Becoming Bilingual Can Give Your Brain a Boost: What Recent Research Has to Say

From the time my daugh­ter was born, my wife and I took her out to restaurants—not to annoy the oth­er din­ers, mind you, she was usu­al­ly very well behaved—but to expose her palate to as much vari­ety as pos­si­ble and social­ize her ear­ly to new and unfa­mil­iar envi­ron­ments. At one estab­lish­ment, dur­ing her sec­ond year, anoth­er tod­dler her age approached us, her moth­er trail­ing behind. “Can we say hi?” the moth­er asked. We said, “of course.” “What lan­guages does your child speak?” the woman polite­ly inquired.

We looked at each oth­er, a lit­tle cha­grined. Par­ents of young chil­dren often play sub­tle games of one-ups­man­ship, whether they mean to or not, and most par­ents fret over whether they’re offer­ing their kids the rich­est learn­ing expe­ri­ences they can.

At that moment we felt slight­ly inad­e­quate. “She just knows the one lan­guage,” we mum­bled, turn­ing back to our menus after a few more pleas­antries. I may have stud­ied Latin for sev­er­al years, learned to read a lit­tle French and Ital­ian and speak enough Span­ish for some halt­ing small talk, but for all intents and pur­pos­es, we’re a mono­lin­gual house­hold.

And accord­ing to cur­rent research on infant brain devel­op­ment, this may put our poor preschool­er at a dis­ad­van­tage to chil­dren who can greet her in two or more tongues. That’s not only because those chil­dren will grow up able to eas­i­ly con­duct busi­ness across coun­tries and con­ti­nents, but also because, Big Think reports, “a new study shows that babies raised in bilin­gual envi­ron­ments devel­op more cog­ni­tive skills like deci­sion-mak­ing and problem-solving—before they can even speak.” The brains of bilin­gual (and trilin­gual, etc.) peo­ple “look and act dif­fer­ent­ly,” the TED-Ed video at the top of the post claims, than those of the mono­lin­gual. (The New York Times puts things more blunt­ly: “Being bilin­gual, it turns out, makes you smarter.”)

Is this real­ly so? Prince­ton Uni­ver­si­ty neu­ro­sci­en­tist Sam Wang explains why it may be in the short Big Think video fur­ther up. Wang and oth­er researchers have acquired their find­ings by con­duct­ing research on some of the most adorable sci­en­tif­ic sub­jects ever. One study, con­duct­ed at the Uni­ver­si­ty of Wash­ing­ton, test­ed 16 babies—half from only Eng­lish-speak­ing fam­i­lies and half from Eng­lish- and Span­ish-speak­ing house­holds. As you can see in the video clip above, the tots were mon­i­tored via a mag­ne­toen­cephalo­graph­ic hel­met designed spe­cial­ly for babies, as they lis­tened to sounds spe­cif­ic to one or both lan­guages.

Lead author of the study Naja Fer­jan Ramirez writes, “results sug­gest that before they even start talk­ing, babies raised in bilin­gual house­holds are get­ting prac­tice at tasks relat­ed to exec­u­tive func­tion.” Her co-author Patri­cia Kuhl elab­o­rates:

Babies raised lis­ten­ing to two lan­guages seem to stay ‘open’ to the sounds of nov­el lan­guages longer than their mono­lin­gual peers, which is a good and high­ly adap­tive thing for their brains to do.

The Uni­ver­si­ty of Wash­ing­ton researchers are but one team among sev­er­al dozen who have drawn these kinds of con­clu­sions about the ben­e­fits of grow­ing up bilin­gual. Both The New York Times and The New York­er sur­vey and link to much of this research. The New York­er also pro­files a skep­ti­cal study by psy­chol­o­gist Angela de Bru­in that under­cuts some of the enthu­si­asm and pos­si­ble over­state­ment of the ben­e­fits of bilin­gual­ism; and yet her research doesn’t deny that they exist. What­ev­er their degree, the ques­tion might arise for anx­ious par­ents like myself: Is there any­thing we can do to help our mono­lin­gual chil­dren catch up?

