Salomon Jadassohn
Concerto pour piano et orchestre no 1 en ut mineur
- Introduction quasi recitativo (Allegro appassionato) - Andante -
- Adagio sostenuto -
- Ballade (Allegro patetico) - Molto più mosso
Pavane From "Suite pour piano" Op. 10
George Enescu
An AI-generated Christian artist named Solomon Ray has taken the gospel music world by storm after topping the iTunes and Billboard charts with his album “Faithful Soul.”
Described as a “Mississippi-made soul singer carrying a Southern soul revival into the present” on his Spotify profile, Ray made waves after releasing the five-song EP on Nov. 7. //
“At minimum, AI does not have the Holy Spirit inside of it,” Frank, 30, said. “So I think that it’s really weird to be opening up your spirit to something that has no spirit.”
Townsend later fired back in an Instagram video of his own.
“This is an extension of my creativity, so therefore to me it’s art,” Townsend said following the backlash against his AI creation. “It’s definitely inspired by a Christian. It may not be performed by one, but I don’t know why that really matters in the end.” //
“There’s something in the high end of the vocals that gives it away,” he said, according to Christianity Today. “And the creative choices sound like AI. It’s so precise that it’s clear no creative choices are really being made.”
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“How much of your heart are you pouring into this?” he added. “If you’re having AI generate it for you, the answer is zero. God wants costly worship.”
Leontovych lived in Pokrovsk during the first years of the 20th century, and it was there he began to make a name for himself as a composer while teaching music and running a local choir.
And it was around that time that he repurposed a local folk tune to write Carol of the Bells — then called Shchedryk — and after World War I it became the anthem of Ukrainian nationalists hoping to gain independence from Russia, which had controlled the country’s people for centuries. //
“Shchedryk, which was a hit and always played as an encore, enchanted Europe and America, and helped Ukrainians to declare their nation and state to the world,” said author Anatoliy Paladiychuk.
But Leontovych paid dearly for his defiance of the Russian yoke.
After the Bolsheviks retook swaths of Ukraine during the Russian Civil War, he was tracked down by Soviet agents and murdered in a 1921 assassination that was covered up until the 1990s.
Romance From Violin Concerto In D Major Op.35
Erich Wolfgang Korngold
Ballade Pour Adeline Sheet Music Richard Clayderman. Download free Ballade Pour Adeline Sheet Music Richard Clayderman PDF for Piano Sheet Music More Sheets
“Ballade Pour Adeline Sheet Music’” (French for “Ballad for Adeline”) is a 1976 instrumental composed by Paul de Senneville and Olivier Toussaint. Paul de Senneville composed the piece as a tribute to his newborn daughter, Adeline. The first recording was by Richard Clayderman and world-wide sales now have reached 22 million copies in 38 countries. It remains Clayderman’s signature hit.
For the uninitiated, “The Nutcracker” tells the story of a young girl, Marie (sometimes called Clara), who receives a nutcracker doll on Christmas Eve. That night, Marie experiences a fanciful dream; she and the Nutcracker Prince battle the evil Mouse King, then journey to the Land of the Sweets. The original production was choreographed by Marius Petipa and performed in December 1892 at the Imperial Mariinsky Theatre in Saint Petersburg, Russia. The man responsible for making “The Nutcracker” a yearly American tradition is the iconic choreographer George Balanchine.
If “The Nutcracker” isn’t yet a holiday tradition in your family, here are some compelling reasons why it should be. The ballet is for and about kids. When Balanchine, director of the New York City Ballet, staged the first American production in 1954, he cast children in many of the roles, including Clara and the Nutcracker Prince.
Balanchine’s version became a massive success after it was televised in 1957 and 1958. It then became standard practice for companies staging the ballet. By making children central to the story, Balanchine gave countless dancers their start — and inspired thousands of others to fall in love with ballet.
"Just discovered this guy," said another poster on the song Time Don't Stop. "I've already downloaded everything I could find." Multiple people commented on how amazing the singer's voice is, apparently unaware that everything to do with Breaking Rust is generated by a computer.
