Technology in and for the Instrumental Music Classroom
Posted by cleansearching in Musics on January 12, 2010 | no responses
Thomas E. Crawford asked:
Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.
The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)
Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)
In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included – but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,
The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)
In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)
Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.
Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)
While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.
There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.
Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.
With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.
Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)
SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)
For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.
As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.
Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)
But what of those students not fortunate enough to have a computer at home – let alone internet access?
Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?
David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:
We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)
A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.
There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.
Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.
References
Bahr, N. & Christensen C.A. (2000). Inter-Domain Transfer Between Mathematical Skill and Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 – 197). US: Gordon & Breach Science Publishers
Banks, Margaret Downie (1997). A Brief History of the Conn Company (1874-present). The National Music Museum.
Davis, Michelle R. (2006, April). Study: NCLB Leads to Cuts for Some Subjects. Education Week.
Estrella, Steven (2005). Survey of Music Educators and Music Technology. Shearspire.
Gardner, Howard (1999). Intelligence Reframed, Multiple Intelligences for the Twenty First Century. Basic Books/Perseus Books Group: New York
Gardner, Howard (2006). Multiple Intelligences – New Horizons. Basic Books/Perseus Books Group: New York
Gargarian, Gregory (1996). The Art of Design. In Kafai, Y., & Resnick, M. (Eds.). Constructionism in practice: designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates
Nagel, Dave (2007, August). Tucson USD Gives SmartMusic Subscriptions to Students, THE Journal.
Rhodes, Stephen L. (2007). A History of the Wind Band – The American School Band Movement. Lipscomb University.
Rudolph, Tom (2006, February). The Wide World of SmartMusic. Music Education Technology.
Schlaug, Gottfried; Lutz, Jäncke; Huang, Yanxiong; Staiger, Jochen F., Steinmetz, Helmuth, (1995). Increased Corpus Callosum Size in Musicians. Neuropsychologia, Vol. 33, No. 8, pp. 1047-1055.
Thomas, David (2003). Internet Access Soars in Schools, But “Digital Divide” Still Exists at Home for Minority and Poor Students. U. S. Department of Education.
Traber, Chris (2007, September). Poor Students Struggle In Class. YorkRegion.com News.
Whaley, Roger (2008, September 10). SmartMusic 11! – MakeMusic has released SmartMusic 11!. The Band Ed Tool Shed (Weblog).
Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.
The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)
Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)
In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included – but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,
The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)
In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)
Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.
Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)
While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.
There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.
Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.
With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.
Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)
SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)
For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.
As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.
Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)
But what of those students not fortunate enough to have a computer at home – let alone internet access?
Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?
David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:
We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)
A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.
There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.
Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.
References
Bahr, N. & Christensen C.A. (2000). Inter-Domain Transfer Between Mathematical Skill and Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 – 197). US: Gordon & Breach Science Publishers
Banks, Margaret Downie (1997). A Brief History of the Conn Company (1874-present). The National Music Museum.
Davis, Michelle R. (2006, April). Study: NCLB Leads to Cuts for Some Subjects. Education Week.
Estrella, Steven (2005). Survey of Music Educators and Music Technology. Shearspire.
Gardner, Howard (1999). Intelligence Reframed, Multiple Intelligences for the Twenty First Century. Basic Books/Perseus Books Group: New York
Gardner, Howard (2006). Multiple Intelligences – New Horizons. Basic Books/Perseus Books Group: New York
Gargarian, Gregory (1996). The Art of Design. In Kafai, Y., & Resnick, M. (Eds.). Constructionism in practice: designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates
Nagel, Dave (2007, August). Tucson USD Gives SmartMusic Subscriptions to Students, THE Journal.
Rhodes, Stephen L. (2007). A History of the Wind Band – The American School Band Movement. Lipscomb University.
Rudolph, Tom (2006, February). The Wide World of SmartMusic. Music Education Technology.
Schlaug, Gottfried; Lutz, Jäncke; Huang, Yanxiong; Staiger, Jochen F., Steinmetz, Helmuth, (1995). Increased Corpus Callosum Size in Musicians. Neuropsychologia, Vol. 33, No. 8, pp. 1047-1055.
Thomas, David (2003). Internet Access Soars in Schools, But “Digital Divide” Still Exists at Home for Minority and Poor Students. U. S. Department of Education.
Traber, Chris (2007, September). Poor Students Struggle In Class. YorkRegion.com News.
Whaley, Roger (2008, September 10). SmartMusic 11! – MakeMusic has released SmartMusic 11!. The Band Ed Tool Shed (Weblog).
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Ipod Music Downloads – Music Downloading for Ipods Review
Posted by cleansearching in Musics on January 11, 2010 | no responses
Paul Schmitt asked:
If you have been searching for ipod music downloads and ways to get them there are many choices. With Ipod music downloads, there are more ways you can enjoy your ipod. You can listen to songs, watch movies, download pictures, play pod casts, and much more. Downloading music can bring hours of enjoyment and fun while traveling, relaxing or even while waiting for an appointment at the doctors office.