Nev­er fear, they can still prof­it from expo­sure to oth­er lan­guages, though you may not speak them flu­ent­ly at home. Big Think offers a cou­ple point­ers for rais­ing a bilin­gual child, even if you’re not bilin­gual your­self.

Lots of for­eign words make their way into Eng­lish. You can point out for­eign foods every time you have them, or watch a bilin­gual show with your child. As long as you expose them to the for­eign words in a con­sis­tent way with the same con­text, they’ll reap the ben­e­fits.

Try using a Lan­guage Exchange com­mu­ni­ty, where you and your child can speak anoth­er lan­guage with native speak­ers togeth­er. You’ll both reap the ben­e­fits with con­stant prac­tice.

Every lit­tle bit of expo­sure helps, and no amount of lan­guage train­ing will ever do any harm. “Basi­cal­ly,” writes Big Think, “there is no down­side to being bilin­gual.” The ear­li­er we start, the bet­ter, but there’s no rea­son not to engage with oth­er lan­guages at any age. We can help you do that here with our expan­sive col­lec­tion of lessons in 48 lan­guages. And to learn even more about bilin­gual­ism and its preva­lence amidst rapid­ly chang­ing demo­graph­ics in the U.S. and around the world, see the Uni­ver­si­ty of Illi­nois Span­ish lin­guis­tics pro­fes­sor Kim Potows­ki’s TEDx talk below, “No Child Left Mono­lin­gual.”

via Big Think

Relat­ed Con­tent:

Learn 48 Lan­guages Online for Free: Span­ish, Chi­nese, Eng­lish & More 

Learn Latin, Old Eng­lish, San­skrit, Clas­si­cal Greek & Oth­er Ancient Lan­guages in 10 Lessons

200 Free Kids Edu­ca­tion­al Resources: Video Lessons, Apps, Books, Web­sites & More 

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

What Miles Davis Taught Herbie Hancock: In Music, as in Life, There Are No Mistakes, Just Chances to Improvise

One of my favorite Bri­an Eno quotes, or rather one that became an Oblique Strat­e­gy, is “Hon­or Your Mis­take as a Hid­den Inten­tion.” (Or to be pedan­tic, the orig­i­nal ver­sion was “Hon­or Thy Error…”).

As a teenag­er grow­ing up and try­ing to make art (at that time music and comics) there was no advice more free­ing. It was the oppo­site of what I thought I knew: mis­takes were shame­ful, the sign of an ama­teur or of the lack of prac­tice. But the more art I made, the more I ref­er­enced Eno’s idea, and the more I read and lis­tened, the more I real­ized it wasn’t just Eno. The Bea­t­les left in an alarm clock meant for the musi­cians on “A Day in the Life” and the sound of emp­ty booze bot­tles vibrat­ing on a speak­er was left in at the end of “Long Long Long” (along with tons more). The Beast­ie Boys left in a jump­ing nee­dle intend­ed for a smooth scratch on “The Sounds of Sci­ence.” Radio­head left in Jon­ny Greenwood’s warm-up chord that became essen­tial to “Creep.” (There’s a whole Red­dit thread devot­ed to these mis­takes if you choose to go down the rab­bit hole.)

But those exam­ples relate to the record­ing process of rock music. What about jazz? Sure­ly there’s “wrong” notes when it comes to play­ing, espe­cial­ly if you’re not the soloist.

In this very short video based around an inter­view with pianist Her­bie Han­cock, the mas­ter impro­vi­sor Miles Davis hon­ored Hancock’s mis­take as a hid­den inten­tion by play­ing along with it. It’s both a sur­pris­ing look into the arcane world of jazz impro­vi­sa­tion and a reveal­ing anec­dote of Davis, usu­al­ly known as a dif­fi­cult col­lab­o­ra­tor.

