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Rob & Wendy Jacobson

soundtrack of Urgaton's videogame "SpaceMission42", a vertically scrolling space shooter for Android with retro-style gameplay and modern graphics.

A version of the soundtrack for stand-alone listening is available since December 2019.

Jellyfin is the volunteer-built media solution that puts you in control of your media. Stream to any device from your own server, with no strings attached. Your media, your server, your way.

Navidrome allows you to enjoy your music collection from anywhere, by making it available through a modern Web UI and through a wide range of third-party compatible mobile apps, for both iOS and Android devices.

Navidrome is open source software distributed free of charge under the terms of the GNU GPL v3 license.

Sales of vinyl records have been on the rise for years, but according to the RIAA's 2022 year-end revenue report for the music industry (PDF), record sales hit a new high last year. For the first time since 1987, unit sales of vinyl albums outpaced those of CDs, vindicating all the people who have spent decades of their lives talking about how vinyl "just sounds better."

Although vinyl unit sales only surpassed CDs last year, revenue from vinyl records has been higher than revenue from CDs for a while now. In 2022, vinyl albums earned $1.2 billion, compared to $483 million for CDs. The growth in vinyl was more than enough to offset a drop in CD revenue, helping overall physical media revenue climb 4 percent over 2021 (which was already way up over 2020).

Streaming services still account for the vast majority of all music revenue in the US—84 percent, up from 83 percent in 2021. The RIAA says there was an average of 92 million streaming music subscriptions active in 2022, which, together with digital radio and ad-supported sites like YouTube, generated $13.3 billion. The growth of streaming services and physical media comes at the expense of paid digital downloads, which accounted for a mere 3 percent of all music revenue in 2022.

Classics for Kids resources available at classicsforkids.com are provided FREE to all teachers, parents and caregivers. You have permission to use and share these resources for educational purposes.

Andante From Piano Concerto No. 2 In F Major Op. 102
Dmitri Shostakovich

Ignacy Feliks Dobrzyński – Grand Trio in A minor Op. 17
I. Allegro moderato

CUORE PIANO TRIO
Zuzanna Małgorzata Budzyńska – violin
Jadwiga Roguska – cello
Szymon Ogryzek – piano

Sept. 24, 2019, Concert Hall of the Podparpacka Philharmonic in Rzeszów, Poland

The Zyklus' MIDI Performance System allows you to record sequences: 99 polyphonic single-channel sequences, to be exact. These can be organised into groups of 12 sequences which are known as Configurations, of which the MPS allows you to store 24 in its internal memory. Once you've recorded a few sequences and organised them into a Configuration, you can "play" them from a MIDI keyboard and from dedicated front-panel Control buttons. These actions can in turn be recorded into one of 12 Performances. The important point to bear in mind is that the MPS's sequences are totally independent of one another. You can treat the MPS as a 12-track sequencer, but that's only one of countless options available to you, and it's really missing the point.

The Zyklus MIDI PERFORMANCE SYSTEM is a MIDI equipment controller designed to provide an unprecedented level of musical control. It achieves this by allowing the musician to interact with previously recorded MIDI data such as sequences so that complex music can be build up in real time. In a typical setup, the MIDI PERFORMANCE SYSTEM would be used in conjunction with a MIDI master keyboard or keyboard synthesizer, plus up to 64 slave MIDI devices - synthesizers, expanders, drum machines, MIDI-equiped signal processors, etc.

The MIDI PERFORMANCE SYSTEM can be thought of a collection of sequencers, MIDI control boxes and MIDI effects units integrated into a single system. This system is designed so that it can be "played" like a musical instrument in its own right. At its most basic level it is rather like 12 polyphonic sequencers, each of which can be run at any transposition or set of simultaneous transpositions independently of the others, simply by pressing a note or chord on the MIDI control keyboard. 99 different sequences can be stored in each memory bank, of which any 12 can be assigned to the front panel for immediate access together with related control information. These sequences need not consist of repeating musical phrases. They could be single chords, short fast runs which end on held chords, segments of control data such as MIDI program changes, the synthesisers/drum part for an entire song, etc.
In addition to keyboard triggering, sequences can be triggered from a footswitch, an external trigger source or directly from the front panel. The panel controls consist of 40 keys mostly with LED indicator, plus a encoder wheel used for tempo control, editing functions, menu selection, etc. User information is provided by a 40 x 2 backlit LCD with externally adjustable brightness and contrast.

