More Than I Can Say Guitar Music
Curtis was born in Meadow, Texas, United States. As a guitarist, he played on some of Buddy Holly's earlier 1956 Decca sessions, including the minor hit "Blue Days Black Nights" and a song he wrote, "Rock Around With Ollie Vee". In 1955 and 1956 he, along with Buddy Holly, opened concerts for rising new star Elvis Presley. Although he had gone on the road with other musicians by the time Buddy Holly put together the Crickets in 1957, Curtis joined the Crickets in late 1958, shortly before Holly's death in 1959, and soon took over the lead vocalist role in addition to lead guitar. The Crickets' post-Holly recordings were put on hold after Holly's death, and Curtis was drafted in late 1959. During basic training, he was given a three-day pass and met Crickets' drummer Jerry Allison, who was then playing with the Everly Brothers, in Los Angeles. Curtis played him the song "Walk Right Back", which Allison had him immediately take to the Everlys; they recorded the song that weekend and were later rewarded with a Billboard top 10 hit. The song was also a hit in 1978 for Anne Murray.
More Than I Can Say Guitar Music
Another age-old personality question is linked to music preference. Now, thanks to research, these questions could actually help answer whether you might be more compatible with someone because you both vibe to jazz while cooking dinner, or less compatible because only one of you likes punk rock.
It turns out that there is more to the question than appears on the surface, and multiple psychological studies have supported the idea that musical preferences are actually linked to our cognitive styles, or the way we think about, and react to, the world around us.
The phenomenon--its name derives from the Greek, meaning "to perceive together"--comes in many varieties. Some synesthetes hear, smell, taste or feel pain in color. Others taste shapes, and still others perceive written digits, letters and words in color. Some, who possess what researchers call "conceptual synesthesia," see abstract concepts, such as units of time or mathematical operations, as shapes projected either internally or in the space around them. And many synesthetes experience more than one form of the condition.
For scientists, synesthesia presents an intriguing problem. Studies have confirmed that the phenomenon is biological, automatic and apparently unlearned, distinct from both hallucination and metaphor. The condition runs in families and is more common among women than men, researchers now know. But until recently, researchers could only speculate about the causes of synesthesia.
In 1975, Yale University psychologist Larry Marks, PhD, authored a review of the early history of synesthesia research in the journal Psychological Bulletin (Vol. 82, No. 3), the first major psychological treatment of the subject after a 30-year drought. Then, in the early 1980s, neurologist Richard E. Cytowic, MD, published several case reports of synesthesia. He proposed, provocatively, that the condition's cause rests in the limbic system, a more emotional and "primitive" part of the brain than the neocortex, where higher order thinking occurs. Although that theory has not received widespread support, Cytowic's case studies and his popular 1993 book, "The Man Who Tasted Shapes," heightened synesthesia's prominence and prompted psychologists and neuroscientists to examine the condition experimentally.
In 1987, a team led by Baron-Cohen found the first hard evidence that synesthetes' experiences are consistent across time. The researchers asked a synesthete to describe the color that each of 100 words triggered. A year later, they repeated the test without warning and found that the associations between words and colors that their subject described were consistent with her initial responses more than 90 percent of the time. In contrast, people without synesthesia, asked to perform the same task but with only a two-week interval between the two tests, were consistent only 20 percent of the time.
The New England Conservatory of Music Intercultural Institute, is celebrating its 30th anniversary next week with a symposium on bimusicality. Bimusicality is when artists can perform in two distinct musical traditions. The term was coined by ethnomusicologists more than 60 years ago, and bimusicality has risen in populairty since then. The symposium will culminate with a performance from a new bimusical group, Naya Baaz. The group is led by the brilliant Pakistani-American guitarist and composer Rez Abbasi and New England Conservatory alum and sitar player Josh Feinberg. Abbasi and Feinberg spoke with GBH's All Things Considered host, Arun Rath.