“It taught me a very big les­son not only about music,” says Han­cock, “but about life.”

h/t Jason W‑R

Relat­ed Con­tent:

Watch Miles Davis Impro­vise Music for Ele­va­tor to the Gal­lows, Louis Malle’s New Wave Thriller (1958)

Watch Ani­mat­ed Sheet Music for Miles Davis’ “So What,” Char­lie Parker’s “Con­fir­ma­tion” & Coltrane’s “Giant Steps”

Her­bie Han­cock Presents the Pres­ti­gious Nor­ton Lec­tures at Har­vard Uni­ver­si­ty: Watch Online

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Hear the Vintage Sherlock Holmes Radio Drama, Starring John Gielgud, Orson Welles & Ralph Richardson

Can there ever be such a thing as too much Sher­lock Holmes? Since Sir Arthur Conan Doyle’s cre­ation of the char­ac­ter in 1887, he’s nev­er gone out of style; there are often sev­er­al adap­ta­tions of Sher­lock Holmes—in film, tele­vi­sion, and otherwise—running simul­ta­ne­ous­ly, and I nev­er hear any­one com­plain about Holmes over­load. In fact, Holmes holds the Guin­ness World Record for the most-por­trayed lit­er­ary char­ac­ter ever, with over 70 actors (but alas, no actress­es, yet) play­ing the bril­liant detec­tive in 254 screen adap­ta­tions. And that’s not even to men­tion the thou­sands of detec­tives and detec­tive-like char­ac­ters inspired by Holmes, or his many cameo appear­ances in oth­er fic­tion­al uni­vers­es.

Com­ments sec­tions may quib­ble and snipe, but it seems to me that we’ll nev­er run out of oppor­tu­ni­ties to make more Sher­lock Holmes films, tele­vi­sion shows, video games, ful­ly immer­sive holo­graph­ic vir­tu­al real­i­ty sim­u­la­tions…. But there’s one medi­um that seems to have slowed when it comes to adapt­ing Holmes—and every­thing else lit­er­ary: Radio. (Though sev­er­al pod­casts have picked up the slack.) And as much as we love to see the arch looks on Holmes actors’ faces as they aston­ish and per­plex their var­i­ous Watsons—radio is a medi­um well suit­ed to the dia­logue-dri­ven dra­ma of Conan Doyle’s sto­ries. One clas­sic demon­stra­tion of this is a series of Holmes radio plays that ran from 1939 to 1947 and starred for a time per­haps the quin­tes­sen­tial screen inter­preters of Holmes and Wat­son, Basil Rath­bone and Nigel Bruce.

The New Adven­tures of Sher­lock Holmes, as it was called, took a light­heart­ed approach to the char­ac­ters and, as one review­er puts it, could feel “quite rushed,” with the actors giv­en lit­tle time to rehearse. Although the orig­i­nal series has many mer­its, in the ‘50s, NBC decid­ed to improve upon it, tak­ing the radio tran­scrip­tions of the Conan Doyle sto­ries and re-record­ing them with new actors. Which actors? In many episodes, two of the finest British stage actors of their gen­er­a­tion: Sir John Giel­gud as Holmes and Ralph Richard­son as Wat­son. And in one episode, an adap­ta­tion of “The Final Prob­lem,” the pro­duc­ers found to play their Pro­fes­sor Mori­ar­ty an actor whose voice dom­i­nat­ed some of the most pop­u­lar radio broad­casts of the age: Orson Welles.

You can lis­ten to “The Final Prob­lem” with Giel­gud, Richard­son, and Welles at the top of the post; hear all of the 1950’s New Adven­tures of Sher­lock Holmes episodes (125 in all) just above, and down­load them at the Inter­net Archive. And, fur­ther up, hear thir­ty-two broad­casts of the orig­i­nal New Adven­tures star­ring Rath­bone and Bruce. Like all com­mer­cial media then and now, each episode fea­tures its share of… well, com­mer­cials. But they also fea­ture some very fine voice act­ing and excel­lent music and sound design. Most impor­tant­ly, they fea­ture the genius of Sher­lock Holmes, who will live for­ev­er, it seems, in our imag­i­na­tive media, what­ev­er form it hap­pens to take.