You all will know my motives much better after reading Bill Marshall's own informative article about the issue:

Twenty Five Years Later… (in case you don't have Word program, you could use wordpad)

First, let me begin with my own impression:

Do you rememeber when Yamaha DX-7 came the first time? At the time it was totally new thing, something that you never heard before and there wasn't anything else to compare it's features, so basically you had to hear and see the device yourself before you could understand, experience and see the potential of it.

Could you possibly imagine what the world would have been if the DX7 would have ended up as a flop product that no-one could understand? What if only handful DX7 were produced and then disappeared from the public? Perhaps in such world we would have seen much wider and more perfect analog instruments, with all the features finished to their maximum potential. Perhaps Yamaha would have brought their CS-80 to next level and continued their incredible legacy of ultimate player's and performer's keyboard that acts like real instrument. Even though I'm not the correct generation, but I think, DX7 as a flop product actually could have happened. No-one knew how to program it and there was no much of live controls either. What if Yamaha wasn't able to provide their large palette of presets and users were left with basic "Init" waveforms? Would that been enough make it finito?

I can imagine that, because I have already "seen it". I have seen that world in form of Zyklus MPS-1 - Midi Performance System. At the time, what DX7 was for synthesizers, MPS-1 was for sequencers. MPS-1 represented entirely new way of thinking... a totally new approach sequencing and making music. People couldn't understand it. Even today with all these groove boxes and other things, people can't understand what MPS-1 is capable, mainly because there never were anything else to compare. I can only imagine what the world would have been if MPS-1 could have made even moderate level of success. As Bill said, he expected someone else to continue his visions and innovations but the industry took totally different direction and totally abandoned these all. Even today, the modern industry still makes the usual safe product that will sell for sure, a new reverb or new compressor... or another "studio-in-the-box" gadget.

The problem is that even in this very modern world where technological progression is unbelieveable when comparing to 1988, still we don't see products that can act as a tool for encouraging the actual creative process of creating music. Everything is only about recording, editing and composing music in traditional way but nothing to encourage you to experiment and try new things.

If MPS-1 is still alien in this highly advanced modern world, just imagine it in 1988. Even today people expect easy "analogies". When it comes to sequencers, people still expect them to work like traditional multitrack tape recorders. I surely will have difficulties to describe the potential of MPS-1 without having chances to actually show the process how it works. The situation reminds me of John Cage and his methods. You need to show people that music performance could include weird things like pouring water to bathtub... any sound could be music too.

Original Soundtrack from the movie "The Butterfly" composed by Nicolas Errèra

Over the years, musicians from many diverse backgrounds have put their own stamp on "The Entertainer." I've collected some of my favorites – and a few crazy versions – in this playlist. There's old-school violin elegance from Itzhak Perlman, piano jazz virtuosity from Marcus Roberts and a lilting folk treatment from guitarist Dave Van Ronk. Stepping further afield, try the trippy rendition by dub/reggae artists Sly & Robbie, or the nostalgic, bluegrass-tinged harmonica from the legendary Larry Adler.

now, as I'm revisiting Joplin's legacy with a new album of his piano music – yes, including that famous piece I learned so long ago – I see him standing at a crossroads. He was a product of his time, with ambitions that exceeded it. His music is a total embrace of everything he was made of, and a vision of making something new. He spent his life bumping up against color lines while his work crossed over them. He invented and innovated because he had to. This is a central motif in American music, a truth I take for granted as my lineage and my legacy. And in the end, I choose to see it as something unintentionally liberating and transformative. This is how hybridization happens, how adaptive novelty fuels change, how new languages are invented.

The standard model for players of all ability levels
Features Super Articulation Voices for recreating the natural sounds of acoustic instruments, as well as a rich selection of rhythms to suit a wide variety of musical settings.

Play musical instruments from around the world with richly emotional expression. The Electone is the result of Yamaha's continued pursuit of the sound at the core of that energy.

