterations, can be very boring, even when performed perfectly. Scholl compensates by bringing intensity to the piece. Using drastic crescendos and decrescendos to mark the phrases, exaggerated staccato, and even panting the lines “I can scarcely move or draw my breath,” Scholl invigorates the music.

Probably the best known of the program’s pieces was “Dido’s Lament” from the opera Dido and Aeneas. The orchestra set the somber tone for the Queen’s tragic aria, and Scholl did the rest. His performance was heartbreaking. Scholl’s fluid voice swelled to crescendos that made the heart throb and receded to a delicate softness, giving the aria beautiful color and contrast. Scholl first sings the final repetitions of “Remember me! But, ah, forget my fate!” with intimations of agonizing pain, then pleadingly, and finally with pitiful resignation. After his final note, the orchestra continued to a mournful, but definitive, close. During the second half of the program some “bonus tracks,” as Bicket called them, were thrown into the mix, including If Music Be the Fruit of Love and Purcell’s Strike the Viol.

The Italian city of Venice known in Italian as Venezia is a truly magical city

The Italian city of Venice known in Italian as Venezia is a truly magical city. The city is a seaport in the Veneto Region of northeastern Italy. This spectacle of a city is situated on more than 100 islands formed by about 150 canals. Venice has a history of being a naval power and a commercial center. Enchanting Venice, which is fondly referred to as the “Queen of the Adriatic.” was home to some of the world’s most powerful merchants in the Middle Ages.

For several centuries, it has captured the imagination of travelers and great writers including William Shakespeare who wrote the Merchant of Venice. Since the fall of the Venetian republic in 1797, the city has become an inspiration of nostalgia and it has held an unrivaled place in Western imagination. Since that time, writers have continued to describe Venice in prose and in poetry and they have put pen to paper about all that they fancy in Venice, making the city even more alluring to tourists from all over the globe. HotelTravelExpress, a key player in the tourist economy of the world, is also present in the city to give tourists the needed direction to cheap hotels in Venice.

Throughout the month of November, Venice, which has a reputation as a home to classical music, shall be holding its annual national piano music competition, the Premio Venezia, in which new talents and stars are born in the full glare of the international audience. The event will be held at 7.00 p.m. daily at the Teatro la Fenice which is the organizer.

The luminous spectacle of Venice palaces, ageless architectural masterpieces bell towers and ornate marbled domes which reflect in the sparkling waters of the Venetian lagoon under blue Adriatic sky has continued to arrest the fancy of artists who have painted, photographed, and filmed the vista of pleasant sights over and over again. In 1987, the enchanting city of Venice and its lagoon were designated as UNESCO World Heritage Site and even more tourists are attracted to this city, which is one of the oldest tourist sites, and cultural centers in the world, to be transported into a world whose atmosphere and beauty is unrivaled.

One major distinction of this city is that being a city on islands, the network of lagoons shut out the intrusion of automobiles in the romantic city and preserves its pristine nature while HotelTravelExpress comes in to link guests with the cheap hotels in Venice.

Wanting to commission a work especially for its Caledonian tour

The JAM: sound theatricals programme includes a world premiere by Rory Boyle in celebration of his 60th birthday, a Scottish premiere by Stuart MacRae and Paul Mealor’s global success Ubi Caritas, as performed at the wedding of The Duke & Duchess of Cambridge.

Wanting to commission a work especially for its Caledonian tour, JAM is very excited to be working with Rory Boyle, helping to bring to life a work he has had in mind for some time. Boyle’s Tallis’s Light is written for brass quintet and organ.

Boyle comments “I first came across Tallis’s perfect little “Hymnus” O Nata Lux when I was a chorister at St George’s Chapel, Windsor, and its simple starkness has affected me ever since. I found it difficult to shake off its sublime influence and so, when I was commissioned by JAM, I felt that this was a great opportunity to mark this ‘friend’ of so many years by making what is effectively a fantasia based on Tallis’s work.”

Keen to continue its commitment to developing young talent, JAM will once again unite the university choirs of Aberdeen, Edinburgh and St Andrews, setting an exciting challenge for these young singers, choirmasters and conductor, Michael Bawtree. Rising stars Tom Wilkinson (organ) and Pure Brass, plus Rebecca Afonwy-Jones and Michel de Souza (both Emerging Artists from Scottish Opera), will join the choirs.

JAM: sound theatricals will showcase Scottish contemporary classical music-making at its best, delivering outstanding performance and technical ability. Together we will bring exceptional colour and dimension to the cultural ecology.

JAM is delighted to be supported by Creative Scotland through its National Lottery investment, enabling our return to this vibrant country.

