Tablet containing “Akkadian terms written in a Hurrianized manner and enscribed in Ugaritic Cuneiform script” thought to represent a hymn to Nikkal, Moon goddess and patroness of fruit and orchards

Ancient Music specialist Michael Levy performs Dr. Richard Dumbrill’s interpretation of the 3400 year old hymn on a replica lyre.

5:42 video

Hat tip to Roger de Hauteville, who “Got Phoenecian Pneumonia and the Ugaritic Flu.”

Jason Brown, Chairman of the Mathematics Department at Dalhousie University, applies math to solving a musical mystery.

Wall Street Journal

It is here, in a cluttered mathematician’s office, under blackboards jammed with equations and functional analysis, that one of Western culture’s greatest mysteries has finally been solved: Why has no one been able to replicate the first chord in The Beatles’ pop hit “A Hard Day’s Night”? …

Mr. Brown realized he could use a discrete Fourier transform, a mathematical technique for breaking up complicated signals into simpler functions and known as DFT. He used digital equipment to show the chord as a series of numbers, tens of thousands per second, and then applied a DFT to convert the chord into dozens of simpler functions, each representing a single sound frequency.

Mr. Brown knew there is no such thing as a pure tone: Each instrument emits one sound for the note played and then sounds that are multiples of that note’s frequency, as the string vibrates back on itself. Of his dozens of frequencies, some were background noise and some–the ones he wanted to ferret out–were the notes the Beatles struck.

The professor started making deductions. The loudest notes were likely Mr. McCartney’s bass. The lowest had to be the original note played, since a string can generate waves along half or a third of its length, but not twice its length. But no matter how he divvied up the notes, something didn’t fit.

It is well-documented that Mr. Harrison played a 12-string guitar for the recording of “A Hard Day’s Night.” For every guitar note played, there had to be another one octave higher, since his guitar strings were pressed down in pairs.

But three frequencies for an F note were left, none of which were an octave apart. Even if Mr. Brown assumed Mr. Lennon played one F note on his six-string guitar, Mr. Brown still had two unexplained frequencies.

After weeks of staring at six-decimal-place amplitude values, Mr. Brown suddenly remembered how, as a child, he used to stick his head inside his parents’ grand piano to see how it worked. He ran to a nearby music shop, and poked his head inside the Yamahas there.

Sure enough, there were three strings under the F key, corresponding to the three sets of harmonics he had seen. Buried under the iconic guitar chord was a piano note.

Other problems have since yielded to Mr. Brown’s mathematics. Fans have always marveled at Mr. Harrison’s guitar solo in “A Hard Day’s Night,” a rapid-fire sequence of 1/16th notes, accompanied on piano, that seemed to require superhuman dexterity.

Mr. Brown noticed that a piano is strung differently in its lower octaves, with two strings, rather than three, under each hammer. He saw only two frequencies for each piano note in the guitar solo, suggesting that the solo had been played one octave lower than the recorded version sounded. It had also been played at half-speed, he concluded, then sped up on tape to make the released version sound as if had been played faster and at a higher octave.

2:33 video

Stephen Roberts and the King’s College Choir, from St. Paul’s Cathdral, 1:34 video.

Benjamin Ivry addresses Deutsche Grammaphon’s decision to stop recording Yundi Li with splendid indignation.

The question is whether the classical-music market has narrowed to the point where only a Chinese Liberace or “Chopinzee” (to adopt the term that James Huneker used to describe the 1920s exhibitionistic keyboard antics of Vladimir de Pachmann) can survive. Is it possible for fine artistry to coexist at a time when dazzling, if empty, display is exalted? In the era of the ubiquitous Hollywood star pianist José Iturbi (1895-1980), audiences still flocked to see sober, unflashy pianists like Rudolf Serkin or Benno Moiseiwitsch, masterly musicians who would never be mistaken for pop performers.

Deutsche Grammophon’s dismissal of Yundi Li is only the latest in a series of cases where musical achievement does not equal a recording contract. About a decade ago, Sony Classical dismissed the supremely refined Taiwan-born violinist Cho-Liang Lin (b. 1960), according to Mr. Lin himself, because he was unwilling and/or unable to record the quasi-pop “crossover” works that have kept the cellist Yo-Yo Ma on the Billboard charts.

Illustration by Randolph Caldecott (1846-1886)

One of the people on the Fox Hunting email list this morning posted a link to this project Gutenberg edition of the Caldecott Picture Book illustrating the old comic song.

But it’s no fun without the music, so here’s Peter Bellamy singing it, too. 2:37 video

The Fox Jumps Over the Parson’s Gate is one of many examples of popular humor exploiting the irresistibility to man or beast, without respect to age, dignity, or sex, of the impulse to follow hounds after the fox.

Andrew Sullivan commends to our attention this Indian music video, with subtitles attempting to capture its apparently ?English-language? lyrics.

4:39 video

Albert Gore’s life at college was reputedly the inspiration for Erich Segal’s Love Story. One would think that would constitute enough artistic immortality for anyone, but, no! The horror, the horror….

London Times (6/8):

La Scala in Milan has commissioned a musical version of An Inconvenient Truth, the apocalyptic eco-documentary presented by Al Gore, the former American vice-president.

Gore will be replaced on stage by a cast of tenors and at least one soprano as the story of man-made climate change is told. …

The music is being written by Giorgio Battistelli, whose past operas include works based on the Frankenstein story and on the writings of Jules Verne. The composer believes an operatic treament of Gore’s film will allow people to see the dangers facing the world in a new light.

