Lionsgate has acquired the rights to “Fascinating Rhythm”, the next film from the director of “Once” John Carney, a musical based on the life of George Gershwin.
Martin Scorsese and Irwin Winkler are slated to produce the film, which Carney is directing and co-writing with Chris Cluess.
“Fascinating Rhythm” is not a biopic but is described as a young woman’s magical journey through New York’s past and present, inspired by Gershwin.
The film is produced in collaboration with the estate of George Gershwin, who provides filmmakers with the rights to American songbook standards such as “Fascinating Rhythm”, “I Got Rhythm”, “The Man I Love”, “Someone to Watch Over Me “,” ‘S Wonderful “and many others. It also includes the sheet music for the song” Porgy and Bess “, which gave” Summertime “,” I Loves You Porgy “and” I Got Plenty O’ Nuttin ‘”, in addition to his classic works“ Rhapsody in Blue ”,“ An American in Paris ”and“ Concerto in F.
Charles Winkler and David Winkler also produce “Fascinating Rhythm” with Scorsese and Irwin Winkler. The film will be overseen by Meredith Wieck and Scott O’Brien of Lionsgate. Bonnie Stylides oversaw the deal for the studio. Endeavor Content negotiated the package and developed the script with Carney and Cluess.
“We’ve been huge fans of all three of these filmmakers for many years, so having the chance to work with all of them on a project is a pleasure for me and the Lionsgate team,” said Joe Drake, president of the Lionsgate Film Group. . “It’s a script we couldn’t wait to read from the moment we heard about it and every page delivered. John’s unique vision and voice completely won us over. It’s enchanting, magical, lyrical and wonderful, and in the hands of these filmmakers, it’s an exciting story and a package that we really wanted. We are thrilled to be a part of it. “
“I couldn’t be more thrilled,” Carney said. “From the moment we went into the market there was a great connection with the project from the entire Lionsgate team. It was inspiring. I can’t think of a better place to do a modern musical story about the greatest American composer to ever live. The whole team is delighted to have found our home.
Gershwin’s life was turned into a fictional biopic “Rhapsody in Blue” by Warner Bros. in 1945. He was nominated for an Oscar for his song “They Can’t Take This From Me,” and died in 1937 of a brain tumor at the age of 38.
Carney is the director of the musical films “Once”, “Begin Again” and “Sing Street”. He also directed episodes of the 2019 series “Modern Love”.
Carney is represented by WME and Casarotto. Cluess is represented by Bruce Brown. Winkler is represented by lawyer Dave Feldman. Scorsese is represented by WME and LBI Entertainment.
Producer DJ Lethal Vybz is preparing to deliver his latest project, the We Ready Rhythm, which is scheduled for official release on May 28.
“The We Ready riddim was created because the artists came together with the same goals and visions in mind and devoted their hard work and dedication to bringing music through the diaspora. It’s a dancehall feeling with a variety of songs, artists and styles, ”explained the producer. Completed after three months of non-stop work, the Rhythm features artists like Skystar, Swickdon and Jstvrr.
“This project will allow artists to reach higher heights, aiming for better quality productions and positive, uplifting lyrics,” said DJ Lethal Vybz.
The beat follows last year’s Damage beat, which also sparked the “Farrin Badness” movement.
“Farin Badness was born from the first riddim I produced last October, Damage riddim, which was a collaboration with Canadian and Jamaican dancehall artists. The main objective was to unite the artists around one goal, which is to showcase Canadian dancehall and a song recorded on the Damage riddim called Foreign wickedness by Skystar and Swickdon, ”he explained.
Originally from Kingston but currently based in Toronto, DJ Lethal Vybz has spent the last few months connecting with artists in Jamaica and Canada to create high quality productions through more innovative methods.
“The pandemic has forced many of these artists to set up home studios, where they will make their own recordings and then email them to me. I then do the mixing and mastering, marketing and distribution from my home studio. This has saved a lot of time and money, ”he explained.
Besides the We Ready beat, the producer is working on the 5th Galaxy beat, which will be a mix of conscious reggae and dancehall.