Some sites charge up to two dollars or more per ipod music download. This can get quite expensive. I recommend you find a site that offers a one-time membership fee. These sites usually have unlimited downloads for life with a premium membership. This is almost like getting free ipod music. There are many sites out there to choose from. I have placed a banner and a link at the top of my site for the top rated site for ipod music downloads. Or, Click here
Most ipods come with a 2.5-inch screen for you to view. This works great using a small head set for sound. It is not bulky and you can watch your movie or music video from just about anywhere. Most sites will even offer your favorite TV programs from the major networks.
One of the coolest things that the ipod videos downloads can bring you is the option to download music videos. Now you can listen to your favorite music and watch the music video at the same time. The site at the top of my site offers over 100 million ipod movies, music videos, as well as music downloads. This gives you a lot to choose from.
The ipod site most recommended, is one were you can do all of your downloading for music, music videos, and ipod movie downloads. Click here Their database has over 100 million movies songs and music videos to download and choose from. You can store the downloads on your pc and save them. Then I would recommend you upload different selections to your ipod as needed. Give yourself a change of pace from time to time.
Once your ipod music, movies, and music videos are downloaded to your pc, you can make DVD’s and CD’s or watch them from your computer or TV. You’ll need software and hardware to do this. In order to create your DVD, you’ll need to have a DVD burner on your pc. To watch either videos or play music you can choose from many different players on your pc. I recommend either windows media player or real player. They both work quite well.
This will give you the advantage to preview the ipod music and movies before you download them to your ipod. With over 100 million videos and songs to choose from you can have them with you now on your laptop and ipod. The ipod is an easy way to quickly watch and listen without all of the bulk of a laptop. If you haven’t found a quality site, I highly recommend the unlimited ipod movie downloads site link at the top of my website. Or, Click here
You can enjoy your ipod music downloads and get the most out them! I will be writing more reviews as new products and features come out in the future. Book mark my site and come back to see what is new.
Please visit some of my sites Ipod Music and Ipod Music Downloads
If you have been searching for ipod music downloads and ways to get them there are many choices. With Ipod music downloads, there are more ways you can enjoy your ipod. You can listen to songs, watch movies, download pictures, play pod casts, and much more. Downloading music can bring hours of enjoyment and fun while traveling, relaxing or even while waiting for an appointment at the doctors office.
Some sites charge up to two dollars or more per ipod music download. This can get quite expensive. I recommend you find a site that offers a one-time membership fee. These sites usually have unlimited downloads for life with a premium membership. This is almost like getting free ipod music. There are many sites out there to choose from. I have placed a banner and a link at the top of my site for the top rated site for ipod music downloads. Or, Click here
Most ipods come with a 2.5-inch screen for you to view. This works great using a small head set for sound. It is not bulky and you can watch your movie or music video from just about anywhere. Most sites will even offer your favorite TV programs from the major networks.
One of the coolest things that the ipod videos downloads can bring you is the option to download music videos. Now you can listen to your favorite music and watch the music video at the same time. The site at the top of my site offers over 100 million ipod movies, music videos, as well as music downloads. This gives you a lot to choose from.
The ipod site most recommended, is one were you can do all of your downloading for music, music videos, and ipod movie downloads. Click here Their database has over 100 million movies songs and music videos to download and choose from. You can store the downloads on your pc and save them. Then I would recommend you upload different selections to your ipod as needed. Give yourself a change of pace from time to time.
Once your ipod music, movies, and music videos are downloaded to your pc, you can make DVD’s and CD’s or watch them from your computer or TV. You’ll need software and hardware to do this. In order to create your DVD, you’ll need to have a DVD burner on your pc. To watch either videos or play music you can choose from many different players on your pc. I recommend either windows media player or real player. They both work quite well.
This will give you the advantage to preview the ipod music and movies before you download them to your ipod. With over 100 million videos and songs to choose from you can have them with you now on your laptop and ipod. The ipod is an easy way to quickly watch and listen without all of the bulk of a laptop. If you haven’t found a quality site, I highly recommend the unlimited ipod movie downloads site link at the top of my website. Or, Click here
You can enjoy your ipod music downloads and get the most out them! I will be writing more reviews as new products and features come out in the future. Book mark my site and come back to see what is new.
Please visit some of my sites Ipod Music and Ipod Music Downloads
Tags: Safe child tool, Clean Searching.com, Movies, no sex, download music, no porn, Comedy, cartoon, Movies review, Safe family tool
The Real World of Digital Music Production
Posted by cleansearching in Musics on January 10, 2010 | no responses
Michael A. Guy asked:
The “diarrhea” of “an awful lot of” contemporary “pop, rap & rock” music (but not all!)
