Over the course of December 2008, we rolled out a month of exclusive previews on some of 2009's biggest games (and a few smaller ones). It wasn't designed as a comprehensive list of everything coming out in 2009, nor a list of our most anticipated games, but rather a countdown of of exclusive previews highlighting many of the year's most promising titles.
* Heavy Rain (PS3)
* Infamous (PS3)
* MadWorld(Wii)
* Wolverine(360, PS3)
* GTA: Chinatown Wars (DS)
* Alpha Protocol (360, PS3, PC)
* Prototype(360, PS3, PC)
* Prinny: Can I Really Be the Hero? (PSP)
* Star Wars: The Old Republic(PC)
* Wolfenstein (360, PS3, PC)
* Noby Noby Boy (PSN)
* Splatterhouse (360, PS3)
* Trine (PSN, PC)
* The House of the Dead Overkill (Wii)
* Bionic Commando (360, PS3, PC)
* The Sims 3 (PC)
* Batman: Arkham Asylum (360, PS3, PC)
* Dragon Age: Origins (PC)
* Diablo 3 (PC)
* DarkSiders: Wrath of War (PS3, 360)
* Darwinia + (XBLA)
* Muramasa: The Demon Blade (Wii)
* Tenchu: Shadow Assassins (Wii)
* StarCraft 2 (PC)
Tuesday, October 27, 2009
TOP FIFTY MOVIES OF 2009
50: The Pink Panther 2 (February 2009)
Moviegoers might well be tempted by the impressive cast lining up for this wholly unnecessary sequel to a completely superfluous continuation of the once mighty comedy franchise. Steve Martin, Jean Reno, John Cleese and Andy Garcia may be acting greats, but for signing up to this they should hang their heads in shame.
49: Friday the 13th (February)
Back to Camp Crystal Lake again. The twelfth (couldn’t they have made it 13?) Friday the 13th movie is apparently a remake of the first film in the venerable teen slasher series, so long-time fans will have a fair idea what to expect. Probably not the ideal date movie for February 14.
48: Red Sonja (No release date announced)
Despite months of rumour about a new Conan movie, it’s his female counterpart Red Sonja who seems to be returning to the big screen first. There's some confusion about a release date for this film although the generally reliable IMDB has it hitting screens in late 2009. Planet Terror and Sin City director Robert Rodriguez re-teams with Grindhouse alumna Rose McGowan, who seems a somewhat unlikely choice as the Xena-type who fights her way across a sword-and-sorcery Hyborian landscape wearing as little as the censors will allow.
47: Night at the Museum 2: Battle of the Smithsonian (May)
A repeat of 2006’s ‘museum comes to life’ cameo jamboree with more or less everyone except Robin Williams back at the end of May to ham it up for the entertainment of young and undemanding cinemagoers. The film will need something very special in terms of advance reviews to give it any commercial visibility in what promises to be a very busy month at the movies. Ben Stiller, Amy Adams, Owen Wilson and Ricky Gervais are already crossing their fingers.
46: Fast & Furious (June)
Fourth in the franchise but (and pay attention, there will be a test) occupying the number three slot in the series narrative, the movie will take the story back to its very beginnings. Paul Walker and Vin Diesel reunite in the franchise that inspired a million minor motoring offences.
45: Spy Hunter (no release date announced)
Video game adaptations are rarely beloved of the cinema cognoscenti and there’s little likelihood that Spy Hunter will break that honourable tradition. The game is a fairly routine ‘heavily armed spy and supercar’ adventure distinguished only by a voice and motion capture contribution from Dwayne "The Rock" Johnson who, one imagines, must be favourite to play the lead in what we can safely assume will be an undemanding popcorner. Englishman Paul WS Anderson, of Alien vs Predator and Resident Evil fame, is slated to direct.
44: Nine (December)
In a year packed with remakes, this is perhaps the bravest of all: taking on Fellini’s hugely influential 8½ but going just that little bit further, it’s the behind-the-scenes story of an Italian movie director featuring a stellar cast (Including Nicole Kidman, Daniel Day-Lewis, Sophia Loren, Penelope Cruz and Dame Judi Dench), some of whom will be singing. The purists will be furious, the rest of us merely sceptical. Mamma Mia it isn’t. IMDB entry Fellini’s 8½:
43: Knowing (March)
A teacher (Nicolas Cage) opens a time capsule that has been dug up at his son's elementary school; in it are some chilling predictions -- some of events that have already occurred and others that are about to -- that lead him to believe his family plays a role in the events that are due to unfold.