Colleges and conservatories may still offer courses on harmony (unlike counterpoint), or more likely on “theory” – but music students are lucky everywhere if they get more than a year. full of written “theory” of any kind, and harmony could be part of that. I had two full years of Harmony at university and have made a career studying it since; yet when, in 1978, I revised Walter Piston’s classic textbook, Harmony, after his death, my friend Arthur Komar, a theorist of Schenker (he wrote a short and crystalline book, Suspension theory), asked me: “Why beat a dead horse? Okay, there are a few reasons. What I am proposing here is that harmony involves specific entities, which can actually exist as musical quantities and not just abstract concepts.
The beloved of Claude Debussy Prelude to the Afternoon of a Faun is a particularly illustrative example of “progressive tone”, which I have already spoken about (November 27, 2020). Wildlife, in three formal sections, as Debussy so often preferred, has a palpable tonal structure tightly organized around a single class of pitches, C sharp, and its various harmonic manifestations. The melodic line of the upper voice guides everything, with Art Nouveau sinuosity, from start to finish, almost entirely in the woods and extending barely below middle C. Everyone remembers the solo flute, starting in C sharp, descending to G and returning, twice, then ending with the notes of an E major triad:
The two keys, C sharp minor and E major, are implicit in the paradigm – relative minor and major, with the same key signature. This famous flute melody reappears, varied, as a framing device throughout the first and third sections of the entire work.
At M. 11, it appears with C sharp the seventh above a triad in D major, already tonally distant from C sharp or E. In m. 21, C sharp is a sixth added above the E major triad, which relates to m. 3; this harmony is further diluted to m. 26, where the supporting harmony for C sharp is a major ninth above the E major triad (call C sharp a 13e above low E, if you wish). At M. 31 the melody of the flute is so varied that it no longer even evaluates the flute; it appears on the clarinet, starting with G, with C sharp on bass – the reverse of m. 1-2. By mr. 37 the flute melody and the gravitating C sharp have entirely disappeared.
The central section of the work is a strong D flat major, with an entirely new melody that only loosely clings to this D flat / C sharp. The only trace of the flute’s melody is its phantom, which can be found in the bass at mm. 55-58, D flat in G and back. A dynamic climax, the only one ff in the room (Always lively), arrives at m. 70 and gradually subsides.
The third section of Wildlife starts at m. 79 and marks the return of the flute melody (Movt. from the start) starting not on C sharp but on E – and one of the many geniuses of this work is the appearance of C sharp on bass (under a triad of E major) in m. 81. To m. 86 this passage is repeated in the far distant E flat major – so far, indeed, that the melody is given on the oboe, not on the flute. In the final utterance of the flute melody (m. 100-101, doubled by a solo cello), C sharp is harmonized for the first (and only) time by a true C sharp chord; but the seventh (B) is added to the chord, and the fifth (G sharp), not the root (C sharp), is in the bass – an exquisite attenuation of Faun’s memory, almost but not quite, of this blessed afternoon. The last four bars of the piece give a faint trace of the opening melody, but in E major, with muted horns and violins. C sharp alternates with E and dissolves into the work’s final harmony, a narrow-spaced E major triad. The penultimate is a C sharp minor triad based on the sharp (m. 109), identical in pitch classes with the first chord tone we heard (m. 4).
It is the harmonic structure that makes the Prelude to the Afternoon of a Faun a unique and autonomous form. Debussy had little use for sonatas, fugues, scherzos, variations and all academic stuff; he created his own individual structures. And it is the harmony that keeps them as rigorously refined as a Beethoven allegro or even the Tristan Prelude. (If you don’t fully believe in this slightly technical impetus, play the exx. On the piano, then listen to a record, score in hand, and it will become clearer.)
Note: The examples come from a 1959 recording by the Orchester National de France.
Mark DeVoto, musicologist and composer, is an expert on the music of Alban Berg, Debussy and other composers of the early 20th century. A graduate of Harvard College (1961) and Princeton (Ph.D., 1967), he has published on numerous musical subjects and edited the fourth (1978) and fifth (1987) revised editions of Harmony by his teacher Walter Piston.
The melody of oneness resonates clearly in the music of Bruin Harmony.