Do you know what happens when you live on a diet of processed entrees and fast food? When never a fresh fruit or vegetable passes your lips and your fiber count is measured in “mgs” instead of grams? You guessed it: that horrible “D” word. Also known in medical circles as IBS (irritable bowel syndrome) –
So what’s up with the computer spew of 75% of many contemporary popular artists? They, say the song is dead; well who killed it? Was it the independent label music movement? Certainly NOT! Was it rap, punk, or grunge or whatever? I’d say, could be. Was it Madonna who first put the ***** in “The Wall” of song composing and instrument playing that earlier generations so carefully began brick by brick? I don’t know — for you, but for me, it’s been a downhill ride since 1984.
I was one, well, that was at “the roots of rock” sort of speak (thanks to an older sister who took me to the Fillmore East in New York City at age 14) – I was naïve enough to ask about that “funny smelling smoke” and those funny looking cigarettes; I later thanked her, for I saw “Santana” live there when their second album (Black Magic Woman) hadn’t even hit the shelves.
I saw PINK FLOYD at that venue a year later when they were still called: The Pink Floyd and they had an opening act play before they came out (i.e. later when fame hit: Pink Floyd ALWAYS played alone because of their massive WALL of speakers and equipment.)
I saw bands in New York City that are now relics: Procol Harum, Jethro Tull’s first incarnation, YES, Bob Dylan WITH “The Band”!! – even Black Sabbath after their 1st LP; and, “Mott the Hoople” touring their FIRST LP. (Remember them? –an LP is an old vinyl record that was played on a turntable. YOU didn’t “use the turntable to scratch! – And they made crackling and popping sounds. LONG LIVE THE CD! And the mp3 too) But, I digress…
So where is this blog heading?
Today you can record and cut a CD in your bedroom. Then, (IF you have enough friends and a gig someplace – or JUST USE U-Tube) you can SELL CDs to YOUR FANS, if you can GET ENOUGH, you’ll even make money; MAYBE! It can all be done on your HOME Computer. And why, because YOU are a musician? “Frankly NOT my dear” as Gable used to say. (Gable who? say the younger readers?) It’s all virtual marketing after that…
In case you’re still naïve as to how IT is done – that so many of today’s artists may not need to know almost anything about music, let alone, spend years playing an instrument or singing – and yet get on the “Virtual Airwaves” and even end up on the Today show spot, along with the “singing babies” that periodically appear on the internet sites and on “You-Tube”. Well it doesn’t even take “RC’s” [read Record Companies] Perhaps just a shrewd “Boomer or GenX” Mom/Dad Manager)… Yep, it’s “Performance Now” and there’s very little music to worry those Artists about. The RC’s can still get their cut and have absolutely NO REASON to complain!!! – About the “Indie and Virtual Music artists” wrecking their profit.
THEY helped “build the beast” they fear everyday (and I hope it does eat their Creator like a type of “Cannibal Baby” gone wild).
And “they” profit everyday by the existence of a youth-culture fueled “Music” industry who’s “Heart & Soul” is made up of the “clinking, clacking, metallic empty banging” of a musical palette of sounds that is “as Soul-LESS” as the heart of the “King Beast” himself (you know that Devil “Sam” who is lurking behind everybody’s dream of a “musical-career “Garden of Eden”) –
As for those “Singing Babies” and “Parading Sex-Toy Imagery of “Twelve-year+ something” girly-woman – parading across the video screens of Virtual and TV America (every so often) THEY, and those nice Boomer+ parents, are just hoping a couple will spell “C.A.S.H.” BIG TIME! – This is of course, once their product “Goes Viral…”
And so many of u“You-tubers,” (particularly) the older viewers will be “fooled-again” – having, (in anemic mental-lapses) forgotten the “Anthem of YOUR Youth: “We Won’t Be Fooled Again” (Who?); and, all those “smashing guitars” instead of “Smashing ‘those damn’ Pumpkins” (now Geriatric!)…
All BECAUSE “U” don’t have the “dog-damn” SOFTWARE that I just have to throw in the garbage! (I made a resolve NOT to swear lately, I don’t want to break my will just yet) – nothing against “dog’s really! – Though I am sort-of “one of those cat-guys”…Please don’t message my email, I LOVE animals with four-legs and some with two. (It’s spiders and insects with multiple legs that have been giving me the creeps lately, but then I live in a “real FOREST”…
It came in MARCH: The last “music equipment purchase I knew I was going to be able to make for quite sometime unless, – MY CD goes “Viral” – (highly unlikely as I don’t own a Video camera or even a digital camera) It will be tough to get on YOU-Tube or even MySpace Music with my “old-fashioned music-making way” (and so MUCH profitless Work – not to mention that! – Unpaid labor, hardly worth it) – but that’s aside the point:
In March (as I said), I bought a $100 desktop “plastic” 2-octave Midi Controller” keyboard with my last savings, (2 octaves means that it only has 25 black & white piano-looking keys) and along with that came (from this decptive “kraut” company) the: “Virtual Music Starter Desktop Composing Package” (a VMSDCP (!)) complete with 50 of the “Latest” Digital Virtual Sounds and Samples (your DVSS’s!) that I thought my music was lacking(?!) – Or perhaps, I had a series of “faithless” self-doubts and collapse of my initial musical resolve formed so long ago in those many long hours and days behind “My Old Black & White”…But again, I digress:
So although the keyboard will be minimally useful at my computer desktop for editing and notation work, those wonderfully and cleverly named (and they really are!) modern sound samples have yet to be able to even be tested out with this “rat-like” maze of a software package! “They” (the ***** Company) sent me for my $100 apparently a bunch of “demo-software” that ‘They” never even paid for – unfortunately you can’t do much with it! – If only after loading the .dll files I could hear the damn things on a reliable basis. But yes, I do like the names: i.e. Delay Lama, B-Assault, AManalogWar, etc – endlessly creative really!
