Editorials

Country
Germany
AnnaAugust 22nd, 2017

The role of music in our life between harmony and chaos

„Uncertainty was yesterday, today is chaos”…Does the increasing complexity in life have an influence on the way the composers of today write music? When I am playing the music of contemporary composers, I ask myself – does this music express the feeling of modernity? When yes, what is it? Can it be captured in words?

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Germany
AnnaJuly 23rd, 2017

Inspiration: Myth or Reality

I was always fascinated about the mystery of inspiration. What is behind this phenomenon? Is there a trigger for inspiration?

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Germany
AnnaFebruary 17th, 2017

“Fantasy Notes” Interview with American composer Lori Laitman

Described by Fanfare Magazine as “one of the most talented and intriguing of living composers,” Lori Laitman has composed multiple operas and choral works, and over 250 songs, setting texts by classical and contemporary poets (including those who perished in the Holocaust). Her music is widely performed, internationally and throughout the United States, and has generated substantial critical acclaim. Read Lori Laitman’s interview with Moving Classics TV

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Germany
AnnaFebruary 4th, 2017

INITIATIVE: “Fantasy Notes” – Contemporary Piano at Moving Classics TV 2017/2018

Blog about our new project devoted to contemporary piano music

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Germany
AnnaJanuary 2nd, 2017

Should musicians play for free?

Thoughts about the dilemma of all musicians – to play or not to play…

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Italy
GianmariaNovember 26th, 2016

The Tempest – William Shakespeare and Robert Johnson

The Tempest saw a strict collaboration between Shakespeare and musician Robert Johnson which gave birth to something unique, getting very close to Opera

The Tempest
USA
RobertNovember 17th, 2016

What Makes Scary Classical Music Scary?

Robert Adams of MrAMusicPlace.net discusses how composers of symphonic music create works that sound frightening. To get the most out of this article, copy and paste the Youtube links into a separate browser window and play the examples as you read the related material.

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Germany
AnnaSeptember 15th, 2016

Moving Classics TV Interview with composer Margaret Brandman

Interview with Australian composer Margaret Brandman

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Germany
AnnaAugust 25th, 2016

Interview with British composer Patrick Hawes

Patrick Hawes is an English composer who has made his mark as a torchbearer of the English musical tradition. He is best known for writing the Highgrove Suite for HRH Prince Charles, the Prince of Wales, for being Composer-in-Residence at the UK’s largest biggest classical music station, Classic FM, and for the Number One album Angel. Patrick Hawes kindly consented to answer the questions for MOVING CLASSICS TV

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Germany
AnnaAugust 8th, 2016

Classical music as a sign of social distinction?

Blog about why classical music can be viewed as a sign of social distinction

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Germany
AnnaJuly 18th, 2016

Digitalization. Classical music 4.0 Part II.

Personal observations about classical music trends in digital age

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Germany
AnnaJuly 14th, 2016

Digitalization: Classical Music 4.0 Part I

Thoughts about digitalization: development in technology and how it affects the classical music

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USA
RobertApril 22nd, 2016

Speed and Tempo: Are They The Same In Music?

Robert Adams from http://mramusicplace.net explores the devices composers use to control the speed of their music.

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Italy
GianmariaMarch 21st, 2016

A mass of life

A Mass of Life is based upon Also sprach Zarathustra, discovered by Delius on a trip to Norway: is a purely humanistic liturgy.

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USA
RobertFebruary 5th, 2016

Can Creativity and Structure Go Together? Yes! Here’s How

Robert Adams of MrAMusicPlace.net discusses a common misunderstanding of creative thinking, aspects of creative thought and work, and how to go about teaching creative thinking in music.

Italy
GianmariaFebruary 4th, 2016

Henri Dutilleaux

2016 it’s the 100th birthday of Henri Dutilleaux. What I’ve always admired about this composer is the fact that he never abide to the conformism of the mainstream but always stayed true to himself, drawing inspiration from Van Gogh, Baudelaire and Anne Frank.

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Italy
GianmariaJanuary 25th, 2016

Siete canciones populares españolas

Siete canciones populares españolas, by Manuel de Falla, is one of the most popular cycles of folk-songs in music history. Originally written for piano and voice, there are transcriptions for voice and guitar, cello and piano and two versions for orchestra.

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Germany
AnnaJanuary 17th, 2016

Learning from History – is culture an option? Lessons from the Barock times.

Learning from History – is culture an option? Lessons from the Barock time. Essay after reading the article in DAMALS 9-2016 by Prof. Dr. Peter Hersche

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Italy
GianmariaJanuary 13th, 2016

From Pickwick to picnic

Pickwick was a great program from RAI TV. Last December the same RAI TV humiliated the RAI Orchestra in an unprecedented way.

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Germany
AnnaJanuary 10th, 2016

Learning creativity with Pablo Picasso

What can we learn from creative process of Pablo Picasso?

