Congratulations to the winners of the 3rd Annual Pandora Poster Contest! Once again we were blown away by the variety and quality of your submissions.
The Grand Prize winner will receive $500, the Runner-up will receive $250, and the Editor’s Choice winner will receive $500.
Thanks so much to everyone who participated in the contest, and an extra congratulations to the winners.
Donate now to one of our Global Giving projects to get a poster. With a minimum $10 donation, you can select which poster to receive. Donate at least $20 and receive all three.
Here’s part two of our Improv show, in which we explore directed improvisation and how musicians support each other when they’re out on the sea of spontaneity: Guitarist Lebo from ALO (a.k.a. Animal Liberation Orchestra), pianist Trevor Garrod from Tea Leaf Green (pictured here), and guitarist Jeremy Korpas from Big Light.
Recorded and edited by Tyler Brown at Bellboy Recording in Richmond CA. “The Musicology Show” is a free podcast subscription in iTunes and other RSS readers. (11 mins.)
The first question we’re often asked about Pandora, explained by the founder.<!– –>
Electronic/dance music is largely based on musical conventions. Whether it is the use of the amen break, as a sample and dominant rhythmic pattern in drum & bass, the repetitive pounding of a kick drum sound in house & techno, or the low, rumbling, electro-bass of breakbeat – there are certain things a listener can expect from a particular sub-genre within EDM (electronic dance music). These conventions, or standard musical elements are fairly easy to extract and then combine (or mash-up) with a dominant element from another sub-genre, creating a new musical form.
In simple terms this is the foundation of the mash-up, a technique that has been at work in popular music ever since DJs starting blending & manipulating records in the 1970’s. It has certainly become a popular sub genre of it’s own.
While it is endlessly entertaining to explore ways to combine rock, rap, 80’s synth pop, swing, jazz, r&b, dancehall, bhangra…I would like to dig a little deeper into how the mash-up of musical conventions within electronic/dance is creating some compelling new sub-genres. Let’s start with dubstep.
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Q: Did Music Discover Emotion? And What Does that Have to Do with Song Lyrics?
A: “God Only Knows”
The Problem with Song Lyrics
As a songwriter, I think of song lyrics as a specialization within creative writing. Unlike other kinds of creative writing, song lyrics can be excellent even when the writing (taken on its own) isn’t particularly good. It’s a feel you have to have, it’s a sort of creative half-writing. It’s leaving things out. It’s a kind of writing which in some ways is more like conversation than literature.
This is pretty apparent when you take a lyric out of the context of its song. On the page or read out loud, a song lyric will rarely work. The music, too, generally depends on the presence of the lyric to have its full effect.
Separated from each other, the elements of a song usually fall shy of what we consider true literature or music.
Now obviously, I believe that songs are the equal of any other art form. I write them, after all. But exactly how such excellence is fashioned from such humble materials – the alchemical quality of songs – is hard to see. It is perhaps the central mystery and attraction of songwriting, and it is of perennial fascination to me.
It’s not essential to understand these things in order to do them well, and it’s surely not possible to ever fully understand them, but it can’t hurt to try; and yesterday I came across a quote that may just offer a missing piece of the puzzle. It’s from What is Music: An Introduction to the Philosophy of Music,” by Philip Alperson, and it says:
“”emotion” can, in effect, be defined as what music articulates, much as “reality” can be best defined as that which the concepts and grammars of languages can capture.”
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Wow! We received over 300 poster submissions from some of our incredibly talented listeners.
Thank you for your entries, and thank you for all your votes. We have compiled the votes and have posted the 25 semi-finalists at pandora.votigo.com. So please take a few minutes now to vote for your favorites.
We will be announcing three winners again this year: Grand Prize, Runner Up, and Editor’s Choice. The Grand Prize winner will receive $500, the Runner Up will receive $250, and the Editor’s Choice winner will receive $500. All three will also include some great publicity on our blog.
The three winners will be printed in limited editions and given as gifts to donors to our GlobalGiving philanthropy projects.
In Music, the Exception Becomes the Rule
In his book “The Classical Style,” Charles Rosen makes a cool point. He sets it up by saying:
“The history of an artistic ‘language’… cannot be understood in the same way as the history of a language used for everyday conversation. In the history of English, for example, one man’s speech is as good as another’s. It is the picture of the whole that counts, and not the interest, grace, or profundity of the individual example.”
In other words, together we all create what is known as the English language.
But music, he says:
“…stands the history of a language on its head: it is now the mass of speakers that are judged by their relation to the single one, and the individual statement that provides the norm and takes precedence over general usage.”
In other words, individual artists define what is known as the music of a particular time.
He makes his point in reference to Haydn, Mozart and Beethoven; but the same thing could easily be said about The Beatles and their definitive role in popular music of the 20th Century.
The Beatles: Masters
The Beatles’ recordings arguably demonstrate the limit of what is possible in their particular form of both songwriting and record-making, and so I was pretty skeptical when I heard that remastered versions of all of their records were coming out.
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Please click here to listen while you read
“All Sounds are Created Equal”
That’s a phrase I used to like to throw around. The idea is that all sounds are ultimately ripples in the atmosphere, changes in air pressure that our ears can decode; and as such the waves that radiate through the air carrying a Beethoven symphony are no different from the ones that radiate out from a car accident.
That’s true, I think; but it’s not the whole truth, because each wave is perfectly unique as well. No two can be identical. And it is precisely because of this that it’s been possible for us to connect different meanings to these waves. Words, car horns, music, and so on would be indistinguishable if all sounds were the same.