So when I finally got a few to sound after much frustration the musical use was questionable, (for me I mean); unless you are purposely avoiding any musical references. But most of all, there was this “ambience of artificiality about them all” – This is the “so called musical world” we are abandoning our youth to, (I philosophically reflected, as I endlessly clicked and re-clicked the samples with my mouse trying to get them to sound). “This is a world where a real guitar or piano is mostly a “prop” –
Somehow every sound seemed to me the equivalent of “those frozen-processed entrees” Once in a while, a nice touch to a busy life and schedule; eat them regularly and “disease” is sure to get deeply-rooted with time.
OK so I’m not too fond of today’s musical sound palette, but it’s not just that:
The “composing software and the music software” that is the foundation of so much of the rock and pop that even comes out of the big studios today is not something that “miffs me” (believe me, I AM NOT that “old fashioned” I just like old 40’s movies). I understand it only too well; way back in the 1980’s when many of today’s young artists where still their “daddy’s sperm” beginning that long swim up their “mother’s canal”, I spent untold hours hunched over then “modern synthesizers” creating such effects and sounds; BUT by myself, with only the good old tech manual and use of dials, filters, oscillators… and so forth.
Today’s gig>>> You no longer compose music (especially from “your musical soul”) you download and merge the “pre-found” clips and beats included in the package. A “Soulless” and “Joyless” process in my opinion BUT not necessarily an instant, easy one. The “Result”? Everything you create has this “virtual stamp” on it and sounds like every other “voice in the box.” True, you shape it but hardly worth the learning curve to me.
As (the) PINK FLOYD predicted way back in ‘74 with their song: “Welcome to the Machine” ) from the album: “Wish You Were Here” the machine is now as a voice and its soul is in the “box” even if you try to musically think “outside the box”…And believe me: I loved MY PINK FLOYD… and English bands in particular. Their foresight is now come to pass (meaning: it is now true in reality what was fantasy in their lyrics)…“Welcome to the Digital Soul”>>>
So from the “soul-less” world of contemporary modern desktop composing, I now fondly bid you adieu… I and “my lonely soul” like a musical Henry Thoreau at some far-away “Walden Pond” on a frontier far from the “modern world” return to my “Digital Piano” that at least has 88 “real-action” keys and perhaps later tonight to “My Old Black & White” (still resting peacefully in my kitchen foyer). I played the theme to my song: My Old Black & White on it the other day, she sounded pretty good considering “she” hasn’t been tuned since my then 86-year-old piano tuner died (I think in 2002).
My old black and white, Greets me with silence, every night.
And whenever I walk through that door;
She’s been my friend now since ‘74
She’s still my old black & white
And though her keys no longer shine so bright,
She’s kept me company (through) many a lonely night.
She’s still my old black & white
I posed for the above picture the day of a concert I played for over 35 people in a log cabin, called “The Music Shed” in Cummington, Mass., A nice open-air mountain town of New England.
I was 30 then and I remember it as passing as briefly as a “summer day” in New England. The last year my body would be unmarred by “the needles of dialysis” and the ensuing struggle of the next twenty years of poverty and struggle to keep myself faithful to my chosen goal and commitment: to learn to play a REAL PIANO. I thought it was just the beginning of long and fruitful career doing this; but I hadn’t seen my latest blood reports….
It was a glorious June Day in the New England mountains and I played a grand piano, very well indeed…
My bio is where you can read more about my music and find links to listen and purchase my CDs: August Ocean Overture, and In Memory Only
The “diarrhea” of “an awful lot of” contemporary “pop, rap & rock” music (but not all!)
Do you know what happens when you live on a diet of processed entrees and fast food? When never a fresh fruit or vegetable passes your lips and your fiber count is measured in “mgs” instead of grams? You guessed it: that horrible “D” word. Also known in medical circles as IBS (irritable bowel syndrome) –
So what’s up with the computer spew of 75% of many contemporary popular artists? They, say the song is dead; well who killed it? Was it the independent label music movement? Certainly NOT! Was it rap, punk, or grunge or whatever? I’d say, could be. Was it Madonna who first put the ***** in “The Wall” of song composing and instrument playing that earlier generations so carefully began brick by brick? I don’t know — for you, but for me, it’s been a downhill ride since 1984.
