Theme from The Magnificent Seven | The Orchestra at Temple Square

The Orchestra at Temple Square performs "The Theme from Magnificent Seven" (Magnificent Seven) by Elmer Bernstein, during the 2015 Pioneer Day concert

Russia's Most Influential Composer...

A look at one of Russia's most influential composers - a teacher of Stravinsky, Prokofiev, and many others, and composer of such great works as Scheherazade, Antar, and Flight of the Bumblebee. 🎁 FREE Accelerate your ear training, sight reading, and musicianship skills with this free mini-course: https://www.insidethescore.com/fast-t... Your journey towards musical mastery begins here... 🛤️

Rhythm on the brain, and why we can’t stop dancing

by Peter Keller, Interlude

Music and dance are far from idle pastimes. They are universal forms of expression and deeply rewarding activities that fulfil diverse social functions. Both feature in all the world’s cultures and throughout history.

A common feature of music and dance is rhythmic movement, which is often timed with a regular pulse-like beat. But the human capacity for rhythm presents something of a puzzle.

Even though rhythmic coordination seems fundamental to human nature, people vary widely in ability. Some have the machine-like precision of Michael Jackson, others are closer to the case of “beat-deaf” Mathieu.

What are the underlying causes of these individual differences? By looking at the way the brain responds to rhythm, we can begin to understand why many of us can’t help but to move to a beat.

Power of rhythm

Rhythm is a powerful force. It can regulate mood, ranging from the arousing effect of pounding war drums to the pacifying effect of gently rocking a baby. It can even induce altered states of consciousness, as in spiritual rituals and shamanic traditions involving trance.

Rhythm and music can also be used for therapeutic purposes in the rehabilitation of conditions characterised by motor impairment, such as stroke and Parkinson’s disease.

Even more fundamentally, rhythmic skills displayed in the context of music and dance may have been essential to our evolution as a species.

In The Descent of Man (1871), Charles Darwin mused that:

it appears probable that the progenitors of man, either the males or females or both sexes, before acquiring the power of expressing their mutual love in articulate language, endeavoured to charm each other with musical notes and rhythm. 

Rhythmically coordinated body movements may function similarly to fuel sexual attraction by providing an “honest” signal (one that can’t be faked) of an individual’s health and fitness.

Outside the competitive arena of finding a mate, coordinating with others through music and dance facilitates social cohesion by promoting interpersonal bonding, trust, and cooperation.

These prosocial effects of music and dance may have contributed to the flourishing of human culture by preventing the disintegration of early societies into antisocial mobs.

Today, they remain potent enough to be relied on, even in maximum security prisons.

Entrainment

But if music and dancing are so universal, why are some people simply unable to hold a rhythm?

The key to answering this question lies in how the human brain locks onto rhythms in the external environment, and how this process of “neural entrainment” supports the coordination of body movements.

Neural entrainment occurs when regular sensory input, like music with a clear beat, triggers periodic bursts of synchronised brain activity. This periodic activity can continue independently of external rhythmic input due to interactions between already excited neurons. It is as if they expect the sensory input to continue.

Entrainment can thus enhance processing of incoming information by allocating neural resources to the right place at the right time. When performing or dancing to music, entrainment allows the timing of upcoming beats to be predicted.

A recent study on individual differences in rhythmic skill identified relationships between the strength of neural entrainment and the capacity to synchronise movements with musical rhythms.

We measured entrainment to the underlying beat in two types of rhythm using electroencephalography (EEG), a technique where electrical signals reflecting neural activity are recorded via electrodes placed on the head.

One rhythm had a regular beat marked by periodically occurring sound onsets. The other was a relatively complex and jazzier “syncopated” rhythm in which sound onsets were not present on all beats: some were marked by silence.

Results indicated that the strength of neural entrainment was related to people’s ability to move in synchrony with the beat. Individuals with strong neural responses were more accurate at tapping a finger in time with the beat of the two rhythms.

We also found individual differences in brain responses to the two rhythms. While some individuals showed a large difference between strength of entrainment for the regular rhythm versus the syncopated rhythm, others showed only a small difference.

In other words: some people required external physical stimulation to perceive the beat, whereas others were able to generate the beat internally. 

Remarkably, people who were good at internally generating beats also performed well on a synchronisation task that required them to predict tempo changes in musical sequences.

So the capacity for internal beat generation turns out to be a reliable marker of rhythmic skill. This adds new meaning to Miles Davis’ reported maxim that “in music, silence is more important than sound”.

But we still don’t know why individual differences in the strength of neural entrainment occur in the first place. They may reflect the efficiency of neural responses at early levels of auditory processing, such as brainstem responses. Or the degree of connectivity between higher-level auditory and motor cortical regions.

Another open question is whether rhythmic skills can be boosted by recent advances in neuroscience. Brain stimulation techniques that induce neural synchrony at specific frequencies provide a promising method for enhancing entrainment and thereby improving an individual’s capacity for rhythm.