These two truths seem to coexist as a kind of double helix, with one strand standing for the unity of all sounds and the other standing for the uniqueness of each. Sound is comprised of both.
Most of us only call certain sounds music. If a hammer falls off of a table, say, most people would not define the resulting clatter as music. But, happily, there are some of us who would hear music in that falling hammer, and it is the music made by these people that is the subject of this post. The station I’ve been working on this week, named “Ovals,” is the soundtrack. Listen.
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When we set out building Pandora four years ago we knew that our work wouldn’t be done until we’d found a great way to unlock the service from the PC. Just over a year ago the iPhone let us take the first compelling step in that direction and the year since has been filled with a bunch of mobile product launches from Pandora.
I’m delighted to announce that today we’re finally ready to extend the Pandora experience to Android. As of today Pandora is available directly from Pandora at www.pandora.com/android as well as in the Android Market.
I’m really excited about how Pandora for Android turned out. You listen to all the Pandora stations that you’ve been listening to on the web and the application is deeply integrated with many of the core Android features too. You can control playback from a home screen widget, “deep tap” any artist or song in the standard Android music player and jump into Pandora to discover other similar artists, make a smart folder to get quick access to your stations from the home screen, buy tracks you discover from the Amazon MP3 application, use your Android address book to share stations with your friends, and of course listen in the background while you’re doing other things on the phone.
Pandora runs on both the myTouch and the G1 today and I’m also excited to announce that we’re working with Sprint to ensure that Pandora works flawlessly on the HTC Hero when it becomes available next month.
This one has been a long time in coming; thanks so much for your patience. Hope it was worth the wait and that you enjoy taking Pandora with you as much as we enjoyed building it.
[Song Samples Contain Explicit Lyrics]
Well, not extreme in the angry, offensive or scatological sense. Rather, extreme in the idea of two opposites of the same measure. Fat — skinny, tall — short… Except the extremes I’m interested in involve the speed of rapping/rap delivery. The speed of a rap has a profound impact on the feel and style of a particular track. Double-time rapping over a laid back funk groove can sound visceral and uplifting – no matter how banal or evil the lyrics; meanwhile, a slow, laid back rhyme can be hypnotic and pull you even deeper into the sound and vibe of the music.
Let’s start with the fast stuff. While East Coast rappers are often known for complex rhyme schemes, West Coast cats love their slang (foshizzle, flambostulatin, yadadamean), and Southerners play to the strength of their unique accent and culture, the Midwest is undeniably the home of quick rappers. This track by Do or Die is a good example. One of the most popular fast rappers got his start on a Do or Die track — Twista. His style and delivery made him a popular guest rapper in the 90s, and this track really shows off his abilities. I can’t forget my hometown of Kansas City and our local hero Tech N9ne. His track Midwest Choppers exemplifies fast rapping. If you listen closely to the production you’ll also hear the heavy influences of Southern and West Coast producers in the Midwest sound. Here are some other tracks with notably fast raps: Blackalicious – Alphabet Aerobics, Sleep – Introduction, Busta Rhymes – Break Ya Neck, Beatropolis & Shing02 – Embrace, DJ Vadim – Kill Kill Kill.
I’d be remiss to skip the UK when discussing fast rappers. The worlds of grime, dubstep and garage have their own share of fire spitters. While they may not be focused on quickness alone, their rhythmic intensity and ability to flit between double and single-time is notable. Check out this track by Dizzee Rascal or these tracks by Plastician and The Bug for good examples. But they’re not the fastest MCs in the UK. This is the territory of drum & bass MCs like Skibadee, Eksman, and Shabba D who pioneered a double-time, consonant heavy delivery that fits perfectly with the fast tempos of drum & bass. This track featuring Skibbadee, Shabba D, MC Det and MC Fearless showcases a bit of their style. The UK Rap/Electronic scene is evolving at breakneck speed and is well documented online with videos of great MC battles and performances by all the cats I mentioned.
Now in terms of slow rapping, the title undoubtedly goes to Houston for their Screwed & Chopped sound. This is a method of remixing rap music pioneered by Houston artist DJ Screw. Screw took cassette tapes, dramatically slowed them down, and added tons of reverb, delay, scratching and sound effects. Here is an original DJ Screw production. It’s immediately recognizable by the ridiculously slow tempo and freakishly deep vocals. However, the rapping speed is based on studio effects — so perhaps this title should be accompanied by an asterisk…? Check out these other super-slow Screwed & Chopped tracks by artists OG Ron C, Big Pokey & Lil Keke, and the Screwed Up Click. Stay tuned for more on the Houston sound in a future post – there’s much more to cover from this city!
The mainstream rapper with the slowest natural flow is probably Young Jeezy. His style is deliberate, simple and strikingly sssslllloooowwwww. Jeezy is able to pull it off without sounding too boring — probably due to the depth and uniqueness of his voice and the fast subdivisions of his beats. Check out his track Standing Ovation for a good example. Here are a few other notably slow rap tracks 30 Rocks by 8 Ball & MJG and You’re Everything by Bun B.
Is there somebody I missed? Yeah I know I didn’t include the Guinness World Record holders — as theirs is more of a technical feat whose purpose is speed, not music. But is there anyone else? Perhaps there’s a Screwed & Chopped scene in Tuvan, or a crazy fast rapper living in the Australian Outback? Let me know!
PS – speaking of Australian rap – this track by Diplo makes me smile!
Chris Horgan [Senior Music Analyst]