Knights and Film Music
February 27, 2009
Today I publish a new music track, inspired by knights, chivalry, code of honour, battles and dangerous wilderness exploration. This is a demonstration of my talent with orchestral arrangements.
Knights and Film Music
The Knight is an elite warrior sworn to uphold the values of courage and honour.
Knighthood was characterized by two elements, feudalism and service as a mounted combatant. Both arose under the reign of the Frankish emperor Charlemagne, from which the knighthood of the Middle Ages can be seen to have had its genesis.
Knights were trained in hunting, fighting, and riding. They were also trained to practise courteous, honorable behaviour, which was extremely important.
This behaviour was a Code of Honour, made of solemn oaths, like to protect the people and to live by honour and for glory.
Danger was part of a Knight’s life, and you can feel dangerous surroundings in this orchestral demo.
Part of the track is from the music soundtrack I’m composing and producing for the Nintendo DS videogame Baalzebul. It is an innovative fantasy role play game. The first playable demo will be completed soon.
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Astronauts and Funk Music
February 26, 2009
Today I create a new category, named 2009 Music Demos, where I’ll publish totally new music tracks made with the latest gears but with the same talent behind: myself :)
These tracks are demonstrations of my skills and creative ideas and in each post I’ll explain the inspiration that moves them, the images I would like you to see while listening to them and the feelings.
Astronauts and Funk Music
This first post is dedicated to big 80s space operas, movies, novels and sci-fi culture. This is also a trip to old good 80s with their catchy rhythms, synths and guitars.
This first demo starts with a space choir, an opening orchestra and choir theme, I can say epic and grand, that creates images of galaxies, shuttles, astronauts and the infinity of the universe.
The choir evolves into a rock instrumental piece, with 80s synth effects that add a spacey feel to the entire track. I can name it “space rock”.
The next style is jazz, a universal style that will never end to please our ears, today, and in the next centuries.
Synths are back in an 80s pop mix, while a really catching funk part ends the demonstration, making us really uplifting and excited.
I dedicate this music work to Richard Garriott, Lord British in Ultima and significant figure in the video game industry.
On October 12, 2008, Garriott launched aboard Soyuz TMA-13 to the International Space Station as a self-funded tourist, returning safely 12 days later aboard Soyuz TMA-12.
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Phat Funky Road There are many songs named Funky Road. If you search on Internet you'll find so many, but no one is named Phat Funky Road. Why Phat? Because in this new track I blend Funk ideas with Rock and harder rhythms. Well, not so hard, not exactly my style, but I...... -
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To the audience of music
February 22, 2009
Gunnar Colding is a former professional cellist who for 25 years has been employed by chamber orchestras as well as symphony orchestras of Sweden. This is an exceptional article he wrote for us.
To the audience of music
There was recently given a concert in New York mainly consisting of works by Mozart. When a soprano afterwards would perform some songs by Webern (music soon a hundred years old but Atonal) the audience BOOED her out! OPUS, the leading musical magazine of Sweden, therefore put the question, why Swedes don’t boo at concerts.
The short answer is simple. They are brought up not to, and whoever violates the pattern therefore risks “making a fool of himself”. The longer answer is somewhat more complicated, but still logic to those who have the energy to look a little deeper into the crystal ball.
All avant-gardists who have advanced to some level live in some kind of symbiosis with the culture knowledgeables of the media. Together they form a hype and a trademark. This trademark is in most cases equivalent to the personal name of “the artist”. After a number of times in the limelight they are suddenly celebrities.
Then it’s especially important to remember, that this celebrity status has only been reached by “State sponsorship” and clever (culture) lobbyists who all pull in the same direction tonally. All this, however, has been done over the heads of the audience, which, at a first night, has no choice but to join in the collective ritual of applauses.
The only alternative would be to boo or to refuse to applaud, that is civil disobedience, which most people lack the civil courage to carry through in for instance a direct transmission. If the audience would be disinterested, it wouldn’t come to a first night at the town concert hall? Oh yes, it certainly would.
The programme committees always place the new work together with great acknowledged music on the same concert. So the audience gets force-fed in the same way as by water chlorination. The audience has no possibility to drop the newwritten piece by going home in advance, although they would want to. For then they would miss also the rest of the repertoire for which they bought an expensive subscription!
Certainly there are many who are curious about “novelties”, but how many would return, if the work is given a second or a third time, to a separate concert, without tickets paid for in advance? If in spite of all the audience would hear this novelty one more time, it would for sure be allocated by quotas by some State financed institution or commission, for instance the music radio channel, only acclaimed by the Modern Music Ghetto people themselves.
Just look at for instance the statistics of the radio Concerts by Request for the last 30 years. In this sole instance, where the audience decides the programme, yours truly can not recall one single Atonal work, although it must have occurred in later years, as a particular exception…
European and especially Swedish musical audiences have thus become reduced to a kind of “cattle voice”, the acclaim of which seldom marks the quality of a piece. The applauses have become more concerned about the celebrated soloist, conductor or symphony orchestra and their performances!
To complete the hypocrisy, all reviewers then write about “standing ovations” and “the critically acclaimed work” etc. etc. Do you think they ever disclose, that the “voluntary” demand in the record shops by the audience is completely absent? All contemporary known composers have lobbyists and pushers everywhere in every single musical institution. Together with the media they constitute today a formidably heavy group.
They have succeeded in the trick of forcing commissioners to also view the matter as an issue of equality between Atonal and Tonal music! At the same time the audience is indirectly accused of being rigid and to have prejudices that have to be broken. So, all natural processes of selection have been eliminated, just like they are in the world of the wars between the sexes by quota allocation.
By this system and evolutionary science, nothing will then be created fit for life. Men and women do have most in common in their constitution and are therefore of equal value as human beings. This is so to say scientifically proved. But it is equally scientifically proved, that the language of the Atonal music has nothing in common with its Tonal counterpart!
Atonal music lacks a grammar understandable to the ear. Therefore everything sounds like undefinable dissonances with no possibility of memorization. Tonal music (pop and classical) on the other hand has a very well defined grammar consisting of major and minor keys, which can be perceived by anyone except the deaf.
In that kind of music both consonance and dissonance are intermixed according to an accepted grammar. In a study from ”Brain – A Journal of Neurology” the researchers even arrived at the conclusion that only brain-damaged people could have preferences for music mainly consisting of dissonances.
Contrary to what avant-gardists with interpretation monopolies advocate, the Tonal music language is neither culturally nor socially determined. Preferences to Tonal music have, hark well, a purely biological explanation in the brain.
This has been easily proved by studies in babies and animals, after which a highly merited fundamental researcher in psychology (Diana Deutsch, USA) proved already in 1983, that not even normal, grown-up musicians’ brains could ”process” Atonal music.
Therefore I hereby nominate the modern “Atonal sect” to one of the most arrogant groups ever within culture.
All necessary research, analysis and background to these claims are presented in the book “Reverse Polka, or, Cheated of the Music”. (Yet only published in Sweden: “Baklängespolkan går eller Blåst på musiken”)
The painful thing is, that even without pressure groups, the works of the dead Tonal composers remain a hundredfold more alive than the works of their modern “colleagues”.
Classical music has only diverse “Societies” that run a sort of internal activity of meeting and sharing mutual interests.
That music has no other “pushers” than Unorganized private consumers without “votes”, commonly called the audience. My question to the modern State quota people: For whose benefit are you working? For the benefit of the audience or for the benefit of all potentially unemployed “composers”? I already know the answer. You only work by instructions “from above” as they vaguely call it…
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