42: Them (no release date announced)
Them, a recently announced feature to be directed by Sean of the Dead and Hot Fuzz’s Edgar Wright, is not, as far as we can tell, an update of the hoary old giant ant chiller but a fictionalised adaptation of Jon Ronson’s investigative book about the shadowy conspiracies that operate behind our notional governments. Unless it turns out that the Illuminati and the Bilderberg Group actually are all enormous ants.
41: Ninja Assassin (no release date announced)
Few star names – unless you remember Korean pop star Rain from the Wachowskis hallucinogenic Speed Racer – feature in this standard ‘assassin rebels against his masters’ tale. The title alone though promises to give Ninja Assassin that internet-friendly Snakes on a Plane appeal that should ensure a decent performance at the box office.
40: The Proposal (August)
A rom-com based on the morally rather questionable premise of a book editor (hence the title) forcing one of her subordinates to marry her so that she can gain US citizenship. Sandra Bullock is probably due another hit, and Malin Akerman still be surfing on the huge wave of excitement about Watchmen will but whether audiences will buy this rather dubious plot (remember Green Card?)
39: Planet 51 (November)
A classic 1950s B-Movie plot – alien lands among the white picket fences of a fearful, simple small-town community. The twist is that the alien is an Earthly astronaut and the small town folk are little green men. A promising CG-animated caper for younger cinemagoers in the 2009 Christmas holiday.
38: The Box (March)
Set, apparently, in the Seventies, The Box is the story of a young married couple who are given a mysterious box that has uncanny, deadly powers. Somehow connecting time travel, the 1976 Viking Mars lander, teleportation and kipper ties. With former X-Man James Marsden, the always watchable Cameron Diaz and the sinister presence of Frank Langella it’s an intriguing prospect indeed.
35: Underworld: Rise of the Lycans (January)
Rhona Mitra takes over from Kate Beckinsale as the female lead in the third instalment of the Vampires versus Werewolves saga. A prequel, it’s set before the birth of Beckinsale’s character, neatly sidestepping complaints about the regrettable absence of her PVC clad form. Unlikely to attract quite as many cinemagoers as its predecessor, it might still fill a dull winter’s evening.
36: Creature from the Black Lagoon (no release date announced)
Little is known so far of this planned remake of the classic 1954 creature feature which is to be helmed by Sahara director Breck Eisner. Bill Paxton is rumoured to be leading the team, which discovers a hitherto undocumented amphibious humanoid in the depths of the South American jungle. In keeping with the current remake mania, Eisners next project is expected to be a new version of Flash Gordon.
35: G.I. Joe: Rise of Cobra (August)
G.I Joe is a bigger name in the US: the toy line that we called Action Man gave rise to a popular 1980s cartoon series and long-running comics franchise. Without the solid bed of nostalgia that will give it a running start in its homeland, the movie’s appeal over here stands or falls on its star director – Stephen Sommers from the enjoyably silly Mummy films - and stellar cast, including Christopher Eccleston and Sienna Miller as well as Sommers’s old Mummy pals Brendan Fraser and Arnold Vosloo. If August 2009 is as much of a washout as 2008’s, summer legions of staycationers will be flocking to cinemas looking for some easygoing escapism, and this might just be it.
34: Fanboys (February)
The long-delayed comedy which sees a group of rabid Star Wars fanatics attempting to steal an early print of The Phantom Menace for their dying pal finally gets a release early in 2009. A version of the movie with the cancer-stricken fan removed nearly made it to cinemas in 2008 but was met with a vast internet campaign that demonstrated the awesome power of the fanboy. We’re assured that the movie will finally be released in early 2009.
33: Inkheart (January)
Brendan Fraser, fast becoming Hollywood’s go-to guy whenever kiddie-friendly action is required, joins with Andy Serkis, the man behind Gollum and King Kong, in this umpteenth attempt at the now-traditional ‘storybook miraculously comes to life’ plot. A little early for the half term crowd, but Fraser’s undeniable charm should bring in a few viewers.
32: The Surrogates (December)
A promisingly thoughtful sci-fi concept. Humanity is housebound and relies on remote-controlled drones to handle all the outdoors work. Bruce Willis stars as a futuristic detective investigating the apparent murder of these ‘surrogates’alongside former Bond Girl Rosamund Pike and charismatic bruiser Ving Rhames
31: The International (February)
What could be more timely than a drama about the international banking system? Clearly, the producers didn’t appreciate the serendipity because it was delayed while additional, more action-packed, scenes were added. Will the world be tired of hearing about bankers by February? Naomi Watts and the thinking woman’s action man Clive Owen rather hope not.