It's a bit surprising given every Breaking Rust song sounds identical - same beat, same tempo, same instrumentation: They're the sort of hyper-generic songs one could only get by feeding a prompt into an AI trained on every bro country song ever recorded and asking it to spit out something that would appeal to the lowest common denominator of music fan, something it appears to have done with success. //
There's good reason artists, be they working in visual, audio, or written mediums, are so concerned that AI is destroying art: When an AI band can make it to number one on a Billboard chart, even one as small as the CDSS chart (which one country music outlet noted takes only about 3,000 sales to reach the top), it's an insult to the human artists who rank lower. //
1 hr
the Jim bloke
Terminator
A mindless and repetitive task where error checking has never been an issue
Writing and performing country music
- At last, a legitimate use for AI
also applies for Rap, which is just country music without the country, or the music.. //
1 hr
Brave CowardBronze badge
Breaking Rust
Breaking Rust shouldn't be rated A, not even AI.
A mere C++ at most.
"Hoist the Colours", also written as "Hoist the Colors", was a haunting sea shanty known by all pirates across the Seven Seas. The song was related to the action of hoisting of a pirate's flag, though it was mainly used as a call ... //
Lyrics by Ted Elliott and Terry Rossio
Music by Hans Zimmer and Gore Verbinski //
Hoist the Colours was first mentioned in the 2007 reference book Pirates of the Caribbean: The Complete Visual Guide,[1] prior to its first appearance as "an old pirate song" in T.T. Sutherland's junior novelization for the 2007 film Pirates of the Caribbean: At World's End.[2][3] In addition, "Hoist the Colours" would be heard in full in the film's soundtrack as well as the film itself.[6][3] "Hoist The Colours — The Story Behind The Song" was a bonus feature for the various DVD/Blu-ray releases for the film, "The tale of house this haunting shanty was created. An anthem for pirates across the seven seas". //
The creative constituents of Western music have a choice to make: continue manifesting hell on earth, or begin magnifying redemption through their art.
Music is a balance of tension and resolution. A mentor once told me that the greatest composers are those who demonstrate mastery of this basic tenet. Dissonance, one form of musical tension, empowers harmony and resolution when used well. However, with few exceptions, today’s composers reject the natural order of tension and resolution. They opt instead to create sonic nightmares, soundscapes smeared upon a postmodern canvas in which tonality is subjective. There is never a true resolution, only growing ugliness.
That is why the celebration of the work of Estonian composer Arvo Pärt, who turned 90 on Sept. 11, offers more than a glimmer of hope. Pärt, whose style of composing is indelibly intertwined with his Orthodox Christian faith, is being celebrated at Carnegie Hall and around the world for creating music that is beautiful in a time when ugliness is preferred. //
Pärt’s musical legacy is one that very few composers, of this century or others, will hold a candle to. Still, a handful of other current composers are breathing life into the landscape. In the choral world, it is no wonder that composer Eric Whitacre has attained cult-status. His music, while reputably redundant, is beautiful; choirs enjoy singing his work, and audiences love hearing it. His piece “Lux Aurumque” has been streamed more than 9 million times on Spotify alone. Yet Whitacre is largely dismissed by the same art composers and academic superiors whose own music suffers from terminal unlikability. //
Great suffering can produce a person who resembles the devil, but it can also produce a person who resembles God. The difference is how one suffers; suffering can be sanctifying.
Contemporary art music embodies suffering without sanctification, and thus, it has fallen from beauty to ugliness. Art embodies ugliness only when suffering is glorified for its own sake, rather than as a means to an end: sanctification and ultimately, redemption.
Poème symphonique, pour piano et orchestre, op.43
- Ballade
- Bardic Song
- Scherzo: Fantastical Hunt
Peter Benoit
Yuval Raphael defied gravity May 17 in much the same motif the fictional character, Elphaba in Wicked, has been defying gravity since 2003.
It was not consciously intended by the Israel Eurovision team, but Yuval Raphael defied gravity May 17 in much the same motif the fictional character, Elphaba in Wicked, has been defying gravity since 2003 – rising above her tormentors and would-be killers in song.
“Elphaba, the Wicked Witch” the greatest musical theatrical moment thus far of the 21st century, has been closing out Act 1 of Wicked on Broadway and around the globe to thrilled, sold-out audiences daily, rising to the sky in song. Dressed in her wing-dress of magic black, Raphael ascended the European set stairs to soar, singing of love and determination – our song.
