Congratulations to Aitor Bigas for his nomination of Best Editor at the Berlin Music Video Awards for his work on Bad Bunny's "MONACO".
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Ph.D. in Organization Theory, x-Faculty @ MIT/Sloan & Carnegie Mellon/Tepper | Affiliate Lecturer for Executive Education @ London Business School
#MelodiFestivalen is the yearly Swedish music competition to pick the country's entry to #eurovision. Sweden takes the competition very seriously with each of the five heats, as well as the final night, having extremely high production values--lighting, sound, scenery, props, set design, special effects and costumes. In addition, there are months of pre-planning that involve integrating inputs from creative disciplines--music and songwriting (of course) choreography, fashion and style, etc. Each heat is held in a different city in Sweden with the finals always held in Stockholm. As such, local and national media are involved as well, before during, and after, as are advertising and marketing. Taken together, all this collective effort gives a tremendous boost to the contestants that Sweden sends to #Eurovision. One area that has drawn concern among some pundits concerns the dominance of a small handful of songwriters. They write songs for several artists in the competition and their work in the last few years has been over-represented among the dozen acts that make it to the finals. In the attached graph I've shown a network of songwriters for Heat 1 in this year's competition. While all nodes represent songwriters, blue nodes indicate performers who have songwriting credits on the song they performed. Yellow/Gold nodes are songwriters only. A few things to observe in this network of the first heat. The large cluster in the upper left represents the rock band "Smash into Pieces." Three band members have writing credits. The other four are amomg that group of highly-prolific and over-represented set of songwriters alluded to above. Chief among them is Jimmy "Joker" Thornfeldt who is a co-writer of five (5) of the twelve finalists this year. Two other clusters are all gold/yellow. These are teams of writers who wrote for a performer who received no co-writing credit. The large cluster at the bottom left is built around Thomas G:son. According to Wikipedia: "He is best known for the 117 songs he has written for the national selections of 12 countries for the Eurovision Song Contest: 74 for Sweden, 16 for Spain, six for Norway, five for Denmark and Finland, three for Georgia, two each for Poland and Malta, and one each for Cyprus, Latvia, Romania, Belgium and Lithuania." He co-wrote the song that won Melodifestivalen last year, one that went on to win #Eurovision in 2023. This year, in Heat 1, he's co-written two songs for two different artists: Melina Borglowe and Elisa Lindstrom. #socialnetworks #socialnetworkanalysis #musicindustry #musicbiz #music #songwriter #songwriters #sweden #eurovision2024
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4 Ways AI Transformed Music, Movies and Art in 2023 https://vist.ly/r9gg
4 Ways AI Transformed Music, Movies and Art in 2023
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English teacher and Systems thinking personal development coach specializing in Neuro Linguistic Programing, Flow state, and Habit mastery.