I was one, well, that was at “the roots of rock” sort of speak (thanks to an older sister who took me to the Fillmore East in New York City at age 14) – I was naïve enough to ask about that “funny smelling smoke” and those funny looking cigarettes; I later thanked her, for I saw “Santana” live there when their second album (Black Magic Woman) hadn’t even hit the shelves.
I saw PINK FLOYD at that venue a year later when they were still called: The Pink Floyd and they had an opening act play before they came out (i.e. later when fame hit: Pink Floyd ALWAYS played alone because of their massive WALL of speakers and equipment.)
I saw bands in New York City that are now relics: Procol Harum, Jethro Tull’s first incarnation, YES, Bob Dylan WITH “The Band”!! – even Black Sabbath after their 1st LP; and, “Mott the Hoople” touring their FIRST LP. (Remember them? –an LP is an old vinyl record that was played on a turntable. YOU didn’t “use the turntable to scratch! – And they made crackling and popping sounds. LONG LIVE THE CD! And the mp3 too) But, I digress…
So where is this blog heading?
Today you can record and cut a CD in your bedroom. Then, (IF you have enough friends and a gig someplace – or JUST USE U-Tube) you can SELL CDs to YOUR FANS, if you can GET ENOUGH, you’ll even make money; MAYBE! It can all be done on your HOME Computer. And why, because YOU are a musician? “Frankly NOT my dear” as Gable used to say. (Gable who? say the younger readers?) It’s all virtual marketing after that…
In case you’re still naïve as to how IT is done – that so many of today’s artists may not need to know almost anything about music, let alone, spend years playing an instrument or singing – and yet get on the “Virtual Airwaves” and even end up on the Today show spot, along with the “singing babies” that periodically appear on the internet sites and on “You-Tube”. Well it doesn’t even take “RC’s” [read Record Companies] Perhaps just a shrewd “Boomer or GenX” Mom/Dad Manager)… Yep, it’s “Performance Now” and there’s very little music to worry those Artists about. The RC’s can still get their cut and have absolutely NO REASON to complain!!! – About the “Indie and Virtual Music artists” wrecking their profit.
THEY helped “build the beast” they fear everyday (and I hope it does eat their Creator like a type of “Cannibal Baby” gone wild).
And “they” profit everyday by the existence of a youth-culture fueled “Music” industry who’s “Heart & Soul” is made up of the “clinking, clacking, metallic empty banging” of a musical palette of sounds that is “as Soul-LESS” as the heart of the “King Beast” himself (you know that Devil “Sam” who is lurking behind everybody’s dream of a “musical-career “Garden of Eden”) –
As for those “Singing Babies” and “Parading Sex-Toy Imagery of “Twelve-year+ something” girly-woman – parading across the video screens of Virtual and TV America (every so often) THEY, and those nice Boomer+ parents, are just hoping a couple will spell “C.A.S.H.” BIG TIME! – This is of course, once their product “Goes Viral…”
And so many of u“You-tubers,” (particularly) the older viewers will be “fooled-again” – having, (in anemic mental-lapses) forgotten the “Anthem of YOUR Youth: “We Won’t Be Fooled Again” (Who?); and, all those “smashing guitars” instead of “Smashing ‘those damn’ Pumpkins” (now Geriatric!)…
All BECAUSE “U” don’t have the “dog-damn” SOFTWARE that I just have to throw in the garbage! (I made a resolve NOT to swear lately, I don’t want to break my will just yet) – nothing against “dog’s really! – Though I am sort-of “one of those cat-guys”…Please don’t message my email, I LOVE animals with four-legs and some with two. (It’s spiders and insects with multiple legs that have been giving me the creeps lately, but then I live in a “real FOREST”…
It came in MARCH: The last “music equipment purchase I knew I was going to be able to make for quite sometime unless, – MY CD goes “Viral” – (highly unlikely as I don’t own a Video camera or even a digital camera) It will be tough to get on YOU-Tube or even MySpace Music with my “old-fashioned music-making way” (and so MUCH profitless Work – not to mention that! – Unpaid labor, hardly worth it) – but that’s aside the point:
In March (as I said), I bought a $100 desktop “plastic” 2-octave Midi Controller” keyboard with my last savings, (2 octaves means that it only has 25 black & white piano-looking keys) and along with that came (from this decptive “kraut” company) the: “Virtual Music Starter Desktop Composing Package” (a VMSDCP (!)) complete with 50 of the “Latest” Digital Virtual Sounds and Samples (your DVSS’s!) that I thought my music was lacking(?!) – Or perhaps, I had a series of “faithless” self-doubts and collapse of my initial musical resolve formed so long ago in those many long hours and days behind “My Old Black & White”…But again, I digress:
So although the keyboard will be minimally useful at my computer desktop for editing and notation work, those wonderfully and cleverly named (and they really are!) modern sound samples have yet to be able to even be tested out with this “rat-like” maze of a software package! “They” (the ***** Company) sent me for my $100 apparently a bunch of “demo-software” that ‘They” never even paid for – unfortunately you can’t do much with it! – If only after loading the .dll files I could hear the damn things on a reliable basis. But yes, I do like the names: i.e. Delay Lama, B-Assault, AManalogWar, etc – endlessly creative really!