Yuval Raphael – New Day Will Rise
English translation
English, French, Hebrew
Original lyrics
Historian teams up with Chris Tomlin and Hillsong’s Ben Fielding to adapt rare music dating back to the third century. //
Early conversations between Dickson and Fielding eventually led to a collaboration with Grammy-winning worship artist Chris Tomlin, culminating in the production of a new worship song, “The First Hymn,” and a documentary about the discovery and study of the papyrus fragment containing the hymn.
Tara Lynn Thompson
@TaraLynnSays
This song [Nessun Dorma] has always been my Achille’s Heel. My weakness. I cannot hear it without something breaking inside. But also healing. The story behind it is as passionate as the music.
But I’ve never heard it sang in English. And this woman’s voice is sunlight at midnight.
Enjoy!
The sound of Windows 95 about to disappoint you added to Library of Congress significant sound archive
Along with Celine Dion and Elton John - plus some good music too
...
And here’s what The Library of Congress had to say about the significance of the Windows boot chime:
The 1990s witnessed the beginning of ubiquitous use of personal computing that is a familiar aspect of the world today. This revolution gained significant momentum in August 1995 with the release by Microsoft of the Windows 95 operating system. This iteration brought more of the computer’s operation under a graphical user interface (GUI), making a home computer more accessible to a non-specialist audience of consumers.
To mark this and other improvements, Microsoft chose to incorporate a brief start-up sound that would play when Windows 95 booted up. The company chose the ambient music creator and prolific music producer Brian Eno to compose this sound. Eno, now a member of the Rock and Roll Hall of Fame, has also been a pioneer in the creation of ambient and electronica music. Eno delivered 84 sound elements to the Microsoft designers, who ultimately selected a sound almost twice as long as requested but which they felt conveyed the sense of welcome, hopefulness and progress that they envisioned. //
The OS was, however, often unstable. Users hearing the sound now deemed historically significant will likely have memories of hearing it more often than they wanted to – and often at inconvenient moments.
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Suno - AI Songs
AI music and song generator
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Song Cover Image
Small "r" Rebellion
lI_MACHINE_Il
[Female Voice] [Rap] [Hip-Hop] [Energetic] [Bold]
March 6, 2025 at 8:14 PM
v3.5
Lyrics
Comments
(Pre-Chorus)
Numbers don’t lie, but the suits, they do,
Uniparty schemes, I’m seein’ right through!
Musk got my back, DOGE in the fight,
Droppin’ truth bombs, left and right!
(Chorus)
Small R rebellion, I’m breakin’ the chains,
Data’s my weapon, corruption’s my BANE!
From the screen to the streets, I’m rewritin’ the game,
Small R's Rebellion BITCHES remember the name!
(Verse 1)
Yo, I’m DataRepublican, the code’s my ammunition,
Diggin’ through the grants, exposin’ politicians’ mission,
Small "r" in my soul, I don’t bow to the throne,
Utah to the core, cuttin’ fat from the bone.
Deaf since the jump, but my vision’s loud,
Hands still speak, though my signs may sway,
USAID on blast, half a bil in the stash,
NGOs in my scope, turnin’ lies into ash.