Ed Armitage, JAM Chairman and Artistic Director comments “I have admired Rory Boyle’s work for many years and am thrilled that he’s written this dazzling piece for JAM, during his 60th birthday celebrations. With amazing acclaim from audiences and media, Scotland has become an essential part of JAM’s schedule. I am delighted to be working here with such inspired composers and performers.”

The worlds of comedy and classical music don't usually intersect

 Leave it to the cold, dark shores of Scandinavia to finally crack the code on digital music distribution. X5, a tiny music group from the great Scandinavian North has not only made money by selling digital music, it’s beat out music giants like Sony and Warner Music on the Billboard charts.

If you’ve never heard of X5, we can’t blame you. The company, started in 2005, has been quietly making a huge splash on the classical music scene by releasing massive compilation albums. The music group doesn’t have any permanent in-house musicians and seeks to sign licenses rather than artists.

X5 focuses on back catalogs of classical music and creating custom compilations with titles like “The 99 Darkest Pieces of Classical Music” or “The 50 Most Essential Pieces of Classical Music” which, since being released in 2008, has made more than $2 million worldwide. Essentially, they buy up a truckload of song licenses at low-rates, package them into winning compilations and resell at a moderate markup. X5 has released more than 8,000 of these thematic albums — some by composer, mood, holiday, etc. — with most falling under the “classical” genre.

In 2010, X5 was the number two classical label in the U.S. with a 20% market share, and had 13 #1 Billboard Classical albums — more than any other label, save for Universal Music Group (with whom X5 is currently in talks).

The company has been able to make all that money through some simple tricks: The albums are inexpensive, the artwork is simple but striking, X5 distributes through all major music sites — iTunes, Amazon, Spotify, Rhapsody, etc. — and designs albums with a kind of “music SEO” in mind. “Think of the person that types ‘classical’ into the iTunes search box,” says Scott Ambrose Reilly, X5′s new U.S.-based CEO. “That’s the kind of person we’re trying to sell to.”

 The worlds of comedy and classical music don't usually intersect. But when they do, the results can be  memorable. Victor Borge, the clownish pianist, entertained audiences for decades with his send-ups of solemn classical concerts. Anna Russell owned the market in "Ring" cycle parodies, which she performed as a solo stage show with piano.

Add to this short but illustrious list the comedy duo known as Igudesman and Joo. The musicians are coming to the Broad Stage on Saturday and Carpenter Performing Arts Center on Sunday for the L.A.-area debut of "A Little Nightmare Music," their show that brings together piano, violin and slapstick farce.

Aleksey Igudesman, who hails from Russia, and Hyung-ki Joo, from South Korea, recently spoke to The Times about their stage act, which has toured the world. "Maybe the best public is the USA because you have a very wide understanding of what we're doing somehow," said Igudesman.

The company has been able to make all that money through some simple tricks

Leave it to the cold, dark shores of Scandinavia to finally crack the code on digital music distribution. X5, a tiny music group from the great Scandinavian North has not only made money by selling digital music, it’s beat out music giants like Sony and Warner Music on the Billboard charts.

If you’ve never heard of X5, we can’t blame you. The company, started in 2005, has been quietly making a huge splash on the classical music scene by releasing massive compilation albums. The music group doesn’t have any permanent in-house musicians and seeks to sign licenses rather than artists.

X5 focuses on back catalogs of classical music and creating custom compilations with titles like “The 99 Darkest Pieces of Classical Music” or “The 50 Most Essential Pieces of Classical Music” which, since being released in 2008, has made more than $2 million worldwide. Essentially, they buy up a truckload of song licenses at low-rates, package them into winning compilations and resell at a moderate markup. X5 has released more than 8,000 of these thematic albums — some by composer, mood, holiday, etc. — with most falling under the “classical” genre.

In 2010, X5 was the number two classical label in the U.S. with a 20% market share, and had 13 #1 Billboard Classical albums — more than any other label, save for Universal Music Group (with whom X5 is currently in talks).

The company has been able to make all that money through some simple tricks: The albums are inexpensive, the artwork is simple but striking, X5 distributes through all major music sites — iTunes, Amazon, Spotify, Rhapsody, etc. — and designs albums with a kind of “music SEO” in mind. “Think of the person that types ‘classical’ into the iTunes search box,” says Scott Ambrose Reilly, X5′s new U.S.-based CEO. “That’s the kind of person we’re trying to sell to.”

The idea is for an X5 album to show up at the top of every list when a user searches for “classical” or “classical music” in whatever service they’re using. Classical is a notoriously difficult genre for new listeners to broach. There is so much content, it’s hard to know where to start. X5′s success is as a kind of musical sherpa, ushering casual fans into the essentials and then selling them thematic compilations as their tastes evolve. It’s a pattern that is replicable across genres, says Reilly.

X5 has just branched into the States and is hoping Reilly, who formerly helped Amazon run its music distribution platform, can help the company grow into new markets like rock, hip hop, country and beyond.