The STAGEA line is equipped with tone generators with different characters, allowing players to combine sounds to create any sound they could possibly want to play.

The huge range of genres the Electone is able to play means that it is full of rhythms from around the world. The presets reflect ethnic music and the modern music scene, and there is an optimal automatic accompaniment for every rhythm. The ELS-02 has a perfect rhythm for every song you want to play.

In 1954, Christian musician Alfred B. Smith (1916-2001) was enlisted to lead the singing at the Founder’s Week Conference, at Moody Bible Institute, in Chicago. With some five thousand people gathered, many of them experienced singers, Smith said it was like leading one big choir.

At the close of one session, he had them sing Fanny Crosby’s song of faith, All the Way My Saviour Leads Me. What a thrill it was to all, as they sang together in four-part harmony, ending with “This my song through endless ages– Jesus led me all the way.” Smith himself was overwhelmed with that thought, and asked them to repeat the last line, softly, without the accompaniment of the great organ and the two grand pianos–

“Jesus led me all the way.”

God’s people can’t always see clearly how the Lord leads us along, but He does. Of the Israelites in the wilderness the Bible says, “You [Lord] in Your mercy have led forth the people whom You have redeemed” (Exod. 15:13). Through many trials–and repeated failures to trust the Lord–He brought them at last to the Promised Land.

The New Testament says, “As many as are led by the Spirit of God, these are sons of God” (Rom. 8:14). It’s an identifying characteristic of the redeemed: “All who are being led by the Spirit of God, these are sons of God” (NASB). And, “Thanks be to God who always leads us in triumph in Christ” (II Cor. 2:14). Even when we go through times of difficulty and carry wearying burdens, we are on the winning side, and the Lord will lead us through to victory.

But, back to that conference session. It was broadcast over the radio, and listening in that day was another gospel musician, John Peterson. Shortly afterward, he met his friend Al Smith, and mentioned the great personal blessing the singing of Fanny Crosby’s hymn had been, with the repeating of “Jesus led me all the way.” To which Smith replied, “Why don’t you write a complete song, using Fanny’s last line as the title.” And he did.

1) Some day life’s journey will be o’er,
And I shall reach that distant shore;
I’ll sing, while ent’ring heaven’s door,
“Jesus led me all the way.”

Jesus led me all the way,
Let me step by step each day;
I will tell the saints and angels
As I lay by burden down,
“Jesus led me all the way.”

2) If God should let me there review
The winding paths of earth I knew,
It would be proven, clear and true–
Jesus led me all the way.”

The musical instrument Celesta (also called “celeste”), which was invented in 1886 in Paris by Charles-Victor Mustel, has delighted the world of music for over 130 years with its unique sound, and inspires people over and over again. The Celesta became world famous for its part in the “Dance of the Sugar Plum Fairy” from the Nutcracker Suite by P.I. Tchaikovsky, who got to know the instrument in 1891 during his stay in Paris and immediately fell in love with its magical sound.

The extraordinary sound generation with felt hammers, steel sound plates and wooden resonators is still unique today and Schiedmayer Celesta GmbH is the only company in the world that manufactures the Celesta.

In the mid-1700s, Benjamin Franklin served as a delegate for colonial America and spent a great deal of time traveling to London and Paris. During this period, it was quite popular and entertaining for amateur musicians to perform on sets of "singing" or musical glasses. Franklin attended one of these concerts and was intrigued by the beauty of the sound. Almost immediately, he set to work applying the principles of wet fingers on glass to his own musical creation.

Ben Franklin completed his glass armonica in 1761. (Its name is derived from the Italian word for harmony.) He didn't simply refine the idea of musical glasses, which were played much like children at the dinner table play them today, with notes being determined by the amount of water in the glass. Rather, Franklin made chords and lively melodies possible on his new instrumental invention. //

At the time of his death in 1790, when more than 5,000 of them had been built, Ben Franklin had collected no money from his glass armonica. He refused to patent any of his inventions, saying:

"As we enjoy great Advantages from the Inventions of others we should be glad of an Opportunity to serve others by any Invention of ours, and this we should do freely and generously."

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