So when I finally got a few to sound after much frustration the musical use was questionable, (for me I mean); unless you are purposely avoiding any musical references. But most of all, there was this “ambience of artificiality about them all” – This is the “so called musical world” we are abandoning our youth to, (I philosophically reflected, as I endlessly clicked and re-clicked the samples with my mouse trying to get them to sound). “This is a world where a real guitar or piano is mostly a “prop” –
Somehow every sound seemed to me the equivalent of “those frozen-processed entrees” Once in a while, a nice touch to a busy life and schedule; eat them regularly and “disease” is sure to get deeply-rooted with time.
OK so I’m not too fond of today’s musical sound palette, but it’s not just that:
The “composing software and the music software” that is the foundation of so much of the rock and pop that even comes out of the big studios today is not something that “miffs me” (believe me, I AM NOT that “old fashioned” I just like old 40’s movies). I understand it only too well; way back in the 1980’s when many of today’s young artists where still their “daddy’s sperm” beginning that long swim up their “mother’s canal”, I spent untold hours hunched over then “modern synthesizers” creating such effects and sounds; BUT by myself, with only the good old tech manual and use of dials, filters, oscillators… and so forth.
Today’s gig>>> You no longer compose music (especially from “your musical soul”) you download and merge the “pre-found” clips and beats included in the package. A “Soulless” and “Joyless” process in my opinion BUT not necessarily an instant, easy one. The “Result”? Everything you create has this “virtual stamp” on it and sounds like every other “voice in the box.” True, you shape it but hardly worth the learning curve to me.
As (the) PINK FLOYD predicted way back in ‘74 with their song: “Welcome to the Machine” ) from the album: “Wish You Were Here” the machine is now as a voice and its soul is in the “box” even if you try to musically think “outside the box”…And believe me: I loved MY PINK FLOYD… and English bands in particular. Their foresight is now come to pass (meaning: it is now true in reality what was fantasy in their lyrics)…“Welcome to the Digital Soul”>>>
So from the “soul-less” world of contemporary modern desktop composing, I now fondly bid you adieu… I and “my lonely soul” like a musical Henry Thoreau at some far-away “Walden Pond” on a frontier far from the “modern world” return to my “Digital Piano” that at least has 88 “real-action” keys and perhaps later tonight to “My Old Black & White” (still resting peacefully in my kitchen foyer). I played the theme to my song: My Old Black & White on it the other day, she sounded pretty good considering “she” hasn’t been tuned since my then 86-year-old piano tuner died (I think in 2002).
My old black and white, Greets me with silence, every night.
And whenever I walk through that door;
She’s been my friend now since ‘74
She’s still my old black & white
And though her keys no longer shine so bright,
She’s kept me company (through) many a lonely night.
She’s still my old black & white
I posed for the above picture the day of a concert I played for over 35 people in a log cabin, called “The Music Shed” in Cummington, Mass., A nice open-air mountain town of New England.
I was 30 then and I remember it as passing as briefly as a “summer day” in New England. The last year my body would be unmarred by “the needles of dialysis” and the ensuing struggle of the next twenty years of poverty and struggle to keep myself faithful to my chosen goal and commitment: to learn to play a REAL PIANO. I thought it was just the beginning of long and fruitful career doing this; but I hadn’t seen my latest blood reports….
It was a glorious June Day in the New England mountains and I played a grand piano, very well indeed…
My bio is where you can read more about my music and find links to listen and purchase my CDs: August Ocean Overture, and In Memory Only
Tags: no sex, Comedy, Clean Search Engine, Movies, Entertainment Shop, Music, Safe family tool, cartoon, No harmful content, CleanSearching.com
Singapore Symphony Orchestra – Listen to the Music
Posted by cleansearching in Musics on January 10, 2010 | no responses
Naveen Marasinghe asked:
The Singapore Symphony Orchestra was established in 1979. The Singapore Symphony Orchestra includes 96 instrumentalists. The aim that is stated for the Singapore Symphony Orchestra is to “to enrich the local cultural scene, serving as a bridge between the musical traditions of Asia and the West, and providing artistic inspiration, entertainment and education”. The Singapore Symphony Orchestra presents more than 50 symphonic performances each year that encompasses a wide audience. Numerous Singaporean musicians, composers and artistes are featured with the Singapore Symphony Orchestra during major concert periods.
The Singapore Symphony Orchestra has performed concert tours in various countries, some of which include China, Czech Republic, Germany, Greece, Hong Kong, Hungary, Italy, Japan, Malaysia, Spain, Turkey, United Kingdom and the United States. The present Music Director of the Singapore Symphony Orchestra, who has been there since his appointment in 1997, is Lan shui. Mr. Lan shui has worked a lot in bringing the Singapore Symphony Orchestra to were it is today, in terms of its standard and global recognition.