30: The Wolf Man (April)
We’ve had modern takes on Dracula, Frankenstein’s monster and The Mummy, so it was only a matter of time before The Wolfman was disinterred for another howl around the moors. More important than star Benicio Del Toro will be the inclusion of everybody’s favourite wolfman, makeup supremo Rick Baker who provided the eye-popping transformations in American Werewolf in London and The Howling. Anthony Hopkins turns up as the unfortunate lycanthrope’s father. Art Malik and Hugo Weaving will also be along for what promises to be a dark and disturbing ride.
29: The Spirit (January)
Will Eisner was one of the first comics writers to achieve personal fame and his best known creation, The Spirit, is considered by aficionados to be one of the great heroes of comics’ Golden Age. It’s surprising that we’ve had to wait this long to see the lighthearted Noir detective on the big screen. The director who has brought The Spirit to life is Frank Miller, himself a star comics writer (he wrote 300 and completely reinvigorated the industry in the 1980s with his Dark Knight Batman miniseries). Featuring Samuel L. Jackson, Scarlett Johansson and Eva Mendes the movie is shot in the same stylised hyper-realistic way that characterized Miller’s previous movie, Sin City. The Spirit is unlikely to break out of the fanboy demographic, but should provide undemanding comic book thrills in the long, cold weeks before Watchmen appeared
28: A Perfect Getaway (March)
A complex twisty-turny chase thriller filmed in Puerto Rico but set in Hawaii and starring Milla Jovovich and, in a rare lead role, Hitman star Timothy Olyphant. Ideal for movie fans who like to be kept guessing until the final scene, it’s about a honeymooning couple pursued across the picturesque island by a pair of relentless killers. Expect the unexpected.
27: The Birds (no release date announced)
Few details are available about this re-make of Hitchcock’s strangest movie. Naomi Watts is reputedly playing Melanie Daniels, the mischievous socialite portrayed byTippi Hedren in the 1963 film, and there’s talk of George Clooney for the role of Mitch Brenner, the smoothly irresistible lawyer who draws her to the doomed township of Bodega Bay.
26: S. Darko (no release date announced)
An unexpected sequel to 2001’s hallucinatory time loop brain-teaser Donnie Darko, which already has fans of the original film near-apoplectic at its superfluity. Curiosity value alone guarantees S. Darko a strong opening weekend. Word of mouth will determine whether it can survive in theatres for more than a week, but it could equally become a cult smash.
25: Hannah Montana (May)
Dolly Parton, Tyra Banks, Heather Locklear and of course Billy Ray Cyrus help Destiny 'Miley' Cyrus bring the massively popular tween pop character to the big screen. In the wake of the vast box office for High School Musical 3, Hannah Montana looks like a safe bet for the big cinema smash of the Easter school break.
24: Dorian Gray (November)
The classic Oscar Wilde fable retold by an impressive collection of British thespian eye-candy including Colin Firth and Emilia Fox. Ben Barnes, little known outside the Narnia cognoscenti or the few remaining fans of doomed boyband Hyrise, plays the dissipated fop with the magical portrait.
23: Sherlock Holmes (November)
Some extraordinary casting distinguishes the umpteenth Holmes movie with Robert Downey Jr. as a tough, sword-flourishing Holmes and Jude Law as an even tougher, no-nonsense Watson in Guy Ritchie’s ‘reimagining’ of the ultimate sleuth. Based on Lionel Wigram’s comic book about the consulting detective rather than directly upon Conan Doyle’s books, the film also features Rachel McAdams as Irene Adler, the captivating femme fatale introduced in an 1891 Holmes story A Scandal in Bohemi
22: Ice Age: Dawn of the Dinosaurs (July)
Playing fast and loose with the accepted chronology of the age of the dinosaurs this third instalment of the CGI school holiday favourite has the primitive mammal heroes of the first two films somehow getting mixed up with a ‘lost world’ of surviving dinosaurs trapped beneath a glacier. John Leguizamo, Queen Latifah, and Denis Leary provide voices for the computer created critters. Certain to both entertain undemanding under-fives and infuriate palaeontologists in equal measure, this has the air of being the last film in the series.
21: Nottingham (November)
Russell Crowe plays dual roles in this revision of the Robin Hood legend. If you can trust anyone, it’s a bona fide cinema genius like director Ridley Scott but Hood and Nottingham with the same face sounds like a recipe for chuckles rather than thrills.
20: Bride Wars (January)
Bride Wars is evidence that blockbuster movies aren’t always for the boys. With a near-unbeatable chick flick cast (Kate Hudson, Anne Hathaway, Candice Bergen), it’s an implausible tale of best friends clashing over a wedding day scheduling conflict. With the release date close enough to Valentine’s Day to warrant inclusion on the schedule of a fair percentage of early February dinner dates, it stands a reasonable chance of a strong mid-table performance on the box-office charts for the year.