Peter Keller
Professor of Cognitive Science, Western Sydney University

Valentina Lisitsa plays Liszt's Hungarian Rhapsody No. 2

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Valentina Lisitsa plays Liszt's Hungarian Rhapsody No. 2. Recorded live on May 22th, 2010 in Leiden, Holland by von Aichberger & Roenneke GmbH Michael von Aichberger Dominik Roenneke Florian Breuer Michael Hohnstock Thanks to Alexei Kuznetsoff and Cum Laude Concerten, Leiden Michiel van Westering

Pirates of the Caribbean (Auckland Symphony Orchestra) 1080p

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Klaus Badelt - Music from the Pirates of the Caribbean soundtrack, performed by the Auckland Symphony Orchestra, conducted by Gary Daverne. From the concert "Organ Symphony" recorded November 2012 at the Auckland Town Hall

Just For You (Concerto) - Ernesto Cortazar

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You brought all the good things I have in life... you brought love, happiness, dreams and the most important... inspiration. My love... all my music and my love it's "Just for You". Artist: Ernesto Cortazar Album: Concertos Vol. III Publisher: Piano Drops Music & Publishing

Aquarius (Let the Sunshine in)

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Song: Aquarius (Let the Sunshine in) By: The Fifth Dimension I do not own this song also can be heard from the musical "Hair" Lyrics: When the moon is in the Seventh House And Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars This is the dawning of the age of Aquarius Age of Aquarius Aquarius! Aquarius! Harmony and understanding Sympathy and trust abounding No more falsehoods or derisions Golden living dreams of visions Mystic crystal revelation And the mind's true liberation Aquarius! Aquarius! When the moon is in the Seventh House And Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars This is the dawning of the age of Aquarius Age of Aquarius Aquarius! Aquarius! Aquarius! Aquarius! [Instrumental and tempo shift] Let the sunshine, let the sunshine in, the sunshine in Let the sunshine, let the sunshine in, the sunshine in Let the sunshine, let the sunshine in, the sunshine in [Continue to end with concurrent scat] Oh, let it shine, c'mon Now everybody just sing along Let the sun shine in Open up your heart and let it shine on in When you are lonely, let it shine on Got to open up your heart and let it shine on in And when you feel like you've been mistreated And your friends turn away Just open your heart, and shine it on in

Antonín Dvořák - Serenade for strings in E major (1876)

Antonín Dvořák - Serenade for strings in E major (1876) - II. Tempo di valse The 1990 Philips recording of both Dvorak's String and Wind Serenades is an elegant venture for Academy of Saint Martin-in-the-Fields under Neville Marriner. Music: While the whole serenade is a unified stream of the utmost gentility, I've ultimately decided to post solely the second movement - a particularly handsome waltz - which constitutes, for me, the height of Dvorak's inspiration in the piece. The movement is remarkably simple in execution yet all the more striking in its freshness. From a dramatic point of view, it is a series of elegant dances, suggesting, in its juxtaposition of emotional unsteadiness and genuine ardor, a meeting between two lovers on the dance floor. The piece is built around the familiar ABA construct with a few surprising touches. The A section is divided into two contrasting segments. First, an elegant, vaguely agitated and even melancholic principal motive that is stated by the first violins and then repeated three times with light ornamentation (in particular, its second half is elaborated by the progressive addition of a new note, moving from duplet to quadruplet), while the remaining forces play the booming bass line, suggesting the dancers' feet clicking on the floor (0:08). The section is restated complete (0:28), overflowing into the second segment which opens with broad descending passages (0:48) before moving, after a playful violin rise (1:01), to a charming (though a hint frantic) polka, played by the second violins and the cellos (1:04) with the remaining instruments slowly adding their voices, gradually elaborating and augmenting the material. Just as earlier, the segment is repeated without changes (1:13). A series of bold violin runs lead into a repeat of the first two phrases of the principal waltz (1:36) which is then slowly deconstructed by the violins and cellos in the subsequent coda (1:50). Two fortissimo chords herald the beginning of the B section, an altogether more introverted experience, a trio for violins, playing extended lyric lines, violas and cellos, doubling and echoing the violins' ardent cantabile (2:05). The music slowly grows into an impassioned romanza, delicately contrasting the pizzicatos of the cellos and the high-flying line of the violins (2:25), an episode very much in the style of Tchaikovsky. Once again, the section is restated complete (2:47). This moment of pure serenity is set against a much more emotionally unhinged agitato, moving from ornamental lines passed between the various strings (3:29) to a surprising return to the thematic material of the A section in the quadruplets of the first violins over the long lines of violas/cellos (3:57), ultimately reaching a restatement of the main lyric theme of the B section (4:24). Finally, we return to the principal waltz for just one statement of each musical segment (5:05). Though perhaps one does wish for a certain variety in the recapitulations of the main themes, Dvorak's creation is one of the loveliest waltzes that I've had the pleasure of encountering for a while.

