One chart taught me love / one chart taught me patience / one chart taught me pain / this is amazing / thank u, next / I’m so freaking grateful for these pop-song specs.
We love that Project Sonata’s pitch video is highly informative and makes learning about this strange Japanese synth-voice program, and the global culture around it, interesting and fun. Both the organization’s and the campaign’s message empower female electronic music creators and people who suffer from clinical depression, bipolar disorder, and other mental health issues through the limitless palette of UTAU.
We took inspiration from the concept of crowdfunding indeed. We realized that, in many ways, the best way to help artists fund their projects was to call out their community. Today, fans like to get involved in the music they love, and they want to actively support artists. Musical projects count for 10 to 20% of all crowdfunding projects in France. In the United States, 20% of the Kickstarter projects that reach their objective are musical projects.
Community grants for nonprofits
That’s a tough question! I don’t think that artists necessarily need to be more entrepreneurial. But it is a question of perspective. Some artists make their art for the love of it before thinking about how they are going to sell it. But a work of art is work and all work deserves to be rewarded! I want to help artists who would like to sell their music but just don’t know how to it or who can’t even conceive of the process.
Project Sonata is an American charity that uses the Japanese synthesizer program UTAU to create electronic vocals for its animated avatar, Sonata. Sonata helps raise awareness and funds for the Depression and Bipolar Support Alliance.
Amy is a New York-based actor, singer, and vocal coach who’s worked in a variety of genres, from opera to rock musicals. She is the founder of TheoryWorks and the instructor for both Music Theory for Broadway Actors courses on Soundfly. She’s also a published expert whose articles on music theory for actors have been featured on Backstage (here and here), and an accomplished educator and coach whose students have appeared on Broadway, on national tours, on cruise lines, and in regional theater performances across the country.
I tend to use a faster attack, but I’m not crushing those transients with a ton of compression, so I still keep the dynamics in my mix. If I found I was killing the transients too much and there was no excitement in my mix, I would probably make it a slower attack setting.
“I am very, very happy I found out about Soundfly. Tim was great. Polite, professional, and easy to reach. I have been making beats since 1999 but learned a lot from your course and from Tim.”
Grants for artists of color
György Sándor Ligeti (1923-2006) was a Hungarian composer, active roughly from the 1950s until the end of his life. He has written music in many different forms and for many different ensembles, spanning from works for solo piano to orchestral pieces, chamber pieces, electronics and opera. Some of his music was featured in Stanley Kubrick’s films 2001: A Space Odyssey, The Shining and Eyes Wide Shut. Specifically, his pieces “Atmospheres,” “Lux Aeterna,” “Requiem,” “Lontano” and the second movement from “Musica Ricercata” all appear in Kubrick’s cinema masterworks.
Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.
It’s half-way through 2019 and this year has already been chock-full of great books about music. Don’t stress, we’ll walk you though some of our faves.
In the wake of PledgeMusic’s demise and impending bankruptcy, musician website-building platform Bandzoogle has stepped in to fill the crowdfunding void.
“Bach, in his Ciaccona for solo violin, transforms the dance into an extended soliloquy of tragic character. It sounds entirely unsuitable for a wild wedding, yet the triple rhythm of the original dance is implicit throughout, as is the pattern of a repeating chord progression.”