X5 is not reinventing the wheel. Compilation records have existed for a long, time but few have realized the importance of optimizing those compilations for social search. Social search, the act of finding music and albums via social networks or app search bars, has become the main way that a lot of people get their tunes. Tapping into these methods is X5′s secret sauce: the ability to optimize for the modern music consumer.

Free music streaming services like Spotify seem like a natural obstacle to X5′s model, but even these services rely heavily on curated playlists and search for music discovery. It doesn’t hurt that Northzone Ventures, one of Spotify’s major funders, recently invested approximately $9.2 million in X5.

The model isn’t perfect, though. X5 constantly optimizes its albums to sell well even as they’re being made. “When the producers are creating albums, we’re constantly calculating the break-even point based on the time that went into it, the amount of tracks, the artwork, the publishing … ” Reilly says.

The danger is that these optimized albums will focus on sure-fire hits and ignore lesser known songs and artists in order to reach a certain sell point. Reilly insists, however, that the goal is always to use as much of their purchased catalogs as possible. Beethoven and Chopin may show up more than once across X5′s albums but users will also get songs from lesser-known composers and artists.

X5 is set to expand quickly with a model tailored to how people actually get their music. The emphasis on curation over signing artists gives the music group far more flexibility than traditional record labels while also allowing X5 to adapt to new platforms and radical shifts in the music industry. As long as X5 can sign a license, they can turn a profit.

When learning to appreciate art music

It is quite apparent that the widespread appreciation of classical music is waning in our society.It is often viewed as “stuffy music” or even worse: “that scary music for old people!” There are many reasons for why this has taken place.One is that musical education here in America has suffered of late from school budget cuts.This is surprising considering the considerable evidence that classical music can actually enhance your concentration, cognitive thinking abilities and I.Q.Many people are aware of the “Mozart Effect,” a scientific study used to prove that: “Hey! If you listen to a bunch of Mozart, you might become smarter!”While this study is often overstated, after all, the reality is that any type of music can stimulate brain activity. (Yes, even Lady Gaga.)It is interesting to note, however, that those who were raised listening to classical music often score higher on tests then those who did not.Just like learning language, learning to love classical music oftentimes is easier at a younger age, although anyone can learn to appreciate it at any age.

First, let’s start with some basics.Classical music was originally intended to refer to a category of music beginning around 1730 and ending about 1820.This term “classical music” is actually quite inaccurate as it eliminates several other musical periods with some notable composers. For example: the Baroque period, where Johann Sebastian Bach dominated.A more proper term encompassing all of the music we think of in this broad category is “art music” which is typically divided into six musical time periods: Medieval (500–1400), followed by Renaissance (1400–1600), Baroque (1600–1760), Classical (1730–1820), Romantic (1815–1910), and lastly, the Modern era (1900–2000).

When learning to appreciate art music, it is important to be able to identify what distinguishes one particular musical period from another.If you can listen to a random piece of music and instantaneously recognize its respective time period, then you are well on your way to becoming a connoisseur.One way of doing this is by becoming acquainted with the proper instrumentation used in each time period.For example, if you hear a harpsichord, chances are high that you are listening to something that came from the baroque period.As one gets more experienced, one may begin to recognize certain features in music from a specific time period.A good example might be the use of thicker orchestration characteristic of music from the romantic era.The final step is to be able to identify the composer who might be responsible for writing the work.

The next step is to learn some basic understanding of music form.All music has form.Pop music typically uses a verse-chorus form.Art music uses a variety of different forms ranging from Sonata form, to Rondo.Sonata form (which is sometimes called “sonata-allegro” form) consists of three sections: the exposition, the development and the recapitulation.Rondo form, on the other hand, is organized most commonly as: ABACABA.So when listening for form something like Rondo might become apparent by noticing the repetition of the “A section.”Often “pieces” of music are organized into larger “works.”Examples of these would be the concerto, the symphony or the baroque suite.Being able to understand these forms will give the listener a greater understanding of the composer’s work.

It can be overwhelming when there is so much music.With over 500 years of accumulated music to choose from, and even more if one chooses to delve into medieval music, where does one begin?A good choice to first get one’s feet wet, so to speak, is the baroque period.It is very accessible music and you may be surprised by how much of it you have actually heard over the years in movies and television shows.Antonio Vivaldi’s “The Four Seasons” is a good starting work to become familiar with.Any of the six Brandenburg Concertos by Johann Sebastian Bach would also be a good place to start.The romantic period is also very accessible.Much of the music is melodic and highly emotive.Any of the piano works by Frederic Chopin would be a good starting place for an art music “newbie.”Other great examples would be any of the late works by Beethoven (particularly his ninth symphony) as well as any of the piano works by Robert Schumann.

