Carnegie Hall - The Center Of Music
A tourist looking for the way to enter the Carnegie Hall was said to see a passer-by carrying a violin, and asked him about the way in. The musician's one-word answer was: practice - for practice was in his mind the only way into Carnegie Hall. There's an obviously serious side to this rather old joke, for Carnegie Hall symbolizes persistent good will and the transcending of prejudice by art.
The large donation which in 1891 constructed the Carnegie Hall had Dvorak, Mahler, Strauss, or Gershwin conduct their own compositions. Melba, Ysaye, Casals or Callas were performers who appeared here. More than the classical musical elite were aimed at by the Carnegie Hall; Gillespie, parker, Fitzgerald, Armstrong and Holliday performed here after the iconic jazz interpreter Benny Goodman and his orchestra performed here in 1938, although being black on stage was elsewhere a question of discretion or refusal, since some of these exquisite musicians were black people raised in the streets whose interviews would mention images of poverty and segregation. Even so, performance had always been possible at Carnegie Hall, for the first African-American soprano had performed there in 1892. It was a proper question of practice.
Bo Diddley, Etta Jones or The Weavers followed Bill Halley and The Comets, who in the 1950's offered the first rock'n'roll concert at the Carnegie Hall, in between a Berlin Philharmonics and a Vienna Philharmonics concert. Te 1960's saw Sviatoslav Richter and harsh social protester Bob Dylan perform alongside the two Beatles concerts in 1964. Zappa, Yo-Yo Ma, Bowie, Groucho Marx, Minnelli and Pavarotti featured on this stage the years to come. 1985 saw the first hip-hop concert at the Carnegie hall, performed by the artist Afrika Bambaataa. Knowing that no genre was ever left out here, we can conclude that world music is anything but a new concept to the Carnegie Hall. Saying that the Carnegie hall has kept the pace would be an understatement. The truth is rather reversed, for it is us who have finally grasped its lesson.
Carnegie Hall is equally singled out by musical practicalities as an acoustics excellence experiment that is constant. Meant to improve the very concept of quality in sound, new technologies are constantly added to a structure which is a product of thorough studies and daring innovation. Even frescos were said to be capable of altering the pure transmission of sound, so the inner walls were built bare, just like the inner room of the Biblical Temple. On the other hand, manufacturers and electronics surround more or less evidently many performers at this Mecca of music today, with their secret world.
Just like in the case of medieval organ players, there is a world of pedals at the feet of the young garage bands today, only these are electronic devices placed on the floor or on a pedal board, connected to either acoustic or electric guitars or basses or keyboards, ready to produce a larger range of sounds than ever before and being turned on/ off with the musician's feet. In opposition with multifunctional rack mount devices, the so-called multi-FX devices, small stomp box style effects pedal aim at producing one single effect per each device. These highly individual devices are designed by independent companies and produced in limited quantities or even hand-made. Musicians associate them in effect chain which where they have a standard order assigned. Compression starts the effect chain, with wah and overdrive immediately after that. Modulation (chorus and flanger phase shifter) is in the middle and the time-based units (delay/ echo and reverb) are the last, followed by a noise gate pedal meant to compensate overdrive units and vintage gear, or not. Since they are both largely accessible and exquisitely customized, stomp boxes are natural complements for many today's musicians who want to meet the demands and the dreams which define the Carnegie Hall.
The large donation which in 1891 constructed the Carnegie Hall had Dvorak, Mahler, Strauss, or Gershwin conduct their own compositions. Melba, Ysaye, Casals or Callas were performers who appeared here. More than the classical musical elite were aimed at by the Carnegie Hall; Gillespie, parker, Fitzgerald, Armstrong and Holliday performed here after the iconic jazz interpreter Benny Goodman and his orchestra performed here in 1938, although being black on stage was elsewhere a question of discretion or refusal, since some of these exquisite musicians were black people raised in the streets whose interviews would mention images of poverty and segregation. Even so, performance had always been possible at Carnegie Hall, for the first African-American soprano had performed there in 1892. It was a proper question of practice.
Bo Diddley, Etta Jones or The Weavers followed Bill Halley and The Comets, who in the 1950's offered the first rock'n'roll concert at the Carnegie Hall, in between a Berlin Philharmonics and a Vienna Philharmonics concert. Te 1960's saw Sviatoslav Richter and harsh social protester Bob Dylan perform alongside the two Beatles concerts in 1964. Zappa, Yo-Yo Ma, Bowie, Groucho Marx, Minnelli and Pavarotti featured on this stage the years to come. 1985 saw the first hip-hop concert at the Carnegie hall, performed by the artist Afrika Bambaataa. Knowing that no genre was ever left out here, we can conclude that world music is anything but a new concept to the Carnegie Hall. Saying that the Carnegie hall has kept the pace would be an understatement. The truth is rather reversed, for it is us who have finally grasped its lesson.
Carnegie Hall is equally singled out by musical practicalities as an acoustics excellence experiment that is constant. Meant to improve the very concept of quality in sound, new technologies are constantly added to a structure which is a product of thorough studies and daring innovation. Even frescos were said to be capable of altering the pure transmission of sound, so the inner walls were built bare, just like the inner room of the Biblical Temple. On the other hand, manufacturers and electronics surround more or less evidently many performers at this Mecca of music today, with their secret world.
Just like in the case of medieval organ players, there is a world of pedals at the feet of the young garage bands today, only these are electronic devices placed on the floor or on a pedal board, connected to either acoustic or electric guitars or basses or keyboards, ready to produce a larger range of sounds than ever before and being turned on/ off with the musician's feet. In opposition with multifunctional rack mount devices, the so-called multi-FX devices, small stomp box style effects pedal aim at producing one single effect per each device. These highly individual devices are designed by independent companies and produced in limited quantities or even hand-made. Musicians associate them in effect chain which where they have a standard order assigned. Compression starts the effect chain, with wah and overdrive immediately after that. Modulation (chorus and flanger phase shifter) is in the middle and the time-based units (delay/ echo and reverb) are the last, followed by a noise gate pedal meant to compensate overdrive units and vintage gear, or not. Since they are both largely accessible and exquisitely customized, stomp boxes are natural complements for many today's musicians who want to meet the demands and the dreams which define the Carnegie Hall.
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You can find several remarkable effects pedal at Sounds Great Music if you are concerned with bettering your tunes.
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