“Opera makes you reflect. Artists make you see things differently,” he said. “When we see a painting by Francis Bacon or a film by Sydney Pollack, we get a very precise idea of the problems of our century.”

The work is scheduled to be performed in 2011 as part of the 150th anniversary of the unification of Italy. “I thought it could be a good idea to deal on this important occasion with a subject that involves not only Italy but the world,” Battistelli, 55, added. “It will be about the tragedy of our present situation. It is a great challenge to write an opera on such an unusual subject. It is certainly not the story of Romeo and Juliet.”

Even the New York Times’ John Tierney is moved to satire.

Dear Mr. Gore,

Thank you for sharing your thoughts on my draft of “Verità Inconveniente.” Rest assured that I and the management of La Scala are committed to a serious presentation of your scientific work. I will try to adopt some of your suggestions, but I hope you appreciate the constraints faced by the composer of an opera that is already five hours long.

I agree it would “round out the résumé” of Prince Algorino in the opening scene if he were to sing about his creation of a communications network. But the “Mio magnifico Internet” aria you propose seems to me a distraction — and frankly out of place in an 18th-century Tuscan village. I believe the peasants’ choral celebration of Prince Algorino’s wisdom suffices to establish his virtues.

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Hat tip to Karen L. Myers.

Contemporary European culture will be manifested in all its glory later today when a new production of Verdi’s Un ballo in maschera opens in Erfurt, Germany.

Telegraph:

A German opera house is to unveil a provocative new production staged in the ruins of New York’s World Trade Centre.

It features naked pensioners and Mickey Mouse masks, Hitler salutes and Elvis impersonators.

The self-consciously outrageous September 11th staging of Verdi’s ‘A Masked Ball’ has been dreamed up by Austrian director Johann Kresnik.

He has described the concoction as a populist critique of modern American society, aimed at showing up the disparities between rich and poor, which attracting a large audience.

It will be a different, a provocative masked ball on the ruins of the World Trade Centre,” he told reporters before Saturday’s premiere. “The naked stand for people without means, the victims of capitalism, the underclass, who don’t have anything anymore.”

Rehearsals suggest that Mr Kresnik’s anti-capitalist staging is unlikely to be celebrated for its subtlety.

Some of the cast are dressed in soldiers uniforms, or in the red white and blue of Uncle Sam, or in day-glow pink Elvis costumes, slashed to the waist. Many, however, appear to spend their time on stage not wearing anything at all.

They include dozens local pensioners, recruited by the opera house in Erfurt, eastern Germany, to appear naked wearing nothing but plastic Mickey Mouse masks.

“It’s a very beautiful, poetic scene,” said Guy Montavon, the theatre’s general manager.

He said that 60 eager amateurs were keen to appear naked before an audience for the premiere, but only 35 made the final cut.

The staging deliberately toys with images that are extremely sensitive both in the US and Germany.

Foreign audiences may find naked singers cavorting in front of the iconic ruined mesh of World Trade Centre metalwork most provocative.

In Germany however, a female singer with a painted on toothbrush moustache performing a straight arm Nazi salute appears particularly conceived to outrage.

The original 1859 production of the opera was sadly impacted by Roman censorship, which forced the change of the opera’s setting from 1793 Sweden to colonial Boston, and reduced the rank of the assassinated ruler from king to colonial governor. One has to hand it to Herr Kresnik. He succeeds in making one feel that there is a definite place in Europe these days for some old-time Roman censorship.

Deep Purple’s Smoke on the Water reinterpreted in Japanese style:

4:32 video

Recently-divorced French President Nicholas Sarkozy has been making headlines dating supermodel and international pop singer Carla Bruni.

International Herald Tribune 2007-12-17

Wall Street Journal 2008-1-25

The WSJ article notes that Carla Bruni has yet to breakthrough in the US (hip hop-dominated) music market, but readers can listen to this 2:26 video of Bruni singing her best-known song Quelqu’un M’a Dit and judge for themselves.

The last time a US liberal president was seeing someone on the side, it was Monica Lewinsky.

The arrival on stage, last June, of Paul Potts, a mobile phone salesman from Cardiff, to compete on the British version of American Idol (Britain’s Got Talent) did not, at first glance, elicit a very enthusiastic welcome from the program’s studio audience or the judges. But when he proceeded to sing the aria Nessun Dorma from Puccini’s Turandot, a moment reminiscent of the climax of 1983 film Flashdance occurred, as members of the audience wiped away tears and the judges came to attention.

4:10 video

He won the competition, receiving a prize of £100,000 and a chance to perform at Royal Variety on December 3rd.

Hat tip to David l. Larkin.

Most of us are familiar with the furniture produced by the 19th century religious cult calling itself the United Society of Believers in Christ’s Second Appearing, better known as Shakers.

Shaker furniture is widely admired, collected, and frequently imitated, as its simple lines and imaginative forms have considerable congruity with modern aesthetics.

I had not been aware, however, previously that the Shakers also produced a variety of peculiar works on paper, including visionary drawings and unique imaginative efforts at the graphical depiction of musical inspiration. The examples here are very curious and strange.

These come from a book produced by the Drawing Center in New York and the Hammer Museum at UCLA, edited by Francis Morin, and titled Heavenly Visions: Shaker Gift Drawings and Gift Songs.

Hat tip to Walter Olson.