After a one-year hiatus from the Spring Sing scene, the 16-person a cappella group is back to perform “Pass On By”, the first original song in Bruin Harmony history. Group president and third-year economics student John Webster said the group felt severely disjointed at the start of the pandemic, but performances like Spring Sing left the singers feeling a rekindled sense of connection.
“We just wanted to try to be as united as possible,” said Webster. “And we knew Spring Sing still does it for us.”
As this year’s performance marks a departure from Bruin Harmony covers, such as Radiohead’s “Creep” from 2018 and John Mayer’s “Gravity” from 2019, Webster said that an original song was a good occasion for both. to bring singers together and push them beyond their comfort zone. Abe Soane, the group’s music director and fourth-year theater student, said he first wrote and composed “Pass On By” with assistant music director Jeong-Soo Park for a class project.
Initially only a duet between the two singers, Soane said they rearranged the song for Bruin Harmony after the band chose it over a cover of Jamiroquai’s “Canned Heat”. Although this is an original composition, “Pass On By” retains some elements of Bruin Harmony’s previous arrangements, such as intricate chords and a climactic song arc, he said.
Lyrically, the song was meant to be about watching a loved one struggle with addiction – drawing inspiration from songwriting by Hozier and Maggie Rogers – but Soane said its meaning had shifted over time. and as the group began to attribute their own meanings to the track. When the group gathered to discuss the play, he said most of the singers performed it like a song about wanting to be with someone when circumstances make it impossible. “Pass On By” has also started to change its sound different compressors were used to give the vocals a vintage and distant quality while time signature changes – changes in the way the music is counted – were added to make the track more dynamic and interesting, said Soane.
“I’m really excited that people are seeing an original a capella song; it just doesn’t happen that often, ”Soane said. “I can’t wait to see how it’s received.
But throughout the year and the song’s learning process, there have been challenges keeping the band intact and motivated, said Duncan McHugh, commercial director of Bruin Harmony. At the start of the pandemic, the third-year economics student said the singers began to drop out of the group, reshuffling the group’s dynamics as additional members needed to be recruited. He said the online competitions have helped morale by giving Bruin Harmony a goal to work towards, and social activities with other a capella groups like Awaken A Capella and Random Voices have been fun.
Importantly, Hugh said the group tries to meet in person as much as possible to maintain the personal bond between the members. He said the performance of Spring Sing, for example, was recorded between Janss Steps, Royce Hall and Powell Library with all 16 members in attendance. The admission of new singers to the fall and winter auditions also prompted the group to work towards the future of Bruin Harmony and ensuring that new members have the same experience as old ones, he said.
“It’s really hard to keep everyone motivated,” said Hugh. “(But) the music is still good, and everyone is looking forward to the next piece of music.”
Whether or not Bruin Harmony wins awards for Spring Sing, Hugh said the group can hold their heads high for their resilience during a difficult time. Despite their inexperience in recent quarters, he said the members of Bruin Harmony had acquired skills in video editing, music production and song mixing by the end of the year, which the group may to be proud.
“We can hang our hats (this year’s Spring Sing) knowing that we have done our best and that our group will be in good hands going forward,” said Hugh.
THE last year has been a difficult time for almost everyone. It has been difficult to stay motivated, let alone thrive under the current circumstances, especially for people in the creative industry.
DJ Bass Agents duo – Chia Khoo Hoong and Nick Chia – speak volumes, talking about their declining luck during this time.
“We had to cancel several shows and tours in the region. Thus, we have lost a large part of our income. It was tough mentally, because we had no way of expressing ourselves. It was hard to stay inspired.
However, this electronic duo managed to turn the tide by channeling all of their frustrations into their art.
First formed in Melbourne, Australia in 2003, Khoo Hoong (who calls himself Mr Nasty) and Nick (Ganjaguru) founded the group out of love for electronic music.
Since then, they have frequently headlined festivals across the country and have won numerous awards such as EDMdroid com # 1 Coolest DJ and their latest # 6 ranking in the Asia EDM Top 10 DJs Awards in 2017.
How did you become a DJ?
