Amateur cryptologist Mark Pitt reckons he’s uncovered the hidden theme that’s baffled sleuths for more than 100 years. Read the story at The Guardian.
In the new paradigm, artists generate coverage by their clothes, hook-ups, and run-ins with the law. What happened to the music? Read the article at The Daily Beast.
Young musicians from the makeshift Oaxaca neighbourhood of Vicente Guerrero have defied the odds to offer hope to their blighted community. Read the article at the Guardian.
The Toronto Symphony Orchestra’s ‘listening guides’ make use of symbols and Morse code-like notation to aid the experience of a live performance. Read the story at Creative Review.
In The Strad, Brian Hodges and Diana Allan answer student questions on coping with stage fright. Read the article here.
Music of every genre, every culture and every period employs repeated phrases for effect. Why do we love to listen to the same things again and again? Read the article at the Guardian.
This week, a score composed 200 years ago by a Prague pharmacist is finally being played for an audience — and the pharmacist’s descendants, local musicians, made it happen.
As part of a huge restoration project that has lasted over 20 years, researchers at Cambridge University have finally restored a 1,000 year-old song. More information at ClassicFM.com
It’s rare for an orchestra to devote a whole performance to works by a single composer — even rarer for that composer to be living, and onstage. Mason Bates, the Kennedy Center’s composer-in-residence, was the focus of the second concert in the National Symphony Orchestra’s new “Declassified” series, which offers a shorter, late-night performance of music that specifically, earnestly and even a little desperately targets a younger generation. Read the article at the Washington Post.
The Unesco Atlas of the World’s Languages in Danger is a melancholy document, charting the 3,000 or so languages that experts predict will vanish by the end of this century. For the most part, ethnographers and linguists are helpless in the face of the gradual erasure of collective memory that goes along with this loss of linguistic diversity. Time to call in the composers? Read the article at the New York Times.