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USA
RobertJanuary 9th, 2016

Audiences Like Music That Is Emotional, and Has Strong Beat and Rhythm

In an era when many symphony orchestras are struggling financially and to attract new and younger audiences, Robert Adams of MrAMusicPlace.net analyzes a list of the top 25 classical works for it tells us about what audiences want.

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Italy
GianmariaDecember 21st, 2015

Djamileh or Bizet’s lost slave

Djamileh, Bizet’s first mature opera, came right before Carmen. Its music is rich, sensual and beautifully orchestrated, totally worth the listening.

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Italy
GianmariaDecember 9th, 2015

Ravaged Beauty

The conceptual opera “Audioguide III”, by German composer Johannes Kreidler, ends with the disruption of 66 violins. Does this serve the Kantian philosophical underground of the work?

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USA
RobertNovember 26th, 2015

What Is A Dramaturg and What Does It Have To Do With Music?

Beginning with a single word, Robert Adams of MrAMusicPlace.wordpress.com shares this discussion about the ways in which the arts are woven into our humanity and perception of reality.

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USA
RobertNovember 7th, 2015

Invisible Tonality

Though “invisible” is usually associated with things we see, aspects of music can also be invisible to our ears. Robert Adams explains how tonality can be invisible.

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USA
RobertOctober 13th, 2015

How Is Music Like Poetry?

Poetry can be enjoyed in a poetic context. Robert Adams discusses musical semantics and structure, explaining how they are similar to poetry.

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USA
RobertSeptember 21st, 2015

Conquering Stage Fright

Robert Adams discusses some causes of “stage fright” and offers some advice on how to minimize the nervousness that can sabotage a musical performance.

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USA
RobertSeptember 5th, 2015

Musical Contrasts: The Changes People Actually Like

While it is true that people often resist change, when it comes to Classical music, the opposite is true.

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UK
FrancesAugust 26th, 2015

Why young musicians need time to develop

In the furore following the final of the piano section of this year’s International Tchaikovsky Competition, some thoughts on why young artists need to be allowed to develop at their own pace.

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USA
RobertAugust 21st, 2015

A Narrative for “The Valley of Clocks”: Sharing A Musical Experience With Others

A narrative interpreting Ravel’s “La Vallee des cloches.” mramusicplace.wordpress.com

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USA
RobertAugust 20th, 2015

I Wonder Where It Started

A life of music loving recounted and found to be unattributable.

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Germany
EugenAugust 19th, 2015

VALUES, MUSIC AND HAPPINESS

Assumptions about values in today’s society and unexpected conclusions about the future of classical music.

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Italy
RobertoJune 15th, 2015

Predictive error detection in pianists: a combined ERP and motion capture study

Performing a piece of music involves cognitive and motor processes and requires extensive training to achieve a high skill level. However, even professional musicians commit errors occasionally….

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Italy
RobertoJune 8th, 2015

Connecting to Create: Expertise in Musical Improvisation Is Associated with Increased Functional Connectivity between Premotor and Prefrontal Areas

Musical training can have dramatic effects on the brain. Several studies investigated the neural effects of musical training, but there is no study on the specific consequences of training musical creativity (i.e., improvisation).

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USA
StephanApril 24th, 2015

MUSIC, MIND, AND BRAIN

Basics of specific music effects in the brain.

Germany
EugenApril 23rd, 2015

Revival of Munich Salon Culture

Why does the dream of Salon continue to live? Yesterday i had a pleasure of experiencing a music soiree in Steinway Hause, Munich. It was a kick off event for a whole series of “Musikalisch-Gesellschaftliche Soiree” – the revival of the salon culture.

Italy
RobertoApril 23rd, 2015

Navigating the auditory scene: an expert role for the hippocampus

The role of a core set of regions in the hippocampus and superior temporal cortex for skilled exploration of complex sound scenes in which precise sound “templates” are encoded and consolidated into memory over time in an experience-dependent manner.

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Italy
RobertoApril 20th, 2015

Keeping an eye on the conductor: neural correlates of visuo-motor synchronization and musical experience

Learning to play a musical instrument is a demanding process requiring years of intense practice. Dramatic changes in brain connectivity, volume, and functionality have been shown in skilled musicians. It is thought that music learning involves the formation of novel audio visuomotor associations, but not much is known about the gradual acquisition of this ability. In the present study, we investigated whether formal music training enhances audiovisual multisensory processing. To this end, pupils at different stages of education were examined based on the hypothesis that the strength of audio/visuomotor associations would be augmented as a function of the number of years of conservatory study (expertise). The study participants were violin and clarinet students of pre-academic and academic levels and of different chronological ages, ages of acquisition, and academic levels. A violinist and a clarinetist each played the same score, and each participant viewed the video corresponding to his or her instrument. Pitch, intensity, rhythm, and sound duration were matched across instruments. In half of the trials, the soundtrack did not match (in pitch) the corresponding musical gestures. Data analysis indicated a correlation between the number of years of formal training (expertise) and the ability to detect an audiomotor incongruence in music performance (relative to the musical instrument practiced), thus suggesting a direct correlation between knowing how to play and perceptual sensitivity.