4 Ways AI Transformed Music, Movies and Art in 2023 https://vist.ly/r8j5
4 Ways AI Transformed Music, Movies and Art in 2023
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4 Ways AI Transformed Music, Movies and Art in 2023 https://vist.ly/r9bw
4 Ways AI Transformed Music, Movies and Art in 2023
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4 Ways AI Transformed Music, Movies and Art in 2023 https://vist.ly/r9c6
4 Ways AI Transformed Music, Movies and Art in 2023
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Hey everyone! How’s it going? Today marked the first successful day of shooting our band’s first-ever full-length music video, entirely self-produced from start to finish. As you may or may not know, we love handling everything ourselves except for a few things like our band logo and some minor details. From writing music, recording, mixing, mastering, visualizations, branding (excluding the logo), and much more – you get the idea XD – we love creating everything ourselves with our own hands and minds. It's probably in our blood, as we also taught ourselves to play instruments. We’re self-taught :) Yeah, we might be a bit crazy, but this is exactly what we’ve always wanted. A full production that depends solely on us. Today, we managed to create something beautiful not just in sound, but also in video. We’re proud of our achievements and excited to share some behind-the-scenes shots with you. - Devin, in just his underwear (it's 37-39 degrees Celsius here, welcome to Cyprus, haha), rehearsing the new song for the video. He also managed to cut his right hand while playing, which is a first for him in 12 years, even during serious concerts with past bands. Just an interesting tidbit, he's fine! - Johnny, who was breathing huge flames using simple fire starter fluid (crazy bastard), ended up slightly burning his face and hand. Overall, there were a lot of tough and challenging moments; no exaggeration, this has been some of the craziest filming we’ve ever done. We still have a few more days of shooting ahead, and we’re working hard to finish everything in time for the audio release of Pyrophobia. Also, in some minor news: we've decided to part ways with management and turned down an offer to sign with a label. We realized that, at least at this stage, we want complete freedom and independence in our decisions and creativity. This way, we won't be confined by contracts and obligations. Any offer should benefit not only them but also us, otherwise, true creativity turns into an empty echo. Don't miss us too much, we're always with you no matter where you are! Yours, Winter's Wail 🔗PRE-SAVE LINK: https://lnkd.in/gWHxcPxh #News #WintersWail #Metal #Metalcore #OfficialVideo #MusicVideo #Pyrophobia #Sound #New #NewSingle
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Music: The Linchpin The right music can elevate an edit from good to extraordinary. It acts as an emotional guide, shaping how viewers perceive the visuals. In some cases, music can even evoke cherished memories or ignite a fear of missing out on future experiences. It's a pivotal element, holding the entire editing process together. Video: First Carnival after Covid #musicediting #videoediting #sounddesign #filmediting #postproduction
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**Sunday, March 10, 2024** A Composer's Guide Booklet Introduction It is an honor for the ‘Post-Orientalism’ community and the ‘Noise à Noise’ music publication to share with you some information about the 2024 collaborative project with a particular focus on “The Plays” and the amazing variety of performances we have received from all over the world. Goals 1. Audio performances from different narrators, whose list is going to be updated, will be used as the raw material for compositions. 2. We hope that the performances in various languages from across the globe will contribute to the emergence of a shared musical language. 3. The contributions will hopefully lead to rediscovering the affordances of the languages (including, but not limited to, the phonological, morphological, and acoustic features of the languages) and voices from diverse nations and ethnicities. 4. We welcome different approaches to deconstructing the original text and the narrators’ sounds and reconstructing them by the composers with varied artistic tastes and orientations. 5. The composers are free to use any type of instruments, namely the electronic and acoustic ones, in their compositions. 6. We especially encourage a strong interaction among the composers regarding the subject of thinking about the use of microtonal intervals. 7. We look forward to the production and publication of various Spoken-Word albums. General Points 1. The sound files are uploaded as 16 bit .wav files with 48,000 bit. 2. The albums are provided in a non-mastered version for the composers who want to use the sounds. Each of the composers may obviously have a specific taste, it is a matter of taste that we pay great respect to. 3. Composers can use all of the sounds from each of the albums by the narrators, all by citing the name of the narrators who have performed the primary albums. 4. We welcome all musical styles and genres. 5. We do not impose any deadline as we believe that creating art should not be restricted by deadlines. 6. Free download codes will be allocated to the composers. You can obtain the codes from the ‘Noise à Noise’ label. 7. It is possible to use a portion of or the whole part of the albums that we have from the narrators. Important points 1. The independent album by the artists should be composed with a duration of at least 17 to 20 minutes. 2. The loudness level of your final production should be set on an average of -14 LUFS, or you can submit with a lower loudness so that our team at the studio can take care of the post-production process.
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Keeping the interview muscles sharp in the creative world, I've done a new piece for CDM - on transcribing an electronic work for acoustic instruments, highlighting inconsistencies, and the niche value of obsolete digital plugins. Full interview w/ music & behind the scenes photos below. #ExperimentalMusic #ComputerMusic #Creativity
Taylor Deupree and Joseph Branciforte on transcribing an electronic classic - CDM Create Digital Music
https://cdm.link
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