‘ISLANDS IN THE STREAM’ (DOLLY PARTON & KENNY ROGERS) Cover by The HSCC

‘ISLANDS IN THE STREAM’ (DOLLY PARTON & KENNY ROGERS) Performed by The Hindley Street Country Club featuring Nikki Heuskes & Danny Lopresto Produced by The HSCC Arranged by Constantine Delo Recorded Live by Monty Ruggiero at House Of Bamboo Recording Studio, Adelaide, South Australia Mixed by Dave Ross Filmed & Edited by Dan Donato www.thehscc.com Lead Vocals: Nikki Heuskes & Danny Lopresto Drums: Brad Polain Percussion: Steve Todd Keyboards: Dave Ross Guitar & Vocals: Dusty Stephensen Sax: Jacky ‘Boy’ Degenhart Bass: Constantine Delo Connect with the HSCC https://linktr.ee/HSCC Facebook: https://www.facebook.com/hindleyscc Instagram: https://www.instagram.com/hscc_band Twitter: https://twitter.com/hindleysccmusic Subscribe to our artist's channels! Nikki Heuskes (Vocals)    / @nikkikosmiderheu...   Danny Lopresto (Vocals)    / @dannylopresto9438   Constantine Delo uses LANEY Amplification & Speakers and Jim Dunlop Strings USA Song written by Barry, Robin & Maurice Gibb

The greatest 30 seconds of Classical Music

A visual (and aural) feast: Mozart's delightful fugue at the coda of his final symphony 41, "The Jupiter"... ...the greatest 30 seconds of classical music?? Help reading a score:    • How - and why - t...   Help with fugues:    • The Fugue, explai...   Timestamps 00:00 Intro 01:00 Theme 1 01:45 Theme 2 02:25 Theme 3 03:04 Theme 4 03:31 Theme 5 04:22 Whole lot!

Ain't No Mountain High Enough - feat. Vula & Brendan Reilly & Soul Family

Performed by Vula, Brendan Reilly & Soul Family: Vula Malinga, Sharlene Hector, Brendan Reilly & Natalie Williams on vocals Phil Peskett keys, Robin Mullarkey bass, Ben Jones guitar, Martyn Kaine drums, Karlos Edwards & Ladonna Harley-Peters percussion ATLANTIC HORNS: Mark Brown sax, Ben Edwards trumpet, Mike Kearsey trombone Video Production: Andy Richardson, Tim Gardner - One Stop Shots Audio Engineer: Mike Horner Mixing: Robin Mullarkey Filmed at http://www.rakstudios.co.uk With thanks to Nathalie Hayes & Trisha Wegg

Yuja Wang playing differently to a conductor’s liking

63,026 views May 21, 2023

Hélène Grimaud had a bit of a clash with Claudio Abbado over which cadenza to use when she played a Mozart concerto with him. In a subsequent London performance H.G was replaced by Mitsuko Uchida. Guess they didn't use mediator, and we have a nice ending! Thus send in the news team

Why Listen to Haydn? His Life and Music

He composed 104 symphonies, as well as an oratorio which chronicles the creation of the entire world! This is the life and works of Franz Joseph Haydn, including his early, middle, and late symphonies as well as a dive into his Creation Oratorio. 🎁 FREE Accelerate your ear training, sight reading, and musicianship skills with this free mini-course: https://www.insidethescore.com/fast-t... Your journey towards musical mastery begins here... 🛤️ 🎻 Where to Start with Classical Music? - https://www.insidethescore.com/14-pieces 🎼 The Training Ground for Next-Level Musicianship - https://www.insidethescore.com/musica... 🎹 Learn the Art and Craft of Composing, and Develop Your Unique Musical Voice - https://www.insidethescore.com/composer 💖 Support this Channel - https://www.patreon.com/insidethescore 💬 Join the Discord - https://discord.gg/HSZYJXD5Cj Script by Ricardo Santos Narrated by Oscar Osicki

MOZART KLAVIERKONZERT A-DUR KV 414 I.ALLEGRO /Elisey Mysin

Elisey Mysin

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6,061 views Premiered 14 hours ago #eliseymysin #mozart #mozartpiano

Mozart Klavierkonzert A-dur KV414 I.Allegro / Elisey Mysin 👍Subscribe to the channel: https://www.youtube.com/eliseymysin?s... 📷Instagram: https://www.instagram.com/eliseymysin/ ___________________________________ Elisey Mysin International Robert Schumann Competition Düsseldorf Deutschland 2023 Final Piano Concerto No.12 (Mozart) 🎹 Student of the Central Music School at the Moscow State Tchaikovsky Conservatory 🎹 Teacher: Honored Artist of Russia, Professor of the Moscow State Conservatory. P.I. Tchaikovsky N.V. Trull. Teacher of the Central Music School at the Moscow State Conservatory. P.I. Tchaikovsky D.S. Tsvetkov