The Singapore Symphony Orchestra performs at its home venue the Esplande Concert Hall and also frequently at the Victoria Concert Hall, both of which are in Singapore. The Esplande Concert Hall, the home venue of the Singapore Symphony Orchestra, is situated on along the Marina Bay next to the mouth of the Singapore River. The Victoria Concert Hall is situated in the civic district of Singapore. The Victoria Concert Hall was the previous home venue for the Singapore Symphony Orchestra, before it moved to the Esplande Concert Hall in 2002.
Various hotels are in the region if you are looking for Singapore accommodation. A Singapore hotel would be a good place to stay for people visiting the country from abroad.
The Singapore Symphony Orchestra was established in 1979. The Singapore Symphony Orchestra includes 96 instrumentalists. The aim that is stated for the Singapore Symphony Orchestra is to “to enrich the local cultural scene, serving as a bridge between the musical traditions of Asia and the West, and providing artistic inspiration, entertainment and education”. The Singapore Symphony Orchestra presents more than 50 symphonic performances each year that encompasses a wide audience. Numerous Singaporean musicians, composers and artistes are featured with the Singapore Symphony Orchestra during major concert periods.
The Singapore Symphony Orchestra has performed concert tours in various countries, some of which include China, Czech Republic, Germany, Greece, Hong Kong, Hungary, Italy, Japan, Malaysia, Spain, Turkey, United Kingdom and the United States. The present Music Director of the Singapore Symphony Orchestra, who has been there since his appointment in 1997, is Lan shui. Mr. Lan shui has worked a lot in bringing the Singapore Symphony Orchestra to were it is today, in terms of its standard and global recognition.
The Singapore Symphony Orchestra performs at its home venue the Esplande Concert Hall and also frequently at the Victoria Concert Hall, both of which are in Singapore. The Esplande Concert Hall, the home venue of the Singapore Symphony Orchestra, is situated on along the Marina Bay next to the mouth of the Singapore River. The Victoria Concert Hall is situated in the civic district of Singapore. The Victoria Concert Hall was the previous home venue for the Singapore Symphony Orchestra, before it moved to the Esplande Concert Hall in 2002.
Various hotels are in the region if you are looking for Singapore accommodation. A Singapore hotel would be a good place to stay for people visiting the country from abroad.
Tags: Clean Search Engine, Movies review, No harmful content, Clean Search Engine, Music, Comedy, download music, no adult, CleanSearching.com, no sex
Spiderman Trailer
Posted by cleansearching in Film on January 8, 2010 | 9 responses
IdentitySociety asked:
Spider-Man is a 2002 American superhero film based on the fictional Marvel Comics character Spider-Man. The film is the first in the Spider-Man film series. The film was written by David Koepp, and directed by Sam Raimi. It stars Tobey Maguire, Kirsten Dunst and Willem Dafoe. The film begins with Peter Parker, a high school student, being bitten by a genetically altered spider. After misusing his newly given abilities, which indirectly caused the death of his Uncle Ben, he becomes the heroic …
Tags: no sex, Comedy, Clean Search Engine, no adult, Safe family tool, Clean Search Engine, cartoon, no porn, Clean Searching.com, No harmful content
A Great Place to Watch Movies for Free
Posted by cleansearching in Entertainment on January 7, 2010 | no responses
We certainly need the entertainments to get some enjoyments and perhaps some mental refreshments as well. Among all kinds of entertainment forms the motion picture entertainment is perhaps one of the most popular types of entertainments and has a huge crowd of fans around the world. There are so many movies produced and released to the public annually so we have so many options to choose the best movies. It’ll be so sad if we miss the chance to watch our favorite movies in the movie theater since we have very tight and busy schedule that force us to work in our office instead of going to the movie theater.
Today we don’t have to waste our time to go to the movie theater to watch our favorite movies since the internet technology allows us to watch the movies from our room or office. You’re invited to visit and register yourself as a member in Moviesplanet.com to watch you favorite movies. This website represents an online movie source where you can get free movies everyday. This website also represents an online social networking which is dedicated for the movie viewers to watch movies, finding movie synopsis, to meet the movie fans community so you can discuss all things related to the movies and entertainments.
If you’re a fan of Daybreakers you’re very welcome to visit this website not only to view the photo gallery but to find out the movie synopsis so you’ll be able to follow the whole plot in the movie. You’re encouraged to visit this website and sign as a new member so you can share the information and comments with other members in the movie fans community. This website can be your best place to always get the updated information about movies. Please kindly visit this website to get more information and entertainments.
