September 05, 2013

Daniel Levitin: Why Music Moves Us - Our Musical Brain


                                                                  

                                                                          

                                                                      
Ever wondered why you relate so strongly to some songs? Why there are days you simply cannot go without listening to music?

Why some songs bring back incredibly vivid memories? And why your tastes in musical genres varies so much? Hopefully you may find some answers here. I have included the examples of Tony Bennett and Frank Sinatra as mentioned in the clip.
The vocabulary and notes are common to all genres. There are generational differences, of course!   Music can be happy or sad and may affect us in different ways, depending on our circumstances.

From the clip on  You Tube.
"You know the feeling. You hear "that song" and it evokes a certain emotion or memory.
Cognitive psychologist Daniel Levitin sits down with Steve Paikin to explain how music moves us."

Daniel Levitin is the author of This Is Your Brain on Music and The World in Six Songs, and professor of psychology and music at McGill University of Montreal.
 Dr. Levitin said that music activates neurons in more regions of the brain than almost anything else scientists know of.
He said that music causes the release of neurochemicals in our brains. 

He told EarthSky:

We know that the brain is musical because there are specific neural circuits. And by that, I mean specific regions of the brain dedicated to processing music and nothing else. Our brain structure changes every time we learn something new.
For example, listening to music you like causes the release of dopamine, the so called “feel good” hormone, and on the opposite side, listening to music you hate, will activate the amygdala, the brain’s fight or flight center, and that will cause a release of adrenaline.
        Dr. Levitin said that we are all musical experts, because we know the kind of music  that resonates with us on an emotional level.


                                                               
We see this, in fact, in the way people incorporate music into their lives. A lot of people use a certain kind of music to get going in the morning, to get out of bed, to get them through an exercise workout, to calm themselves down at the end of the day. We’re using music in the same way we use drugs, really, for emotional regulation, partly because of the way it can modulate our neurochemistry, affecting our moods.
        Dr. Levitin said humans are a musical species and that our brains co-evolved with music as a means of communicating with each other. He said:

I think that for many of us, music is an alternative way of communicating. There are things that music can do for us that language can’t. I know for example, if you’re feeling really uptight or stressed, you’ve had a bad day, you had a fight with somebody – words sometimes aren’t as soothing as the right piece of music. As another example, look at love songs – I think the reason they exist is that they’re able to communicate in an emotional way that words alone just can’t.

                                                                    
This story with many thanks to Earth Sky
Picture Credit: University of Toronto which has an interesting article on how music-based cartoons may help children.


 If You Want To Accelerate Brain Development In Children, Teach Them Music


September 04, 2013

First Pharaoh Ruled Ancient Egypt Earlier Than First Thought


                                                                          

Archaeologists drawing on a wide range of tools said on Wednesday they had pinpointed the crucial time in world history when Egypt emerged as a distinct state.

Experts have wrangled for decades as to when turbulent upper and lower Egypt were brought together under a stable, single ruler for the first time.

Conventional estimates, based on the evolving styles of ceramics found in human burials, vary hugely, from 3400 to 2900 BC.

A team led by Oxford University’s Michael Dee, reporting in the British journal Proceedings of the Royal Society A, widen the methods used for estimating the date.

They took radiocarbon measurements from more than 100 samples of hair, bones and plants found at burial sites and held in museum collections today.

The archaeological and radiocarbon evidence were then knitted together in a mathematical model.

It calculates the accession of King Aha -- the first of eight dynastic rulers in early Egypt -- as taking place between 3111 and 3045, earlier than first thought, with a probability of 68 percent.

This period was a critical one in world history, marking the emergence of a durable civilisation in the western hemisphere.

It occurred when people began to settle permanently on the banks of the Nile and started to grow crops, providing a surplus that spurred trade.

“The origins of Egypt began a millennium before the pyramids were built, which is why our understanding of how and why this powerful state developed is based solely on archaeological evidence,” said Dee.

“This new study provides new radiocarbon-dating that resets the chronology of the first dynastic rulers of Ancient Egypt, and suggests that Egypt formed far more rapidly than was previously thought.”

Aha and his seven successors ruled over a territory spanning a similar area to Egypt today, with formal borders at Aswan in the south, the Mediterranean Sea in the north and the modern-day Gaza Strip in the east, according to the study.


Story and top picture with many thanks to English AlArabiyah
Lower picture credit: Egypt Tour Information

Related:
Royal mummies discovered in Egypt’s Valley of the Kings


                                                

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September 03, 2013

More Beatles BBC Performances To Be Released


                                                                       

                                                                          

                                                                   
A classic case of the Law of Unintended Consequences! 

Imagine what other important aspects of our culture have been lost because someone wanted to save a few pennies as a "cost cutting measure"?

A cave that everyone figured had been fully mined may be ready to spring forth with even more jewels. Reports across the web say that a new set of Beatles performances on the BBC will be released in October.

According to the WogBlog, an internal release list from Universal Music shows an October 4 released date for Live at the BBC, Volume 2, a follow-up to the original 1994 album of recordings from the network.

The site also mentions that many of the Beatles’ performances on the BBC were lost as the network regularly recorded over shows on tape as a cost cutting measure.

 It’s unknown if this new set will be original BBC tapes or those that may have been recorded and archived by others.

The release may tie in with the new book The Beatles: The BBC Archives: 1962-1970, which will also be released in October. 

The author, Kevin Howlett, previously released The Beatles at the Beeb.

Read more at VVN Music

Stay updated with your free Noise11 daily music newsletter. 

Subscribe to Noise11 Music News here.

With many thanks to Noise11

Bottom picture credit – Getty Images: Ultimate Classic Rock

Lots more information about the Beatles at WogBlog.