We have shared a passion for electronic music since it took off in Malaysia in 1999. Even then we knew it would be the sound of the future. However, we only found our heart when we discovered Hard Dance while studying in Melbourne. We loved it so much and there has been no looking back since.
What are some of the most memorable moments of your career?
The first was how our track Black winter has gone viral among the shuffle community without us realizing it. This was before Facebook existed. We didn’t know it was getting so huge until we played it at our overseas gig and everyone knew the tune and asked for it.
The second would be our recent track, COVID-19[FEMALE[FEMININEwho was released during the pandemic. It went viral with Malaysians and was known as “Kesana Kesini”.
Is there a story behind COVID-19[female[feminine?
COVID-19[female[femininewas something impulsive. We were all stuck at home waiting for the Prime Minister’s speech every day and when we heard this phrase it immediately caught our attention. We thought it would be fun to do a Hardstyle edit just for fun.
However, we have to admit that we were afraid of getting in trouble for this. But we went ahead anyway. Before we knew it, it became the hit it is today!
How do you find the balance between giving the crowd what they want and present something new?
We always try to find the balance between the two. We love to play all the new stuff, so what we would do is mix the fan favorite tracks with the new ones. So there is always an element of surprise in our set.
How to keep abreast of the latest musical trends?
The music is always evolving, even in Hardstyle. We think as long as we stick to our signature style while mixing it with the new sounds, it can create something interesting. Trends come and go, keeping them real will be the best way to go.
What advice do you have for new DJs?
Anyone can DJ these days. However, a common mistake among amateurs is their attitude towards the craft. Without the right attitude, we wouldn’t get far. Stay humble and respect each other because we are together in the same boat.
“Nothing activates the brain as widely as music,” said the late Oliver Sacks, MD, neurologist and author of Musicophilia. He would have known. Sacks documented the power of music to awaken movement in patients with paralyzed Parkinson’s, to calm the tics of Gilles de la Tourette syndrome, and to bypass neural gaps in autism. After her passing, her belief that music can heal the brain continued to gain popularity – thanks, in part, to Gabrielle Giffords.
In January 2011, the Arizona congresswoman survived a gunshot wound to the left temple. Because language is controlled by the left hemisphere of the brain, Giffords was unable to speak. As part of her arduous recovery, she underwent music therapy, which trained her to engage the right side of her brain – pairing words with melody and rhythm – to bring back speech.
“She was able to sing a word before she could pronounce a word, and damaged areas of her brain were bypassed with the music,” says Concetta Tomaino, executive director of the Institute for Music and Neurologic Function. “Now the neuroscience community is saying, ‘Yes, the brain is changing’ and ‘Yes, auditory stimulation can help with those changes. “
Therapy that plays well
Music therapy is used to help victims of severe brain trauma, children with autism, and the elderly with Alzheimer’s disease. For children with attention deficit disorder (ADHD or ADD), music therapy strengthens attention and concentration, reduces hyperactivity and strengthens social skills.
How it works?
MUSIC PROVIDES STRUCTURE. Music is rhythm, rhythm is structure, and structure is calming for an ADHD brain struggling to regulate itself to stay on a linear path. “Music exists in time, with a clear beginning, middle and end,” says Kirsten Hutchison, music therapist at Music Works Northwest, a nonprofit community music school near Seattle. “This structure helps a child with ADHD to plan, anticipate and react.”
[Free Download: Music for Healthy ADHD Brains]
MUSIC ENCOURAGES SYNAPSES. Research shows that pleasant music increases dopamine levels in the brain. This neurotransmitter – responsible for regulating attention, working memory, and motivation – is found in low levels in the ADHD brain. “Music shares neural networks with other cognitive processes,” says Patti Catalano, neurological music therapist at Music Works Northwest. “Through brain imaging, we can see how music illuminates the left and right lobes. The goal of music therapy is to build these activated brain muscles over time to help general function.
Just as Giffords used music to retrain his right brain to help him speak, children with ADHD can use music to train their brains to focus and become more in control in the classroom and at home.