Tags: No harmful content, download music, Safe child tool, no adult, CleanSearching.com, Clean Search Engine, Comedy, Clean Searching.com, Music, no porn
Wedding Music – How to Decide Between a Wedding Band Or DJ
Posted by cleansearching in Musics on January 6, 2010 | no responses
Cori Russell asked:
In choosing your wedding music, you will inevitably debate whether to hire a band or a DJ to lead your wedding reception festivities. In some instances, the type of venue you choose and the overall theme of your wedding will dictate whether you decide to go with a band or DJ, but the decision is always up to you. In making your wedding music decision, consider the pros and cons of each:
WEDDING BAND
• The Pros
A band is live, and when played by experienced musicians, nothing can beat live music. Talented musicians can really work with the theme of your wedding reception and modify songs accordingly. If the party is lagging, they can always switch the tempo. Hiring a band also adds the exciting possibility that anything can happen.
• The Cons
With wedding bands charging anywhere from $1500-$15,000, budget constraints can make hiring a band too expensive to consider. A band’s sound can also be limiting. If you want to hear from Beethoven to Outkast and everything in-between at your wedding reception, you may have some difficulty in finding a band that can play such an eclectic mix.
DJ
• The Pros
One of the main benefits of hiring a DJ is that all the songs are played as you know them; you can rest assured that your first dance song will sound EXACTLY as you expect it to and can plan accordingly. You are also likely to get more variety in sound with a DJ, and for couples on a budget, even the most expensive DJs are usually cheaper than hiring a band.
• The Cons
On the other hand, a bad DJ can kill the elegant atmosphere you carefully planned for your wedding reception – so hire wisely! A DJ typically does not have as much ability to improvise and set the theme of the evening. The songs will be played exactly how they were originally recorded and therefore can’t be modified to suit a beach, country or jazz swing wedding (for example) as bands can often do. Your DJ also can’t switch tempo if need be to accommodate your fiance’s dragging feet during your first dance.
For more advice on planning your reception entertainment and a list of popular wedding songs, visit the complete wedding music guide at Elegala.com – Elegant Galas Made Simple.
In choosing your wedding music, you will inevitably debate whether to hire a band or a DJ to lead your wedding reception festivities. In some instances, the type of venue you choose and the overall theme of your wedding will dictate whether you decide to go with a band or DJ, but the decision is always up to you. In making your wedding music decision, consider the pros and cons of each:
WEDDING BAND
• The Pros
A band is live, and when played by experienced musicians, nothing can beat live music. Talented musicians can really work with the theme of your wedding reception and modify songs accordingly. If the party is lagging, they can always switch the tempo. Hiring a band also adds the exciting possibility that anything can happen.
• The Cons
With wedding bands charging anywhere from $1500-$15,000, budget constraints can make hiring a band too expensive to consider. A band’s sound can also be limiting. If you want to hear from Beethoven to Outkast and everything in-between at your wedding reception, you may have some difficulty in finding a band that can play such an eclectic mix.
DJ
• The Pros
One of the main benefits of hiring a DJ is that all the songs are played as you know them; you can rest assured that your first dance song will sound EXACTLY as you expect it to and can plan accordingly. You are also likely to get more variety in sound with a DJ, and for couples on a budget, even the most expensive DJs are usually cheaper than hiring a band.
• The Cons
On the other hand, a bad DJ can kill the elegant atmosphere you carefully planned for your wedding reception – so hire wisely! A DJ typically does not have as much ability to improvise and set the theme of the evening. The songs will be played exactly how they were originally recorded and therefore can’t be modified to suit a beach, country or jazz swing wedding (for example) as bands can often do. Your DJ also can’t switch tempo if need be to accommodate your fiance’s dragging feet during your first dance.
For more advice on planning your reception entertainment and a list of popular wedding songs, visit the complete wedding music guide at Elegala.com – Elegant Galas Made Simple.
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Gamer (2009) Movie Soundtrack Preview
Posted by cleansearching in Entertainment on December 30, 2009 | 25 responses
MixesCrystalz asked:
Preview 16 songs from the soundtrack to the upcoming action sci-fi film Gamer. Tracks Listed Sweet Dreams (Are Made Of This) – Marilyn Manson The Thorax Bar Deathmatch Blood Ball Simon’s House Dress Up Doll The Bad Touch – The Bloodhound Gang Gina Parker Smith Society Slayer Kable Vs. Castle Kable’s New Ride Turn Me Loose Medley: I’ve Got You Under My Skin/Big Bad John/Night And Day – Sammy Davis, Jr. Kable Rescues Angie I Think It, You Do It
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Banned Spiderman Trailer
Posted by cleansearching in Entertainment on December 28, 2009 | 24 responses
supawako asked:
This trailer was banned due to the terriorist attacks on the World Trade Center in New York City.
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2002 FIFA World Cup Korea/Japan Movie (Part 3/12)
Posted by cleansearching in Entertainment on December 28, 2009 | 8 responses
fifaworldcuphero asked:
Coverage of Japan vs Belgium, Korea vs Poland, and China vs Brazil. This one has an interesting take on the Korean national team with Guus Hiddink giving comments about his team’s game. This also showed how China had lots of pressure on them by having lots of support from their native country in Korea to cheer for them even though the team was one of the weakest teams if not the weakest team in the tournament.
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