Indian Music Industry Reaping Benefits Of Digitization:

Making friends with thousands of strangers on a cruise ship is easy when you already have something in common: you all love the same type of music. Past cruises have included John Mayer, 311, Pepper, Rick Springfield, Boyz II Men, Sister Hazel, Lynyrd Skynyrd, Hootie and the Blowfish, Colbie Caillat, Shinedown, Lifehouse, 3 Doors Down, Train, Zac Brown Band, Barenaked Ladies, Guster, and dozens of other artists. Here are several upcoming musical cruises that feature seriously large names in jazz, bluegrass, rock, pop, country, and more on some of the industry’s most well-known vessels. Kid Rock’s Chillin’ the Most Cruise Like him or hate him, one thing is for sure: Kid Rock knows how to party, and so do his fans. In March 2014, Kid Rock’s 5th Annual “Chillin’ the Most Cruise” departs on Norwegian Pearl from Miami to Key West for some craziness on Bourbon Street, as well as the cruise line’s private island in the Bahamas. The beaches of Great Stirrup Cay will be transformed into a “redneck paradise,” so crack those PBR’s open and get ready for let loose. If four nights onboard aren’t enough, there is also an option to book the “pre-cruise party” and stay an extra night onboard before the main events get underway. PRIVATE ISLANDS: The ultimate cruise perk Jazz Cruises Holland America takes the concept of the traditional jazz boats of the Mississippi River to a modern level with a jazz cruise to San Juan, Turks and Caicos, St. Maarten, and a cruise-line owned island in the Bahamas . The week-long “Jazz Cruise” departs from Ft. Lauderdale in January 2014 on the Eurodam with a lineup that includes the Clayton Brothers Quintet, Bill Charlap Trio, Ann Hampton Callaway Quartet, Freddy Cole Trio, Ernie Adams, John Allred, and more than 30 additional performers. For jazz fans on the West Coast who would prefer a sailing closer to home, the same cruise line offers the “Smooth Jazz Cruise” from San Diego this October onboard the Westerdam .

The side banners were raised maybe 10 feet for the second half, yielding a noticeable increase in sonic vividness. The sound was a bit loud, yes, but excitingcertainly far superior to Caruth, a facility better suited to smaller-scale music. Theres room for further experimentation. The program opened with Lintukoto/Isle of Bliss, a 1995 tone poem by the contemporary Finnish composer Einojuhani Rautavaara. Thirteen minutes long, this is frankly voluptuous music, and music director Paul Phillips caressed its phrases lovingly. Rhema McGee supplied a particularly suave horn solo. Both here and in the ensuing Ravel Pavane for a Dead Princess the playing was capable, but, in the student orchestras first concert of the school year, it lacked a bit of finesse that will come with a few more weeks of playing together. Ravels Le tombeau de Couperin got a fine performance, though, with remarkably accomplished contributions from the winds, notably oboist Nora Prener. The Forlane was nicely buoyant, the final Rigaudon crisply alert. (Why were the movements not printed in the program?) The orchestra really came into its impressive own in Scenes and Dances from Manuel de Fallas The Three Cornered Hat. Dance of the Millers Wife had stirring cut and thrust, and The Grapes progressed from frisky to frenzied. The Neighbors Dance had a gentle lilt, the Dance Finale electric excitement. Brittany Harrington was the eloquent bassoonist in The Corregidor. This is music for a ballet, inspired by a 19th-century Spanish novel and composed for Sergei Diaghilevs Ballets Russes. In multi-movement illustrative works like this Ive long wished orchestras would provide the equivalent of operatic supertitles, so audiences know what each section is portraying.

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“For Jaipur, I will bring in an element that highlights royalty..for Ahmedabad I will bring in an element that highlights folk dance..for Kolkata I will bring an element that highlights literature and for Vizag, I will bring in an element that highlights mythology.” At ease on the stage as well as in the recording studio, the Padma Bhushan recipient noted that in India, there is a “considerable gap” that needs to be bridged to be at par with the global live-act scene. Banking on the “professional channelisation” of the enormous talent pool in the country, Rahman envisaged an independent music industry like the film industry. He reckoned film music “is going to be one of the biggest industries in the world.” “In India, we have a pool of talent which requires professional channelisation to make this industry as colossal and independent as the film industry. While India has singers in every street, many of them performing the Carnatic, or classical Indian music variety, the future lies in Indian cinema.” In praise of youngsters making it big in the industry, the prolific composer, however, was wary of the “congestion” that has crept in. “It’s great to see many young guns taking the lead and creating music that was unknown at one point of time. There’s enough room for all,” said Rahman, who insists on singers having a distinct identity. He said: “So with changing lifestyle, music is also revolutionising to connect with the audience. I feel there’s congestion. Just anybody can sing and it’s done just like a fad rather than with dedication. Songs don’t have an identity and you feel who just sang that song? He sounds like someone else.” Loved by audiences for juxtaposing different musical styles, Rahman, who became the first Indian to win the Golden Globe Award in 2009 – for best original musical score in Danny Boyle’s movie “Slumdog Millionaire” – prefers to treat music as a collaboration between Indian and western styles, instead of distinct entities. “There’s nothing controversial in merging two musical styles as long as it is appealing to the ears.