MELODY MARKS [8]
available on: sounds from the russian artist Soela. her deep sounds are full of sweetness and melody. enjoy!sub.pod.20 - Soela - Resonance01 - Melody of 80802 - One And Only03 - Resonance04 - Zakatlisten and download: ://soundcloud.com/subspiele/subrec20_soela_resonanceartist: soundcloud.com/soelaelaphoto: www.franksebastian.de
MELODY MARKS [8]
Malo makes it clear that his work marks a return to melody, "I've always listened to melody first and, then, if the lyric is equal to the melody, that's a great song ... I like to take semi-sad content and put it in an upbeat melody so it's not ultra depressing."
The Sum of our Hearts is a collection of work by five emerging artists, all connected by their heart lines. This group of painters, photographers, and digital artists explores themes including emotional states of mind and memory. The variety of media is used to create gestural marks to express each individual voice based on personal memory. Moving between figuration and abstraction, these artists explore the veil covering past memories. [READ FULL POST]
In ancient days it was customary to study and recite poetry, prayers, and laws with the aid of melody. For through the medium of melody, the meaning of the word became clearer and the text itself was more easily remembered.
Moses admonishes the Children of Israel in Deut. 31:19: "Write ye this song for you and teach it." All reading and study of the Torah among Jews, and later the Koran among Mohammedans, were done with a speech melody, known as cantillation. This cantillation is today read with the aid of ancient neumes or musically endowed signs known amongst Jews as: neginoth ([נגינות]); t'a-amin ([טעמים]); t'a-ame haneginoth ([טעמי-הנגינות]) neimoth ([נעימות]) as well as accents and tropes.
Moses admonishes the Children of Israel in Deut. 31:19: \"Write ye this song for you and teach it.\" All reading and study of the Torah among Jews, and later the Koran among Mohammedans, were done with a speech melody, known as cantillation. This cantillation is today read with the aid of ancient neumes or musically endowed signs known amongst Jews as: neginoth ([נגינות]); t'a-amin ([טעמים]); t'a-ame haneginoth ([טעמי-הנגינות]) neimoth ([נעימות]) as well as accents and tropes.
That's a lot of stuff. Is this constrained to "oral" stuff or would we include "aural" stuff which may form a kind of grammar for a particular song but not necessarily produced by through the mouth? I'm thinking about hand-clapping, marching and chest-beating. If singing is included, what about melody and rhythm? Could we include, as an area of study, a theory of jazz "blue notes" and how it contributes to the "semantics" of a song? Could we even break out of the "aural" constraints and include, say, the semantic contribution of physical performance (playing of instruments, dance, ritual, etc.). 041b061a72