Arun Rath: I need to get personal right here at the top and say, as a biracial East-West fusion myself, I love what you're doing. And I've wanted to interview you both for for a while. Rez, I'll start with you to dive in and because I think we can give listeners a great sense of what bimusicality is just by talking about you. You probably know this, but your music means a lot to South Asian-Americans of my generation. American Desis, as we call ourselves, because you're a Pakistani-American who made your name playing kick-ass jazz guitar. Tell us about how that reflects who you are. And was Western music a part of your musical diet growing up?
Feinburg: From my side, I've done a couple of crossover projects throughout the years, but not many. I've been very resistant because as a white Jewish sitar player, my authenticity in this art form is under constant scrutiny. And even though the connoisseurs of the music have really embraced me, I feel like I'm constantly having to prove myself and prove that my music is iauthentic in the tradition. So I didn't want to kind of align myself with these, if I can speak candidly, these hundreds of other, white sitar players who who don't play sitar at a very high level in the traditional art form, but who have done all this fusion. I didn't want to be associated with that at all, because that's that's something I've been trying to shake since I started. I've been really resistant to these projects up until a few years ago because I reached a point where I kind of realized like, "Hey, you know, I've done it. I've established myself. I'm like considered a legitimate classical sitar player, and I'm respected that way." And so that kind of shifted my thinking a little bit. I was like, "OK, well, now I have some freedom to look around and to see what else I can do." And when I was thinking about musicians to collaborate with, Rez was on the top of my list because not only is he a total badass guitar player, but he does have a little bit of connection to South Asian music. That little bit of connection just gives us a pathway to to dialog and establish and explore.
Abbasi: Yeah, especially after we did the album and actually, during the process of doing the the music together. One thing that separates this project from many others, not to compare, but Josh and I really wanted to do a collaboration. We didn't want one person to write all the music and the other person to write their sets of tunes. I would write a vibe, so to speak, that I really enjoyed on my guitar. And then I would say, "Well, you know, I'm not going to write anything purposely because I could, but I don't want to. Let me send it to Josh." And then so I sent it to Josh and then he wrote a beautiful melody on it. Then, I took it to a different section and then we finally got together a few times, did the same protocol, and we ended up with a whole album's worth of music.
Ellington knew that music could reach people in a way that words simply could not. While Ellington knew the power of words (he was a poet and writer himself, though he rarely published his writings), he also knew that white people were more likely to listen to music by a Black musician than read the revolutionary writings of a Black activist. Playing for white crowds gave him the opportunity to spread his message widely to audiences of all races.
His performance was revolutionary. By taking the stage as a conductor and performing a piece of music he wrote specifically about the Black struggle, Ellington was making a statement larger than the music itself. He took the lessons he had learned as a child to use his own platform and achievements to fight racial injustice, and put them into practice at the highest level.
I could just as easily come to the conclusion that because identical twins are treated more equally than fraternal twins, their learning outcomes will be more similar than the outcomes of fraternal twins.
Malcolm wrote a piece of literature to inspire people. Who cares if 10,000 is correct or not? The point is, we need to start somewhere, grow, challenge ourselves, and just to learn something new. I believe in learning to work towards something of interest or something that comes naturally first, and then spend your life doing it. When you get older help children advance and be better than you. That is evolution.Yes, there is more involved in becoming a master than just the hours spent. Time is not the only element, but time is a concept idea most can grasp. Life is not information life is turning human capability into ability, and to do that, it requires practice and then commits to doing ongoing work to achieve success. My question is_, Why not spend 10,000 hours? If you spend 2 hours a day practicing, something, and progress each year, you will gain close to fourteen years of experience. The rewards will be great whether or not to achieve mastery. One thing I would guarantee, is anyway who applies themselves to 10,000 hours of progressive practice will become GOOD at whatever they choose to do. Work to produce results. If you have an interest, pursue it. You may not reach your goal, but you will gain the experience attaining results that will demonstrate something more than where you will end up if you do nothing.
When he found himself in Hollywood with a broken heart and shattered dreams, Yoakam clung to hope with his "guitars, Cadillacs (and) hillbilly music." Soon enough, it made him one of country's biggest stars. 041b061a72