These fine record­ings will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

Read the Lost Sher­lock Holmes Sto­ry That Was Just Dis­cov­ered in an Attic in Scot­land

Down­load the Com­plete Sher­lock Holmes, Arthur Conan Doyle’s Mas­ter­piece

Arthur Conan Doyle Dis­cuss­es Sher­lock Holmes and Psy­chics in a Rare Filmed Inter­view (1927)

Sher­lock Holmes Is Now in the Pub­lic Domain, Declares US Judge

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Hear Rufus Wainwright Sing Shakespeare’s Sonnets: A New Album Featuring Florence Welch, Carrie Fisher, William Shatner & More

How to clas­si­fy the singing-song­writ­ing of Rufus Wain­wright? Pop? Folk? Sure­ly we’ll have to throw a “neo-” or two in there. And we can’t ignore the impor­tance of all things oper­at­ic to the work of this musi­cian who grows more sui gener­is with every album he puts out — and indeed, with every stage pro­duc­tion he puts on. His inter­est in opera dates back to his youth, and as ear­ly as his self-titled 2001 debut we can hear its direct influ­ence in a song like “Barcelona,” whose lyrics bor­row from Verdi’s Mac­beth. Ver­di, of course, was also work­ing with some pret­ty rich inspi­ra­tional mate­r­i­al him­self, and Wain­wright has found an occa­sion to pay more direct trib­ute to William Shake­speare this April 22nd, on almost the 400th anniver­sary of that most influ­en­tial Eng­lish play­wright’s death.

On that date, he’ll release Take All My Loves: 9 Shake­speare Son­nets, an album that finds him, in the words of NPR’s Stephen Thomp­son, “tack­ling the Bard’s work in a grand­ly sweep­ing col­lec­tion of record­ings” fea­tur­ing the tal­ents of “an assort­ment of singers and actors to per­form these 16 tracks, many of which pair rich orches­tral pieces with dra­mat­ic read­ings by the likes of Hele­na Bon­ham Carter, Car­rie Fish­er, and even William Shat­ner.” Yes, Wain­wright has some­how man­aged to bring Star Wars and Star Trek togeth­er — and in the least like­ly of all pos­si­ble con­texts, one in which we also hear Aus­tri­an sopra­no Anna Pro­has­ka, Flo­rence of Flo­rence + the Machine, Wain­wright’s sis­ter Martha, and a fair bit of Ger­man.

Fans of both the ambi­tious and near­ly uncat­e­go­riz­able singer, fans of the (if you believe Harold Bloom) human­i­ty-invent­ing drama­tist, and many in-between will find in Take All My Loves many more feats of musi­cal crafts­man­ship, lit­er­ary cre­ativ­i­ty, and sheer clev­er­ness. And they don’t have to wait until the actu­al anniver­sary (or in any case the day before) to do it. You can hear “A Wom­an’s Face Reprise” (based on Son­net 20, for those play­ing the Shake­speare-schol­ar­ship home game) at the top of the post; “When in Dis­grace with For­tune and Men’s Eyes” (Son­net 29) below that; and for a lim­it­ed time, the entire album avail­able to stream free from NPR, which gives every­one a chance to hear what one of our age’s most inter­est­ing bards has done in part­ner­ship with the Bard him­self.

Relat­ed Con­tent:

Shakespeare’s Satir­i­cal Son­net 130, As Read By Stephen Fry

Pink Floyd’s David Gilmour Sings Shakespeare’s Son­net 18

The Late, Great Alan Rick­man Reads Shake­speare, Proust & Thomas Hardy

A Sur­vey of Shakespeare’s Plays (Free Course)

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Such Sweet Thun­der: Duke Elling­ton & Bil­ly Strayhorn’s Musi­cal Trib­ute to Shake­speare (1957)

Lou Reeds Sings “Blue Christ­mas” with Lau­rie Ander­son, Rufus Wain­wright & Friends

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

A Short Animated History of Zero (0): How It Started in India, Then Made Its Journey to the West

Zilch. Nada. Bup­kis. Yes, I’m tak­ing about Zero (0), a num­ber that seems so essen­tial to our sys­tem of num­bers, and yet it has­n’t always enjoyed such a priv­i­leged place. Far from it.

