John Snyder, Coordinator of Music Industry Studies at Loyola University in New Orleans, launched a website a few years ago to serve as a resource for music industry professionals. ArtistsHousMusic.org was also launched with support from Herb Alpert, legendary recording artist and co-founder of A&M Records.
The website contains a wealth of interesting and educational content, much of it video-based for those of you who would rather watch than read.
Spread the Word!
As a strong advocate for the benefits of music education, I find some recent statistics from the Center on Education Policy disturbing. Since the implementation of the No Child Left Behind it seems that schools are allocating more time to math and English at the expense of other subjects due to pressures to demonstrate results on standardized tests.
Yet I have found in my research that music education has a tendency to keep students involved who don’t feel part of the mainstream, wouldn’t ordinarily be interested in school, or who might have dropped out altogether.
In short, we are cutting back on the programs that actually keep children from being left behind. Oh, the irony.
More on this topic in the weeks ahead, but you can follow this link to read the press release of the CEP’s findings.
Stanley Jordan is a GRAMMY-nominated and groundbreaking jazz guitarist. His unique tapping technique gave the instrument new possibilities, allowing the freedom to generate independent sounds with both hands. Stanley is also a tireless proponent of the power of music, including the field of music therapy.
Here’s an audio excerpt from our conversation regarding the amazing ability of animals to decifer the intracacies of music:
Stanley Jordan’s official website
It seems that vinyl albums are popping up in stores again these days. Indeed, I’ve heard from audiofiles that they prefer vinyl because although CD’s are a cleaner sound in terms of background noise, vinyl has a warmer feel and sound – Like you’re in the studio with the musicians when they were recording.
There were also aspects of the physical nature of the large album cover, photos or posters that were often included, and inserts or extensive liner notes that often accompanied vinyl albums.
Here’s an excerpt from my upcoming book from my interview with Joe Santa Maria, a guitarist/singer/songwriter from Worchester, MA regarding the thril of vinyl:
“I can still remember that Christmas my mother got me the best gift in the world, The White Album,” he said. “The double records and the posters and the pictures. I can still remember coming home from Christmas. I couldn’t play the record. I got it, but then I couldn’t play it [until he came home later that day]. I had to walk around with it all day.”
He added, “Coming home Christmas night and crawling into bed and just looking at The White Album! Like ‘I’ve got The White Album!’ Looking at the lyrics and then just playing it really soft so no one could hear it. And to this day, it’s still my favorite album of all time.”
“That is missing from music now,” he said in reference to the purchase of tangible vinyl as opposed to digital downloads. “I can’t wait to see what the cover looks like, and I can’t wait to flip it over and stare at it while I’m listening to it. The bands don’t have that kind of lure to them. You had no money, so it was a big deal that you bought it. It was so much fun.”