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Friday, March 13, 2020

Sharks love jazz music but don’t get classical ...

(C) By ClassicFM London

Sharks love jazz music but don’t get classical
Sharks love jazz music but don’t get classical. Picture: Getty
By Sian Hamer
0
A study finds the ‘regular beat’ of jazz is alluring to the finned species... when there’s a tasty snack involved.
Scientists say sharks may have a musical preference, and it’s not for classical music.
study found that one species of the finned predator, the Port Jackson shark, enjoys the sound of jazz – when there’s food on offer.
Sharks, like most fish, rely on sound waves underwater to locate food and hiding spots, and to communicate with other creatures.
Researchers from the Macquarie University Fish Lab in Australia theorised that sharks might be able to recognise musical stimuli, when associated with an edible reward.
A Port Jackson shark
A Port Jackson shark. Picture: Getty
To test out the theory, researchers played jazz music at one end of a tank, and taught eight young sharks to swim towards a feeding station for a tasty reward.
It was quite the task for the creatures, who were unable to tell the difference between music genres when classical music was also introduced to the task.
“Right off, I would probably guess that the jazz music happened to have more of a regular beat that would be more what the sharks are used to being attracted to,” explained Phillip Lobel, a biology professor at Boston University.
Port Jackson sharks can recognise jazz music when food is involved
Port Jackson sharks can recognise jazz music when food is involved. Picture: Getty
Although the sharks struggled to determine the difference between the music genres, the study could still offer some insight into the learning abilities of the shark – several species of which are more intelligent than the average fish.
Experts are particularly keen to dispel the negative perception of sharks as “human-hunting death machines”.
“Gaining a better understanding of this will help grow positive public opinion of sharks and may shift public and political will towards their conservation,” Lobel said.

Thursday, February 27, 2020

Pianist Yuja Wang issues emotional reply ...

...after critics shame her for wearing glasses on stage

(C) by ClassicFM London
Pianist Yuja Wang shamed for wearing sunglasses on stage
Pianist Yuja Wang shamed for wearing sunglasses on stage. Picture: Getty
By Maddy Shaw Roberts, ClassicFM London
9K
“Humiliated” after being detained at the airport, Yuja Wang says she delivered the recital in sunglasses to hide her tears.
Chinese pianist Yuja Wang has issued an emotional response, after being criticised for wearing sunglasses during a recital in Canada.
After Friday’s concert, Wang was shamed by critics for her appearance, with one classical music blogger – Norman Lebrecht, who runs Slipped Disc – labelling her “attention-seeking”.
The piano virtuoso has defended herself in an emotional response, explaining that she had been detained and subjected to “intense questioning” for over an hour at Vancouver International Airport, causing her to almost miss her recital at the Chan Centre for the Performing Arts.
She adds, in an Instagram post, that although she found the experience “humiliating and deeply upsetting”, she was determined not to let her audience down so decided to wear sunglasses to cover her “visibly red and swollen” eyes.


On 23 February, Lebrecht published a blog post quoting audience member and conductor Tania Miller, who wrote on her own Facebook page:
“Your innocent audience, some donning masks to protect themselves from the potential Coronavirus, came to be in your presence for this sold-out concert, and to hear the music and extraordinary talent that you had to share. Instead they experienced the rejection of an artist withholding the permission to share in the feeling, transcendence and the shared emotion of the beauty, joy, and humanity of music.”
Miller has since apologized for her comments.

Friday, February 7, 2020

Vivaldi’s ‘infuriating’ Four Seasons

... dropped as hold music by Government hotline

Vivaldi 'Spring' is no longer DWP's hold music
Vivaldi 'Spring' is no longer DWP's hold music. Picture: Getty
By Maddy Shaw Roberts, ClassicFM London
893
Callers waiting to speak to the Department of Work and Pensions will no longer hear music from the Baroque masterpiece, after saying they couldn’t deal... ‘Viv-al-di’ repetition.
Vivaldi’s Four Seasons has been dropped by the Department of Work and Pensions as its on-hold music, after callers said the repetitive clip was making them feel anxious. Callers waiting to speak to an adviser about a benefits problem have heard a 30-second loop of ‘Spring’, the first concerto in the great Italian composer’s masterpiece, for nearly 15 years.
But with millions of callers on hold for up to an hour, many people were hearing the clip up to 120 times in a row. One user called the DWP’s choice of music a “cruel and unusual punishment”.
“We had some feedback that the Vivaldi clip caused anxiety for claimants and in particular had an impact on autistic callers,” a DWP spokesperson said.
The Department has said ‘Spring’ will be replaced by a ‘calming’ 20-minute mix of eight unnamed musical tracks that aims to reduce callers’ anxiety by creating “a steady and neutral pace and reducing the issue of repetition”.
“We tested it with claimants in job centres and they overwhelmingly preferred it,” a DWP spokesperson said. “It was seen as more calming and peaceful and light. One person said, ‘I loved The Four Seasons, it’s a lovely piece of music’, but most preferred the new music.”
The DWP has used ‘Spring’ as its on-hold music since 2006. They called it a ‘cost-effective solution’, explaining that while the music would usually be funded by taxpayer money, they were licensed to play the Vivaldi for free.
But while the average helpline on-hold time is eight minutes, waiting times can go up to an hour. The repetitive music appears to have caused unnecessary anxiety for those calling about an often stressful matter.
“Queue times can be long, longer than the whole symphony on occasion, and callers are required to listen to the same sample, interspersed with the same recorded message, for infuriating periods of time,” it said.
“The false jollity of the piece in question, combined with the repetition involved in the short sample length, is largely at odds with the motives of people ringing the line, usually because of a problem with receipt of benefits.”

Friday, January 31, 2020

Rachmaninov is the most innovative composer ...