In this short ani­ma­tion, Britain’s ven­er­a­ble Roy­al Insti­tu­tion traces the his­to­ry of zero, a num­ber that emerged in sev­enth cen­tu­ry India, before mak­ing its way to Chi­na and Islam­ic coun­tries, and final­ly pen­e­trat­ing West­ern cul­tures in the 13th cen­tu­ry. Only lat­er did it become the cor­ner­stone of cal­cu­lus and the lan­guage of com­put­ing.

India, we owe you thanks.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Free Online Math Cours­es

Free Math Text­books

The Short­est-Known Paper Pub­lished in a Seri­ous Math Jour­nal: Two Suc­cinct Sen­tences

The Math in Good Will Hunt­ing is Easy: How Do You Like Them Apples?

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Behold the First Electric Guitar: The 1931 “Frying Pan”

Frying Pan Schematic

The names Leo Fend­er and Les Paul will be for­ev­er asso­ci­at­ed with the explo­sion of the elec­tric gui­tar into pop­u­lar cul­ture. And right­ly so. With­out engi­neer Fend­er and musi­cian and stu­dio wiz Paul’s time­less designs, it’s hard to imag­ine what the most icon­ic instru­ments of decades of pop­u­lar music would look like.

They just might look like fry­ing pans.

Though Fend­er and Paul (and the Gib­son com­pa­ny) get all the glo­ry, it’s two men named George who should right­ly get much of the cred­it for invent­ing the elec­tric gui­tar. The first, naval offi­cer George Breed, has a sta­tus vis-à-vis the elec­tric gui­tar sim­i­lar to Leonar­do da Vinci’s to the heli­copter.

In 1890, Breed sub­mit­ted a patent for a one-of-a-kind design, uti­liz­ing the two basic ele­ments that would even­tu­al­ly make their way into Stra­to­cast­ers and Les Pauls—a mag­net­ic pick­up and wire strings. Unfor­tu­nate­ly for Breed, his design also includ­ed some very imprac­ti­cal cir­cuit­ry and required bat­tery oper­a­tion, “result­ing in a small but extreme­ly heavy gui­tar with an uncon­ven­tion­al play­ing tech­nique,” writes the Inter­na­tion­al Reper­to­ry of Music Lit­er­a­ture, “that pro­duced an excep­tion­al­ly unusu­al and ungui­tar­like, con­tin­u­ous­ly sus­tained sound.”

Like a Renais­sance fly­ing machine, the design went nowhere. That is, until George Beauchamp, a “musi­cian and tin­ker­er” from Texas, came up with a design for an elec­tric gui­tar pick­up that worked beau­ti­ful­ly. The first “Fry­ing Pan Hawai­ian” lap steel gui­tar, whose schemat­ic you can see at the top of the post, “now sits in a case in a muse­um,” writes Andre Mil­lard in his his­to­ry of the elec­tric gui­tar, “look­ing every inch the his­toric arti­fact but not much like a gui­tar.” Giz­mo­do quotes gui­tar his­to­ri­an Richard Smith, who dis­cuss­es the need in the 20s and 30s for an elec­tric gui­tar to be heard over the rhythm instru­ments in jazz and in Beauchamp’s pre­ferred style, Hawai­ian music, “where… the gui­tar was the melody instru­ment. So the real push to make the gui­tar elec­tric came from the Hawai­ian musi­cians.”