MUSIC IS SOCIAL. “Think of an orchestra,” says Tomaino, a 30-year music therapy veteran. “If an instrument is missing, you cannot play the song. All “voices” are needed. That’s what Hutchison teaches in “Social Skills Through Music,” an eight-week course for children ages 7-10. Students participate in ensemble play, collaboratively write songs, and practice for an end-of-term performance.
“Students take turns listening to anticipate changes and pick up signals in ways they might not do outside of a music therapy session,” Hutchison explains.
[Read This: Rhythm Notion: 10 Benefits of Music for ADHD Brains]
What if certified music therapists were hard to find in your city? Or is the cost of music therapy too high? (The eight-week “Social Skills” program costs $ 224.) Here are some effective, everyday ways parents can use to harness music to help their children.
Turn off the television
“Kids with ADHD take care of everything,” Catalano says. “They are more sensitive to auditory stimulation and less able to tune things [like television]. “Replace the chatter of Adventure time with the soothing rhythms of music. Tomaino suggests experimenting with different styles, tempos, and artists to see what calms or wakes your child. Play as Miles Davis making dinner, The Beatles doing a puzzle, or Beethoven doing the dishes – and watch how your child reacts.
Set the mood
Hearing songs at various rhythms can slow down or speed up your child’s mental and physical processes. By carefully selecting songs, says Tomaino, you can trigger an intuitive neurological response that your child doesn’t know they have. Lady Gaga makes your daughter move? Play it after school to burn off excess energy. Is Moby slowing his pace? Play it before bed to start daily relaxation.
“Rhythm, melody, and tempo are tools used to target non-musical behaviors, to catapult changes throughout the body,” says Rebecca West of the Music Institute of Chicago. “A change of pace can trigger a reaction in the brain: ‘Oooh, something has changed; I have to pay attention !’ You can lower the tempo to stimulate slower movements or increase the melody to trigger pleasure.
Create a playlist
“Wash your face. Brush your teeth. Get dressed. Have breakfast.” Of course, you can write down each step of your child’s morning routine and stick it on the bathroom mirror. Or you can download, create, and chain songs in a morning playlist that gets him moving and reminds him to stay focused on his task.
When Raffi’s “Brush Your Teeth” hits its final mark, he’ll know it’s time for a wardrobe change. And when Justin Bieber kicks in, it’s time to take those socks off and find the Nike’s. Better yet, write a song to dress up with your child and sing it together every morning until it becomes second nature.
“Music facilitates multi-step processing when deficits in executive functions can make things difficult,” says Tomaino.
Hit a drum
“When I work to get a child’s attention, I sit next to him with a drum,” explains Catalano. “I play a rhythm with clear sentences, the child repeats it, and we add rhythms each time. I ask him to listen, pay attention and control his impulses. I also show him that his turn is worth the wait.
Parents only need an overturned pot, a wooden spoon, and a sense of humor to try this at home. Or use a microphone hairbrush if you prefer to take turns singing Katy Perry. At the very least, making music together will show your child that you love harmony too. And it can’t hurt.
Don’t be critical
Your child may insist that Metallica help him study. You may prefer Bach, but that doesn’t mean he’s wrong.
“Why are we drawn to one song or one symphony over another? It’s a complex and personal brain function that is immeasurable, ”explains Catalano.
Some children with sensory processing disorders prefer silence to music. But many people with ADHD say the rhythm and background melody helps them focus. What is broadcast in these headphones does not matter as much as its impact. If Eminem helps him concentrate, so be it.
“I’m more likely to concentrate in a busy cafe with headphones than in a library,” says Temple University student Carl O’Donnell. “Like people who use noise machines to fall asleep, I use music to concentrate.”
[The 8 Best Songs for Music Therapy]
Our American Idol
James Durbin does not have ADHD. But growing up with both an autism spectrum disorder, formerly known as Asperger’s syndrome (SA) and Tourette’s syndrome, he suffered from involuntary facial tics and debilitating social skills that made him a punching bag for bullies.
“I was teased, bullied and harassed for being different,” said Durbin, the third runner-up in the 2011 season. American Idol. “Music was my shell. Inside, I could make a world as happy or sad as I wanted, and no one could tell me otherwise.