... in 200 years, researchers reveal


Rachmaninov was more innovative than Beethoven, researchers say
Rachmaninov was more innovative than Beethoven, researchers say. Picture: Getty
By Maddy Shaw Roberts, ClassicFM London
3K
Beethoven might be considered one of the greatest composers of all time – but his music wasn’t as original as Rachmaninov’s, researchers claim.
Sergei Rachmaninov was the most innovative composer in classical music history, according to new research that puts the Russian giant just ahead of BachBrahms and Mendelssohn.
A study of more than 19 composers, published in the open access journal EPJ Data Science, showed that Rachmaninov’s music was the most unlike his predecessors’ across the BaroqueClassical and Romantic eras (c. 1700-1900),
His compositions were also judged the most original, compared to his earlier works.
Beethoven, whose music bridged the gap between the Classical and Romantic eras, was found to be the most influential composer in the later period. However, the study did not consider his music highly original compared to his previous works.
Similarly, Classical composers Haydn and Mozart were considered influential in their time, but their compositions did not evolve drastically over their lifetime. To carry out the research, a team from the Korea Advanced Institute of Science and Technology in South Korea studied 900 classical piano compositions written by 19 composers between 1700 and 1900 – widely considered the two defining centuries in classical music history.
They calculated each composition’s influence (how it differed to predecessors’ piano music) and novelty (how it differed from previous piano works by the same composer).
Composers from the Romantic era, such as Brahms and Mendelssohn, scored greater overall for ‘novelty’.
Beethoven was considered the most influential composer in the Romantic period
Beethoven was considered the most influential composer in the Romantic period. Picture: Getty
Juyong Park, the corresponding author, said: “Our model allows us to calculate the degree of shared melodies and harmonies between past and future works and to observe the evolution of western musical styles by demonstrating how prominent composers may have influenced each other.
“The period of music we studied is widely credited for having produced many musical styles that are still influential today.”
The authors cautioned the results might have been different if works other than piano compositions had been included in their analysis.

Beethoven’s ‘Ode to Joy’ is currently topping...

... the iTunes singles chart



André Rieu’s version of Beethoven’s ‘Ode to Joy’ is currently topping the iTunes singles chart
André Rieu’s version of Beethoven’s ‘Ode to Joy’ is currently topping the iTunes singles chart. Picture: Getty

By Rosie Pentreath, Classic FM London
Ahead of the UK leaving the European Union on Friday, Remain campaigners are buying and streaming Beethoven’s seminal work – while Leavers champion Dominic Frisby’s ‘17 Million F***-Offs’.
Classical music is making a rare appearance at the top of the iTunes UK singles chart in the form of Dutch violinist André Rieu’s version of Beethoven’s ‘Ode to Joy’.The final movement of Beethoven’s seminal Symphony No. 9, ‘Ode to Joy’ was originally written for symphony orchestra and chorus – a rarity in symphonies written in the Romantic period (and still now). The version currently moving around the top spaces of the iTunes chart features Rieu leading the Johann Strauss Orchestra.
Rieu’s singles chart entry has occurred as people on the Remain side of Brexit are buying and streaming ‘Ode to Joy’. A version of the piece is the organisational anthem of the European Union, and with it Remainers are sending a political message ahead of the UK leaving the EU this Friday (31 January).
People on the Leave side of Brexit are similarly buying and streaming ‘17 Million F***-Offs’ by Dominic Frisby to also send a political message ahead of Friday.
Classical music rarely makes it into the iTunes or other popular music charts, such as the UK Official Singles and Album charts.
Rare exceptions include the cellist Sheku Kanneh-Mason, whose ‘Elgar’ album made history earlier this month when it jumped into the UK Official Album Chart Top 10, landing at No. 8 – just behind Ed Sheeran, Harry Styles, Billie Eilish and Easy Life, and ahead of Post Malone.
Other songs currently hovering around the top spots of this week’s iTunes single chart include The Weeknd’s ‘Blinding Lights’, Lewis Capaldi’s ‘Before You Go’ and Tones and I’s ‘Dance Monkey.’

Thursday, January 9, 2020

'No Time To Die'

Hans Zimmer steps in at last minute to score Bond film ‘No Time To Die’


Hans Zimmer to score the latest Bond instalment No Time To Die
Hans Zimmer to score the latest Bond installment No Time To Die. Picture: Getty / YouTube / Eon Productions
By Sian Hamer, ClassicFM
705
The legendary film composer is taking over from Dan Romer as a last-minute replacement – just three months before the Bond movie is set to be released.
The score to the new Bond film No Time To Die will now be produced by Hans Zimmer.
Zimmer, who has been drafted in as a last-minute replacement, is taking the reins from composer Dan Romer who was originally set to score the film.
According to Varietythe Beasts of No Nation composer was dismissed over “creative differences” with the film’s production company, Eon Productions, last month.
We’re sure the score to the highly-anticipated action movie is in safe hands with Zimmer, whose track record in cinematic music includes the instantly recognisable sounds of the Pirates of the CaribbeanGladiator and The Da Vinci Code.
But taking on this job is no small task, especially considering Zimmer is already scoring three big movies this year – Wonder Woman 1984, Dune and Top Gun: Maverick.
Zimmer is an 11-time Oscar nominee, who won the Best Score award in 1994 for The Lion King.
Back in 2015 we spoke to Daniel Craig, ahead of the release of Spectre, about the importance of music throughout the Bond franchise – particularly when it comes to those iconic motifs.
“It’s so emotive that sound, and if you use it at the right point in the movie then everyone remembers, ‘Yes, we’re in a Bond movie.’”
We’re excited to see what Zimmer produces in this latest instalment – especially considering he’s got less than three months to do it.