Beauchamp devel­oped the gui­tar after he was fired as gen­er­al man­ag­er of the Nation­al Instru­ment Man­u­fac­ture Com­pa­ny. Need­ing a new project, he and anoth­er Nation­al employ­ee, Paul Barth, began exper­i­ment­ing with Breed’s ideas. After build­ing a work­ing pick­up, they called on anoth­er Nation­al employ­ee, writes Rickenbacker.com, “to make a wood­en neck and body for it. In sev­er­al hours, carv­ing with small hand tools, a rasp, and a file, the first ful­ly elec­tric gui­tar took form.” (An ear­li­er elec­tro-acoustic gui­tar—the Stromberg Elec­tro—con­tributed to ampli­fi­er tech­nol­o­gy but its awk­ward pick­up design didn’t catch on.)

Need­ing cap­i­tal, man­u­fac­tur­ing, and dis­tri­b­u­tion, Beauchamp con­tract­ed with tool­mak­er Adolph Rick­en­backer, who mass pro­duced the Fry­ing Pan as “The Rick­en­bach­er A‑22″ under the com­pa­ny name “Elec­tro String.” (The com­pa­ny became Rick­en­backer Gui­tars after its own­er sold it in the 50s.) Although the nov­el­ty of the instru­ment and its cost dur­ing the Great Depres­sion inhib­it­ed sales, Beauchamp and Rick­en­backer still pro­duced sev­er­al ver­sions of the Fry­ing Pan, with cast alu­minum bod­ies rather than wood. (See an ear­ly mod­el here.) Soon, the Fry­ing Pan became inte­grat­ed into live jazz bands (see it at the 3:34 mark above in a 1936 Adoph Zukor short film) and record­ings.

How does the Fry­ing Pan sound? Aston­ish­ing­ly good, as you can hear for your­self in the demon­stra­tion videos above. Although Rick­en­backer and oth­er gui­tar mak­ers moved on to installing pick­ups in so-called “Span­ish” guitars—hollow-bodied jazz box­es with their famil­iar f‑holes—the Fry­ing Pan lap steel con­tin­ues to have a par­tic­u­lar mys­tique in gui­tar his­to­ry, and was man­u­fac­tured and sold into the ear­ly 1950s.

The next leap for­ward in elec­tric gui­tar design? After the Fry­ing Pan came Les Paul’s first ful­ly solid­body elec­tric: The Log.

Learn More about the inven­tion of the elec­tric gui­tar in the short Smith­son­ian video just above.

Relat­ed Con­tent:

The World’s First Bass Gui­tar (1936)

The Sto­ry of the Gui­tar: The Com­plete Three-Part Doc­u­men­tary

Bri­an May’s Home­made Gui­tar, Made From Old Tables, Bike and Motor­cy­cle Parts & More

Oxford Sci­en­tist Explains the Physics of Play­ing Elec­tric Gui­tar Solos

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

A Huge Anthology of Noise & Electronic Music (1920–2007) Featuring John Cage, Sun Ra, Captain Beefheart & More

800px-ElectroComp_EML-200,_etc,_Equipment_for_Electronic_Music_Class

Image by Emi­ly, via Wiki­me­dia Com­mons

If you’ve tak­en any intro­duc­to­ry course or even read any intro­duc­to­ry books on music, you’ll almost cer­tain­ly have heard it described as “orga­nized sound.” Fair enough, but then what do you call dis­or­ga­nized sound? Why, noise of course. And all this makes per­fect sense until your first encounter with the seem­ing­ly para­dox­i­cal but robust and ever-expand­ing tra­di­tion of noise music.

“Mod­ern ‘noise music’ finds its roots in ear­ly elec­tron­ic and indus­tri­al musics,” says Sta­t­ic Sig­nals, which used to review a lot of the stuff. “Where com­posers began expand­ing their vocab­u­lary of sound and instru­men­ta­tion is where the con­cept of ‘noise’ begins: what sounds can pro­duce music and which are pure­ly sta­t­ic or noise? For some, music’s out­er bound­ary is defined by west­ern Euro­pean clas­si­cal instru­ments designed hun­dreds of years ago and the sounds, pitch­es, rhythms they can (clas­si­cal­ly) pro­duce. For oth­ers, no sound, rhythm, tone, or pitch is off lim­its; music can be made by any­thing that can vibrate air.”