                                                             




































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September 02, 2013

The Cheapside Hoard of Jewellery in London


                                                            

                                                                          

                                                                

by Jack Malvern

THE MYSTERY of how a dazzling hoard of jewels lay abandoned under the floorboards of a house in the City of London for 250 years may have been solved after an investigation into a dodgy jeweller. 
The Cheapside Hoard, (and here,) caused a sensation when it was put on display in 1912, but it has taken more than 100 years to unravel why the cache of almost 500 jewels, including the most important Byzantine gems ever found and the best surviving collection of Elizabethan jewellery, were left behind.

Hazel Forsyth, a curator at the Museum of London, has found evidence that the treasure may have belonged to Thomas Sympson, a superficially respectable jeweller who had a lucrative sideline in counterfeiting.

Not only was Sympson one of many people to have lived in the row of houses in Cheapside in the mid-17th century, but the hoard contains two examples of fakes associated with him.

The sliver of cornelian stone bears a picture of a swan standing on a wreath and topped with a nine-pointed crown. Ms Forsyth deduced that it was the heraldic badge of the Viscount of Stafford, a short-lived peerage created for William Howard in 1640. The title died with Howard when he was executed for treason in 1680.

The latest date that the hoard could have been buried is 1666 - when the Great Fire of London engulfed the houses and laid down a layer of charred rubble on top of the jewels - giving Ms Forsyth a 26-year window to investigate. Ms Forsyth believes that the owner of the jewels met an untimely end, either as a recruit during the English Civil Wars of 1642-51 or while fleeing from the fighting.

The search for the hoard's owner has been frustrated by the shady circumstances in which it arrived at the museum. Builders who discovered the cache in 1912 sold it to a fence known as "Stony Jack". George Fabian Lawrence was a pawnbroker in Wandsworth who bought many of his goods for the price of a half pint from builders he met in pubs.

Lawrence contacted the newly established Museum of London, and offered to sell the lot for an undisclosed price. When the British Museum, Guildhall and Victoria & Albert Museum learnt how the hoard had been acquired they were outraged, and only agreed to let the matter rest when they were offered parts of it.

All the items will be reunited for the first time since 1912 for The Cheapside Hoard: London's Lost Jewels exhibition at the Museum of London, which opens on October 11. The British Museum is lending 25 items and the V&A six.

With many thanks to the Australian


                                                         





September 01, 2013

Slowed-Down Dolly Parton - "Jolene"


                                                             

                                                                      


                                                                   
“Jolene” has been recorded by several artists in the past, including Olivia Newton-John.

I had the pleasure of seeing Dolly Parton in concert many years ago when she was touring with Kenny Rogers. 

The support act  - Jon English and the Foster Brothers - was extremely good too, but I digress!

She is an impressive entertainer – singer, song-writer and actor as they are now called.

Recently, the Internet discovered a slowed-down version of Dolly Parton’s “Jolene” that was posted on YouTube as “Slow Ass Jolene.”

Dolly Parton must be one of the only singers around whose voice could undergo such extreme manipulation and sound not sadly distorted but, rather, beautifully remade. Her baby-high soprano has always seemed slightly unreal anyway, a record played a little too fast. As it happens, one of her longtime stage stunts is mimicking a 45 r.p.m. record played at 78 r.p.m.: she goes into full Chipmunk mode, not missing a syllable or a wave of vibrato—an offhand joke at the expense of her own voice, as well as a flourishing exhibition of her impressive control of her instrument.


Parton, slowed to a speed at which most people would sound like gloopy, slothlike creatures, comes down to a reasonable alto range, sounding like a soulful male ballad singer. Every few comments on the “Slow Ass Jolene” YouTube page, someone questions whether the voice is actually Dolly’s. Maybe it seems unbelievable because her voice comes through so intact, and its expression is subtle enough to carry the song at this pace. Could Parton really be doing all that at the original speed? 

The word that commenters keep using to describe this version is “haunting”—a quality that seems appropriate to the vulnerability and fear in the lyrics. I had never noticed the line where the singer tells Jolene, “I had to have this talk with you / My happiness depends on you / And whatever you decide to do, Jolene.” The song’s not an imagined plea to a distant rival; it’s a depiction of an in-the-flesh confrontation, of one woman throwing herself at the mercy of another in the most blatant terms. 

Of course, that can be found in the original version, but the brisk clip of the performance and the chime of Dolly’s voice bounce over the concreteness of the despair. 

That’s how Dolly Parton works, both as a musician and a celebrity. Many of her songs float lightly on dark currents—if you scan her compositions from the past fifty years, you’ll find plenty of dying children, abandoned women, and paralyzing poverty dished up in catchy tunes and warbling tones.

 “The old, sad songs,” she calls them. Even “I Will Always Love You” (lest we forget, a Parton composition long before Whitney), is both a love song and a breakup song. 

And then there’s Parton herself, with breasts like launching missiles and the wardrobe of a seven-year-old with resources. She’s never tried to hide or apologize for her tackiness or her self-sculpting. “It costs a lot to look this cheap,” she likes to say. 

As she tells it, Dolly the multimillionaire and international star is a direct product of Dolly the little girl, who decided to model herself after the local hooker in the backwoods-Tennessee town where she grew up. 

She’s like an ambassador from a world where hard times make you stronger, but they’re still to be avoided; where you escape your past not by running away but by planting a ladder where you stand and climbing up.

Posted by

Photograph by David Redfern/Getty.

With many thanks to The NewYorker

Here's Dolly performing the song "live", as most of us would remember it.

                                                                     


And now "Jolene" with Pentatonix:

                                                                                                                            
Related:

            

Slowed-Down Dolly Parton - "Jolene"

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"The way I see it, if you want the rainbow, you gotta put up with the rain." - Dolly Parton