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Italy
RobertoApril 20th, 2015

The effect of musical practice on gesture/sound pairing

Learning to play a musical instrument is a demanding process requiring years of intense practice. Dramatic changes in brain connectivity, volume, and functionality have been shown in skilled musicians. It is thought that music learning involves the formation of novel audio visuomotor associations, but not much is known about the gradual acquisition of this ability. In the present study, we investigated whether formal music training enhances audiovisual multisensory processing. To this end, pupils at different stages of education were examined based on the hypothesis that the strength of audio/visuomotor associations would be augmented as a function of the number of years of conservatory study (expertise). The study participants were violin and clarinet students of pre-academic and academic levels and of different chronological ages, ages of acquisition, and academic levels. A violinist and a clarinetist each played the same score, and each participant viewed the video corresponding to his or her instrument. Pitch, intensity, rhythm, and sound duration were matched across instruments. In half of the trials, the soundtrack did not match (in pitch) the corresponding musical gestures. Data analysis indicated a correlation between the number of years of formal training (expertise) and the ability to detect an audiomotor incongruence in music performance (relative to the musical instrument practiced), thus suggesting a direct correlation between knowing how to play and perceptual sensitivity.

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Italy
RobertoApril 16th, 2015

Linking prenatal experience to the emerging musical mind

The musical brain is built over time through experience with a multitude of sounds in the auditory environment. However, learning the melodies, timbres, and rhythms unique to the music and language of one’s culture begins already within the mother’s womb during the third trimester of human development. We review evidence that the intrauterine auditory environment plays a key role in shaping later auditory development and musical preferences. We describe evidence that externally and internally generated sounds influence the developing fetus, and argue that such prenatal auditory experience may set the trajectory for the development of the musical mind.

Italy
RobertoApril 14th, 2015

The brain of opera singers

Experience-dependent changes in functional activation

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Italy
RobertoApril 13th, 2015

The gray matter volume of the amygdala is correlated with the perception of melodic intervals

Music is not simply a series of organized pitches, rhythms, and timbres, it is capable of evoking emotions. In the present study, voxel-based morphometry (VBM) was employed to explore the neural basis that may link music to emotion.

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Italy
RobertoApril 10th, 2015

Classical Music, Brain and Emotions

Although brain imaging studies have demonstrated that listening to music alters human brain structure and function, the molecular mechanisms mediating those effects remain unknown. …

Roberto Gradini editorial about brain waves
Italy
RobertoMarch 20th, 2015

The neuro-pianist

Music performance involves not only hundreds of muscles, coordinated to produce the desired musical result, but also a variety of cognitive mechanisms, including complex emotional and analytic processes.

Italy
RobertoMarch 1st, 2015

Music and emotions: from enchantment to entrainment

Producing and perceiving music engage a wide range of sensorimotor, cognitive, and emotional processes. Emotions are a central feature of the enjoyment of music.

Germany
EugenFebruary 23rd, 2015

Temples for Minorities

The right allocation of money for classical music

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Spain
MichaelJanuary 10th, 2015

REFLECTIONS ON LIFE BEFORE CLASSICAL MUSIC

Of humble background I can’t imagine what introduced me to good music. Certainly there was little to be cheerful about in post-war Britain. In …

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Spain
MichaelDecember 25th, 2014

MUSICAL NOTES : EDITH PIAF (1915 – 1963)

“The Little Sparrow whose Singing Enchanted the World.”

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Spain
MichaelDecember 25th, 2014

MUSICAL NOTES: FRANZ LEHAR (1870 – 1948)

“You are my Heart’s Delight.”

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Spain
MichaelDecember 19th, 2014

MUSICAL NOTES: JOHN MCCORMACK TENOR

The Irish Tenor Whose Fame and Riches Rivalled that of Bocelli and Pavarotti

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Spain
MichaelDecember 19th, 2014

MUSICAL NOTES: AMALIA RODRIGUES

Music that evokes one’s soul.

Amalia
Spain
MichaelDecember 19th, 2014

MUSICAL NOTES: JOHN FIELD, PIANIST

Have you ever relaxed on your balcony or patio listening to the dreamiest piano music imaginable? Such an experience is to enjoy the world’s …

J Field
Spain
MichaelDecember 19th, 2014

MUSICAL NOTES: PABLO DE SARASATE

MUSICAL NOTES : PABLO DE SARASATE Most of us with an ear for precious Spanish melodies will be familiar with Pablo de Sarasate’s gypsy …

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