The devel­op­ment of elec­tron­ic musi­cal instru­ments — and indeed, any kind of sound-manip­u­lat­ing elec­tron­ic device — came as a great boon to this explo­ration of the bor­der­lands between orga­nized and dis­or­ga­nized sound. You can hear the effects of that sort of tech­nol­o­gy and much else besides in An Anthol­o­gy of Noise and Elec­tron­ic Music, a sev­en-part anthol­o­gy released by for­mi­da­ble Bel­gian exper­i­men­tal music label Sub Rosa, all of it avail­able on Spo­ti­fy (whose soft­ware you can down­load here if you need it). The first two vol­umes are embed­ded above; all sev­en vol­umes can be streamed via the links below. If you dig the col­lec­tion, we’d encour­age you to pur­chase your own copy and sup­port Sub Rosa’s project.

To the noise music-unini­ti­at­ed — and prob­a­bly even to a few of the ini­ti­at­ed — some of the tracks here will sound like music, and some cer­tain­ly won’t. But most of them fall fas­ci­nat­ing­ly in-between the two states, ide­al­ly expand­ing the lis­ten­er’s con­cep­tion of the son­ic ter­ri­to­ry music can explore. Some musi­cal exper­i­ments, just like sci­en­tif­ic exper­i­ments, point in more fruit­ful direc­tions than oth­ers, but each one sheds a lit­tle new light on the musi­cal enter­prise itself. And “the noise,” to take the words straight from Sub Rosa them­selves, “goes on…”

via Ubuweb

Relat­ed Con­tent:

Björk Presents Ground­break­ing Exper­i­men­tal Musi­cians on the BBC’s Mod­ern Min­i­mal­ists (1997)

The Avant-Garde Project: An Archive of Music by 200 Cut­ting-Edge Com­posers, Includ­ing Stravin­sky, Schoen­berg, Cage & More

The Music of Avant-Garde Com­pos­er John Cage Now Avail­able in a Free Online Archive

Hear the Exper­i­men­tal Music of the Dada Move­ment: Avant-Garde Sounds from a Cen­tu­ry Ago

Hear Albums from Bri­an Eno’s 1970s Label, Obscure Records

The His­to­ry of Elec­tron­ic Music in 476 Tracks (1937–2001)

Mr. Rogers Intro­duces Kids to Exper­i­men­tal Elec­tron­ic Music by Bruce Haack & Esther Nel­son (1968)

Hear Sev­en Hours of Women Mak­ing Elec­tron­ic Music (1938- 2014)

How the Moog Syn­the­siz­er Changed the Sound of Music

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch the Titanic Sink in Real Time in a New 2‑Hour, 40 Minute Animation

From the mak­ers of Titan­ic: Hon­or and Glo­rya PC video game that lets you sail aboard a ful­ly detailed re-cre­ation of the RMS Titan­ic–comes an ani­ma­tion that lets you watch the sink­ing of the Titan­ic in real time. Accord­ing to the web site Titan­ic Facts, the ship sank in two hours and 40 min­utes in 1912. And that’s pre­cise­ly how long things take to unfold in the video above. The ani­ma­tion nar­rates the events in a fair­ly straight­for­ward way–nothing like the dra­mat­ic scenes paint­ed in James Cameron’s 1997 fic­tion­al­ized film. But it’s still worth the watch. 

In the Relat­eds below, you can check out two relat­ed clips — a vin­tage clip show­ing footage of the actu­al Titan­ic in 1911, and anoth­er ani­mat­ed reen­act­ment of the Titan­ic sink­ing, this one cre­at­ed by Cameron him­self.

via coudal.com

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Relat­ed Con­tent:

The Titan­ic: Rare Footage of the Ship Before Dis­as­ter Strikes

How the Titan­ic Sank: James Cameron’s New CGI Ani­ma­tion

Titan­ic: The Nazis Cre­ate a Mega-Bud­get Pro­pa­gan­da Film About the Ill-Fat­ed Ship … and Then Banned It (1943)

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