All in all - final experiences from the semester - Outlook to the future prospects based on the music class experience

So far we have taken several practicum classes, which have brought us closer to the particular field of art, the medium, the means and the way how business is done in an area and how we join to this world. How we can manage the artists and the general understanding was given of these fields. Talking about music is borad, to tighten this sphere to my experiences I should began with the nicely organised introduction to the world of music, trough analysis provided during the lession of basic musical notions, sounds, equipment.
The introduction to the various ages I really found useful and should stay as it is in my view, becuase it served as an arthistoric review from the business point of a manager, what he should look for when deals with opera or just a casual concert. What sponsors may support the event or what better not to invole. The funds and capacities at disposal are always limited, the way that limits them are people, tastes and demand. To base music for a financial ground is not a new idea, but consciously manage it with an overall market coverage is. Except states, I did not really see any organised music conesseur for the whole market and neither a consumer who does take it all.
For this reason overall management for the inustry and individual parts of it is really a thing that we should rethink. The loads of talents and far more who try to get to be one, are out there with more or less support and directions.
To lead and unite these freefloating sources I would strongly consider to bring conesseurship and artists on the stock or similar markets... let's C how it works;)

Film Music

Since the first silent films there was always some musical dub, e.g. a pianist played the piano for the actions in the movie.
1923 has brought the change when the first fully synchronised sound-movie was introduced to the public.
At the early development phase it was uneasy to record sound and the film together, due to the noise of the sound-recording equipment, so the actors and the technical tools were separated, as a result it became hard to move the camera...
An other problem that has arised with sound movies was that the voice of silent actors was not always as pleasant as their play on the screen, so they had to apply singers who could sing the songs in the posrproduction phase, known "looping". Thus the career of many well-established silent movie stars came to an end.
The first films with sounds and sound effects in the 1930 have created an uproar among the audience and art lovers who claimed that silent movie had a lot to deliver in aesthtic values and this has been destroyed by the added sounds.

Since the first changes and challanges turned up in film industry, sound techniques and siystems have developped well together with the scientific and technical discoveries and by today we call engineering of sound that goes to the silent film track recorded. Thus the question arises again, whether silence is worth more with artistic measures or a perfectly edited, designed, recorded and engineered sound to the film?
At least this question should remain open, but what we should see and know is that art and artistic features of a film does not anymore lie behind the sound/music of the film, but how it is made and what is added to the moving picture!

Sound systems

To enjoy music it needs to sound well, if the instruments are tuned well live performance is fine at the camp fire, but if we go large in a concert hall or even on air on the radio we need something more. The public-address system, is the key to succes, a system that allows sounds to sound natural or as if we wish them to sound, but never to go on their own way, cause that would lead to chaos.
The 1st device was the fonograph that served this function and later on with the technical developments the first studio's bacame the places of sound editing.
From the moment we could influence, edit and make better sounds special effects, a new way of creation and controll over music was born.
In the 1960's and 1970's also use of studios emerged widley among pop singers. Each song they wrote and played however still reimain unique and with even the top studios of today we barely can reproduce them, because the shabby instruments and the '3beers and 1pocket of cigaretts' lifestyle during the records can be never the same.
Thus, any song we play from the past and sounds differently, no matter how developped technologies we have will remain not the same. This probably will apply to future technologies, where better sound systems will be made and the same old sounding will never be the same as the old good sounds of the original equipment and artist of the age.

fiscal matters

We have heared a lot about funding the opera or the LUMU in the Hungarian art world's news, but what is really behind all the full house performances... Of course hard work from both side, actors do rehearse at always changing conditions and adapt their best skills to their changing surroundings. As for the arts managers, they have the same job on the organisational and fiscal side. They have to keep the show within he budget with maximum profitability and arrange the best, usually the most expensive artists, for the season.
The "star cult" is however not a new phenomena, it's been created with the castratos, when the entire salary of one castrato cost approximately the 1/6 of all the functioning costs of the opera hose. In contrast today the Hungarian Opera House has a budget ~5bill HUF which would mean a few hundred forints just for one star singer.
The case has not changed in its basics however, bacuse a top pianist may asks even 25mill HUF for a night, an incredible ammount of cash for an institution in a country where state support is not high enough to cover such 'luxorious experiences'.

