Music conjures spaces: churches, theaters, roadhouses, arenas, pubs, dance halls, living rooms, festival tents, and all sorts of clubs, from tenement basements to cabarets to giant warehouses. Those are social spaces, where musicians perform together and audiences gather to share the sounds — and to flirt, dance, get high, sing along. To somehow connect. On live recordings, those spaces may have been real; with studio recordings, they have long been a crafty, inviting illusion. They were places where a moan or a whisper was all a singer chose to project. Those are private places, intimate places, often lonely places. In the internet era, they are also places that can be solitary workshops for sounds and images. Atomized, solitary music-making reflects broader cultural currents: a ruthlessly individualistic winner-take-all economy; the troll onslaught of social media; siloed and tribalized politics. Pop has hollowed itself out, responding to both artistic instincts and more prosaic incentives. As the decade ends, countless songs boil down to little more than a singer, a programmed beat and just one more instrument, which might itself come from a sample library — no personal interaction required.
The Best Arts & Culture of 2019
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First, where does the time go? Second, what kind of amazing things are you going to do with your music in the s?! New social platforms like TikTok may be gaining ground, but Instagram was still king in This year there was a ton of interest in using Instagram to share and promote music. Some other articles out there shared this news as if it were… easy, or truly automated. The article above leads you through it step by step.
The album may no longer be the standard platform to measure musical worth—streaming has been chipping away at its primacy for over a decade—but it still has a lot of life left in it. Many of the most creative artists continue to do their best work in an extended format, where they can show their range and command attention for longer periods. Chen and Mr. Brown specialize in slowly developing blues-drone instrumentals that suggest a fusion of the Velvet Underground and Mississippi Fred McDowell, but their hypnotic experiments are surprisingly easy to sink into. Teaming with producer John Congleton, she created an ambitious song cycle about falling in and out of love, with moments of pain and joy accentuated by impressionistic string arrangements. Anchored by the plaintive voice of bandleader Adrianne Lenker, Big Thief makes searching songs that probe essential questions—Why are we here? How do we move on from trauma?
The World of Music, Arts and Dance Festival, AKA Womad , which was founded seven years before the term gained prominence, similarly used it as a catch-all for its roster of international artists. But the term soon faced opposition. A bold and audacious move, White Man! Instead of signifying a certain emotional honesty, it is a marketing rubric. The world category falls at the bottom of year-end streaming and sales figures lists, accounting for 0. So why has the term persisted? For that reason, a general term or genre still does work as an in-point for music buyers. Other industry heads are less equivocal. At worst, the term is out-and-out racist.