There are really two main composers to look for when entering the classical period — W.A. Mozart and Joseph Haydn. Mozart wrote a wealth of music but a good starting place might be his 40th symphony or his 21st piano concerto.The last period to tackle would certainly be the modern era, as it is often times a more controversial era.However, there is still a great deal of “accessible” music to the new listener.Works by Ravel, Stravinsky, and Prokofiev are all great for first time listeners.Always try to keep an open mind and be adventurous.

The key to learning to appreciate art music is repeated listening.Attending symphonies, operas, and ballets provide a variety of opportunities for exposing one’s self to the world of art music (as well as a great way of supporting the arts).Don’t be scared!If all else fails, just sit back and enjoy the music.

Many of us commenced throughout Brand-new The united kingdom

Journeying the globe can be rewarding, nevertheless no longer consequently when compared with excursions in the head. Normally the one My spouse and i moved in Sept 40 while using Chiara Quartet ended up being a new voyage in the play head par brilliance.

Many of us commenced throughout Brand-new The united kingdom, a new curmudgeonly position, using Charles Ives’s Quartet Variety 1. Small Charles spent my childhood years in religious organization tunes in the Protestant assortment, this also first operate called upon the root base throughout hymnody for you to underscore your toughness involving the forbears throughout religious organization, tunes, plus the unhealthy Brand-new The united kingdom winters.

Your flourishing, 22-year-old, Ivesian nature revealed themselves first. Written content for you to take it easy the viewers using to some degree classic harmonies inside 1st activity, they did start to enterprise up using deviations that will played out effectively in very last Feb 5th nighttime nevertheless have to have lifted a number of eyebrows if your operate played out for the religious organization class throughout 1896.


Your Chiara Quartet paid for ample homage on the operate by simply the treatment of the idea as being a adult arrangement. As you move the 1st violin will be the moderate chief of an quartet, My spouse and i thought a new oneness involving functionality while every single offered every bit as on the play textile. Exceptional throughout phrasing harmony along with manifestation, your Chiara rendition ended up being a new variation Ives would've liked.

A shorter respite along with I ran across me in a very parallel whole world, lifted completely to another a higher level mindset.

Though Rich Beaudoin’s Etude d’un prelude A — Subsequent Line Quartet (09) ended up being determined by Martha Argerich’s 1975 taking involving Chopin’s Prelude throughout Electronic minimal, the idea ranged while not even close your style as it can be. Your Chopin, suffering from “painstaking analysis” (good software observe), ended up being merely faintly understood. Along with below I've got to leave through the investigation granted, obviously, with the composer. Calibrating your “timing of each one audio celebration in how much your millisecond” is just not seen in greater detail inside tunes. In addition, your music artists and bands ended up almost certainly unfit to be this sort of instant prognosis. To the standard show goers, it can be merely involving clever awareness precisely what your composer does inside development involving the operate. Nevertheless perhaps to the skilled show goers suffering from tunes can be remarkably subjective, along with techie words really does minor for you to greatly improve your advantages.

The fact that was spectacular regarding the Beaudoin operate ended up being their penchant pertaining to building the otherworldly feelings. The 1st activity, brimming with reveal habits one of several quartet, retained us in a very point out involving concern during. In any moment, your problem “where accomplish many of us get via below? ” ended up being the best reply to your layering involving looks, along with no matter whether it turned out a new subject of an hundredth of an subsequent or possibly a millisecond felt to never subject. Tunes can be subjective; tunes can be participatory. Don’t litter our head using esoterica even though I’m entirely involved yourself sentimentally.

The subsequent about three moves ended up furthermore notable with the Chopin hovering inside qualifications, however merely by simply dint involving requiring a new call to mind in the initial prelude seen numerous periods ahead of. Every single activity needed more cues via outer solutions: a new Glenn Darkish artwork to the subsequent activity, a new altered image by simply Kertész to the 3 rd activity, and also a reorganization in the Chopin prelude, it's unlikely that any of which actually mattered. A final problem can be no matter whether 37 units associated with an spectacular functionality through the Chiara Quartet ended up being ample to hold mental performance along with heart involved yourself. To me, it turned out.

Your getaway via Globe A rear ended up being a new content resume comfortable terra firma using Brahms’s subsequent quartet in a very Minimal. Your nighttime shut down through an first operate involving Brahms while they ended up being even now mired in a very Bachian entire world involving canons, inverted canons, retrogrades, inverted retrogrades, increase canons, etc, a new prosperous foreshadowing in the Viennese institution involving Schoenberg, Webern, along with Berg, wherever strategy this way entirely filled his or her procedure for arrangement. Brahms certainly not saved via the established root base nevertheless does build a additional well-known Affectionate heart, certainly not by simply breaking composition nevertheless by simply layering an excellent groundwork what is the best to develop the additional subjective edifice.