"Apple has sold its 25 billionth song through its iTunes digital store, and to celebrate the occasion, the company said it is giving the man who purchased the song an iTunes gift card worth about $13,525."
Multi-touch is so last year. Gestures are where it’s at! The new app Flutter works with a variety of music apps and the best part is that you can evade the noise with just the wave of your hand. Check it out!
Do you ever see something on the Internet and immediately think “There’s no way.. right?!” and then you think about it some more and decide you don’t know enough about the technologies involved to question how legit or not it may be. So, ultimately, you accept it. Such is the case with this Reel-To-Reel via iPod demonstration. There’s even a video of the iphone (with Square reader) making the recording. Craziness.
Develop your sensitivity to music. Try to respond esthetically to all sounds, from the hum of the refrigerator motor or the paddling of oars on a lake, to the tones of a cello or muted trumpet…On a more complex level, try to relate sounds to each other in patterns: the successive notes in a melody, or the interrelationships between an ice cream truck jingle and nearby children’s games.
Time is a crucial component of the musical experience. Develop a sense of time as it passes: duration, motion, and the placement of events within a time frame. How long is thirty seconds, for example? A given duration of clock-time will feel very different if contexts of activity and motion are changed.
Develop a musical memory. While listening to a piece, try to recall familiar patterns, relating new events to past ones and placing them all within a durational frame.
If we want to read, write or talk about music, we must acquire a working vocabulary. Music is basically a nonverbal art, and its unique events and effects are often too elusive for everyday words; we need special words to describe them, however inadequately.
Try to develop musical concentration, especially when listening to lengthy pieces. Composers and performers learn how to fill different time-frames in appropriate ways, using certain gestures and patterns for long works and others for brief ones. The listener must also learn to adjust to varying durations.
Try to listen objectively and dispassionately. Concentrate upon ‘what’s there,’ and not what you hope or wish would be there.