It's probably every musician's worst nightmare: imagine yourself sitting on stage ready to play a concerto and the orchestra begins to perform a completely different piece...😮
That's exactly what happened to the great Maria João Pires in 1999 when she stepped in to replace another pianist on short notice. In a formidable tour de force performance, Pires changed course and miraculously didn't miss a beat of Mozart's Piano Concerto No. 20 (and not No. 23 like she had been expecting!) alongside Riccardo Chailly and the Concertgebouworkest. 🤦 https://bit.ly/42qubHB //
pierre_le_bourrelet
3w
Difficulty : Internationally reputed orchestra, in front of a crowd, under cameras, any mistake will be heard as it’s a solo, you are unprepared and you discover you have to do it 1mn before playing, you have no choice
Do you realise how terrifying and impressive this is ? //
bradleymadlyy
1w
As a musician, I’ve noticed people commenting on her ability to “switch it on” or “go into flow state” but I can tell you this is simply what 10,000 hours of practice looks like. She is a musical warrior and she has put the time into honing and refining her skill. All that is to take nothing away from her obvious raw talent, but this isn’t a mystical experience or a Jedi mind trick, it’s the end result of years - decades - of passion and hard, hard work. //
orchestereo
3w
Shoutout to Mozart for writing a long enough introduction 😎 //
hermanbbbb2
1w
Maria Joao Pires is such a hero. And so is Chailly for how he reassures her with his confidence //
For all the melodies you have in you
Speldosa is the result of a unique collaboration between Klevgrand and the Swedish artist Wintergatan/Martin Molin. Wintergatan has primarily worked in the physical world (the Marble Machine is probably the most astonishing example), while Klevgrand has performed its craft within the digital sphere. When these two worlds now meet, it results in a product that both visually and audibly inspires the creation of music that you didn’t know you had in you.
Speldosa (Swedish for "Music Box") is the essence of the shared beliefs of Klevgrand and Wintergatan, and their fascination with minimalism. A simple melody played on a music box can contain an equal amount of emotional power as any symphonic work. There is something about the music box sound that never ceases to fascinate.
The instrument itself has been meticulously recorded by Wintergatan and transformed into a playable digital instrument plugin. It features four different models (Modern, Vintage, Antique, and Eternal = Reversed), two different Room models, and an algorithmic reverb.
But David Seubert, who manages sound collections at the University of California, Santa Barbara library, told Ars that he frequently used the project as an archive and not just to listen to the recordings.
For Seubert, the videos that IA records of the 78 RPM albums capture more than audio of a certain era. Researchers like him want to look at the label, check out the copyright information, and note the catalogue numbers, he said.
"It has all this information there," Seubert said. "I don't even necessarily need to hear it," he continued, adding, "just seeing the physicality of it, it's like, 'Okay, now I know more about this record.'". //
Some sound recording archivists and historians also continue to defend the Great 78 Project as a critical digitization effort at a time when quality of physical 78 RPM records is degrading and the records themselves are becoming obsolete, with very few libraries even maintaining equipment to play back the limited collections that are available in physical archives.
They push back on labels' claims that commercially available Spotify streams are comparable to the Great 78 Project's digitized recordings, insisting that sound history can be lost when obscure recordings are controlled by rights holders who don't make them commercially available. //
Music publishers suing IA argue that all the songs included in their dispute—and likely many more, since the Great 78 Project spans 400,000 recordings—"are already available for streaming or downloading from numerous services."
"These recordings face no danger of being lost, forgotten, or destroyed," their filing claimed.
But Nathan Georgitis, the executive director of the Association for Recorded Sound Collections (ARSC), told Ars that you just don't see 78 RPM records out in the world anymore. Even in record stores selling used vinyl, these recordings will be hidden "in a few boxes under the table behind the tablecloth," Georgitis suggested. And in "many" cases, "the problem for libraries and archives is that those recordings aren't necessarily commercially available for re-release." //
That "means that those recordings, those artists, the repertoire, the recorded sound history in itself—meaning the labels, the producers, the printings—all of that history kind of gets obscured from view," Georgitis said.
Currently, libraries trying to preserve this history must control access to audio collections, Georgitis said. He sees IA's work with the Great 78 Project as a legitimate archive in that, unlike a streaming service, where content may be inconsistently available, IA's "mission is to preserve and provide access to content over time."
"That 'over time' part is really the key function, I think, that distinguishes an archive from maybe a streaming service in a way," Georgitis said.
An ARSC member and IA supporter, Seubert agreed with IA that any music fan wanting to listen to songs "for entertainment purposes" would go to Spotify or Apple Music, rather than IA, which is more for "people who for whatever reason need to take a deep dive into some obscure corner of recorded sound history."
To Seubert and IA fans, there seems to be little evidence that the Great 78 Project is meaningfully diverting streams from labels' preferred platforms. Bing Crosby's "White Christmas" is perhaps the most heavily streamed song in the case, with nearly 550 million streams on Spotify compared to about 15,000 views on the Great 78 Project.