Although he loved and mastered music from an early age, Durbin didn’t learn to perform with others until he joined Kids on Broadway, a community theater troupe from his hometown of Santa Cruz, Calif. . When he landed the lead of a 2006 production of Fat, Durbin spent the rehearsals avoiding eye contact and holding back the rages. Five years later, he was playing solos and group numbers for nearly 20 million American Idol viewers every week.
“I learned a lot about myself and it made me stronger,” says Durbin of his teenage years in community theater and music education. “For me, the answer was music. But I say seek yourself, seek the world and find what you like – that’s what will ease the pain.
The platform offers an opportunity to reduce the burden of lifelong open heart surgery these patients face, says Thomas K. Jones.
Updated data from the Pivotal and Continuous Access studies on the Harmony Transcatheter Pulmonary Valve (TPV) show sustained safety and efficacy of the device for 1 year in a cohort of patients with no other transcatheter option.
The conclusions follow the United States Food and Drug Administration Approval the Harmony System (Medtronic) in March as the first non-surgical heart valve to treat pulmonary valve regurgitation in pediatric and adult patients with a native or surgically repaired right ventricular outflow (RVOT) port. It is intended for patients with valve disease secondary to congenital heart disease (CHD). Six-month results for the Harmony TPV were published last year at the meeting of the Society for Cardiovascular Angiography and Interventions (SCAI).
“Unlike any other TPV, this new technology is designed to expand into the expanded RVOT in these patients while simultaneously deploying an appropriate bioprosthetic pulmonary valve,” Thomas K. Jones, MD (Seattle Children’s Hospital, WA), who has showcased this week’s latest findings at SCAI 2021, said in a press release. “The Harmony TPV system has the potential to fundamentally change the lifelong management of patients with coronary artery disease from now on. “
Before this valve was available, patients with extensive pulmonary valve regurgitation, RV dysfunction, and symptoms were referred for surgical pulmonary valve replacement or homograft RVOT conduit implantation, Jones explained at the meeting. ‘a press briefing before SCAI. “This remains vitally important therapy, especially in the younger patient population,” he told media. “But in the adolescent and adult population, these are all patients who have already undergone open heart surgery, and therefore having a transcatheter alternative such as the Harmony valve is very well received by referring physicians and patients.”
Long duration imagined
Additional data includes 67 patients who were successfully implanted with the Harmony valve and discharged — 31 in the pivotal trial with at least 1 year follow-up (mean 21.7 months) and 36 in the study. continuous access.
At 6 months, 91% of patients reported no or evidence of pulmonary valve regurgitation, while 6% reported mild and 3% reported moderate form. At 1 year, however, pulmonary valve regurgitation was non-existent or non-existent in all patients. Likewise, paravalvular leakage was zero / trace in 94% of patients at 6 months and in 100% at 1 year.
Clinical outcomes were good throughout one year, with the most common events being ventricular tachycardia (19%) and premature ventricular beats (10%). No deaths or cases of endocarditis, stent fracture, embolization, thrombosis or MI were reported and no surgical explant or repair of the device or RVOT was required for 1 year . During their initial procedure, one patient underwent valve-in-valve implantation of the Melody device (Medtronic) after receiving Harmony and another underwent balloon angioplasty of the distal device; both are still doing well, according to Jones.
Our hope is that 20, 30 years, or maybe more, will be achievable with this technology. Thomas K. Jones
The researchers plan to follow all patients for 10 years. The Harmony device, which will likely have as good durability as existing transcatheter valves, leaves open the possibility of future valve-in-valve procedures down the line, Jones said.
“These patients have experienced this burden and continued risk of repeated surgeries throughout their lives to replace these dysfunctional valves,” Jones told TCTMD.
“This platform allows us to avoid this very first open heart operation for the installation of a pulmonary valve. Instead, we ship the Harmony valve, and then in the future this valve platform with its expandable nitinol frame can accommodate at least one and possibly multiple transcatheter valves, ”he said. “This provides the opportunity for a patient who needs a pulmonary valve to have a Harmony valve implanted, and then maybe spend another 10 years or more with that valve, and then have a transcatheter valve afterwards. Our hope is that 20, 30 years, or maybe more, will be achievable with this technology. “