Concert

For my personal joy, we came to a part where some detailed discription was given on organisational issues, that may turn up at the organisation of an event, specificly a musical concert.
Since the 19th century academic eticett gave a good ground to comparison for me (no applause allowed during the session, cause it hurts the musician's dignity, and the vievers must sit in silence), a question turned up on my mind, why is that eventually there was before the 19th cent. and after also some interaction between the audience and the musician. How did it stop suddenly and set backwards the music in advancing. The feedback in my point of view is in all kinds of (performing) activities esentially important. To know what the people think and how they accept your work/music, to make it better, to learn from your mistakes or just to know where you are the best.

Week 5 - Opera

Before visiting the Opera house, this lession gave me an introductory and explanatory session of the world of the most elegant music style:the opera. It has deeply stun me that such luxory thing as a 5 billion HUF budget Opera house in the global crisis still gets its share from the main budget and its financing is a national question of representation of the cpuntry.
Besides the financials the castrato-singers were the point that captured my attention, the way how people submit themselves to art and their lives as well. However, castrato's were the supers stars of the age, that didn't necesarrily brought success. 1:200 was their chance to get famous and successful, less they had a life sacrificed to that goal, completed only half-way...

About the Bluebird's castle lets have a word later, when the experience and expression of the performance is fresh...:)

week 4

This week we have discovered the text's and lyrics' role in the music.
The different voices for instance chest/head voice and such personal capabilities and makings make them sound differently and give them a notable way of expression. But the most important of the music if there is a lyric embeded in it, so that the listener is not only listening to the sounds but the voice as well. The sounds may evoke emotions in us, but voices can clarify them and let us know what the song is about and what attitude we should listen it with.
Classical music pieces often do not contain written lyrics and any voices but sounds, as I have marked it in the lession but they do convey their message via the instruaments and the previous knowledge that we know the title of the song. That really counts a lot in unhderstandig in my point of view.

week 3

As for today, I should say that an orchestra is pretty much of a manageble thing that I didn't consider it before, cause of the alcking knowledge. But its diverstiy as so many individuals play their instruments and the strict way they are madde to do it really makes it a controllable and sustainable level of performance.
That is also a basic when you are about to start a business, wether your performer is able to prooduce the same level and quality of sounds. So the conclusion on my side is that running an orchestra is a costy thing but when sy makes it perfectly, than there is no competition that it should face. So it's worth to think of a symphony and a business to compare and draw conclusions from both of their functioning.

week 2

This week we have discussed the main elements how the music is built up and what factors determine a song, such as rithm, time etc.
The most interrseting part and thing was in my point of view that how those people with wooden sticks could produce such a complex and deeply impacting sound/music. That really took the listener, as for me for sure, to a higher state of listening to music.

First Lession

As we got started with this module, it turned out that it covers a lots of unexpected things, that are to be confessed by myself pretty good ones;) Previously I was a bit afraid of playing music and that we have to sit in a class and do singing. Fortunatelly it was not like that, I do appriciate the approach that the teacher and the school takes that it rather focuses on the managmental studies rather than on the performance. Cause that's what the artists do and the understanding of the whole is that we have to...
so just to compress my blog for the task that I was given to I've picked the genre house, David Guetta: The love is gone.

This song as we can assume from the title is about love as many pop music piece today, but is this a new thing? not at all, I assume that music and love were born with people so that they soonley mixed and merged it. The songs and rythms were given to eroticism and feelings got sounds, so the thing that people gain and lose love is not a new invention.
The basic feelings and instincts of people will be always there in them and therefore we can say that in music as well. No wonder that in folk songs it strongly prevails and as for my knowledge when I turn on the radio set there is also a lot to hear about it in various songs, channels and artists.
The lack of sth is always generates a missing space that might have been imitated by the pan's pipe in our song or just the move of the rithm's speed implies to the emotional waves of the hurt woman.
All in all we almost can feel what the singer sings without listening to the lyrics, making easy to understand the meaning of the whole song.