19: 2012 (July)
Master of disaster Roland Emmerich (The Day after Tomorrow, Godzilla, Independence Day) assembles an impressive cast including John Cusack, Thandie Newton, Woody Harrelson and Danny Glover for an apocalyptic epic based on a 7th Century Mayan prophecy. Never one to do things by halves, Emmerich will apparently open the film with the end of the world as we know it and let things escalate from there
18: The Curious Case of Benjamin Button (January)
Brad Pitt leads the cast of this fable taken from an F.Scott Fitzgerald story about a man who is born in his seventies and ages in reverse. Cate Blanchett and Tilda Swinton feature in a story that spans a lifetime.
17: The Lovely Bones (March)
Saoirse Ronan narrates from beyond the grave in this brave adaptation of Alice Sebold’s practically unfilmable novel. A fine cast (not only Rachel Weisz and Susan Sarandon but also Stanley Tucci, former Soprano and now Life on Mars star Michael Imperioli and winner of the ‘most unpredictable career choices’ award Mark Wahlberg) added to Lord of the Rings (and more importantly Heavenly Creatures) director Peter Jackson’s formidable talent promise a thoughtful, thought-provoking gem.
16: The Imaginarium of Doctor Parnassus (no release date announced)
A Terry Gilliam film is always something of a curiosity: ploughing his own off-kilter furrow away from the calcified strictures of Hollywood cliché, he has made films that, while differing wildly in subject matter (Brazil, The Fisher King, Baron Munchausen), share a distinctively baroque surrealism. The Imaginarium of Doctor Parnassus is a curiosity even among Gilliam films, containing as it does the final performance of Heath Ledger. Because Ledger did not survive to complete the movie, Gilliam has enlisted Johnny Depp, Colin Farrell and Jude Law to share the lead role with the departed star. Adding an extra surreal twist to the Faustian fantasy, this is sure to be one of the most talked-about films of 2009.
15: Coraline (May)
Cult author Neil Gaiman’s dark fairytale gets a faithful adaptation which will entrance anyone who enjoyed Tim Burton’s Nightmare Before Christmas or, indeed, anyone who has ever escaped through a secret door in their bedroom that leads to a mysterious parallel version of their own home.
14: They Came from Upstairs (July)
Ashley Tisdale, the delightfully pushy blonde Sharpay from High School Musical, leads a group of teens fighting an alien invasion in this light-hearted family adventure. Closer to Gremlins or Critters than War of the Worlds, They Came from Upstairs will be one of those guilty movie gems films you might take a young relative along to, but secretly quite enjoy.
13: Transformers: Revenge of the Fallen (June)
The inevitable sequel to last year’s surprise hit features more action, more laughs, and more shape-shifting robots. Michael Bay and Shia LeBoef return as director and star respectively with the astoundingly attractive Megan Fox as Shia’s love interest, a more international battleground and the eagerly anticipated introduction of fan favourite Soundwave.
12: The Taking of Pelham 123 (August)
If there’s a unifying trend to 2009 it’s the classic remake, and The Taking of Pelham 123 is nothing if not a classic. A major influence on new genre filmmakers like Quentin Tarantino (note the colour-coded names for the main characters) the 1970s original doesn’t seem in much need of an update. Nevertheless director Tony Scott, who’s been a little quiet for the last few years, has recruited old pal Denzel Washington as well as John Travolta and James Gandolfini to revisit the brilliantly improbable tube train hijack caper. Purists who are wincing at the thought should probably know now that Scott plans to start work on a retread of The Warriors next.
11: The Informant (September)
Matt Damon and Scott Bakula star in Steven Soderbergh’s promising black comedy based on a true story about the ostensibly dull world of agribusiness price fixing. If you enjoyed The Insider and would like to see much the same film again, but this time laced with some mordant humour and featuring a bipolar hero, this might be just the movie for you.
10: Inglourious Basterds (June)
Quentin Tarantino returns with an eclectic cast (Brad Pitt, Mike Myers and star of Hitcock's The Birds Rod Taylor) and another one of his playful reinventions of 1970s genre cinema. This time he moves from the American underworld to World War 2, with a team of Jewish-American special forces operating behind German lines, terminating Nazi commanders with extreme prejudice. Anyone who likes Tarantino, war movies in the vein of The Dirty Dozen or Nazis getting their comeuppance will undoubtedly love this movie. Fans of correct spelling may be less thrilled.
9: Terminator Salvation (June)
The long-awaited ‘future war’ segment of the Terminator saga, previously only hinted at in the first three movies, dominates proceedings in Charlie’s Angels director McG’s bold reawakening of the killer robot franchise. Christian Bale, fresh from his spectacular triumph as one fanboy hero in Dark Knight essays another - John Connor, charismatic leader of the anti-Skynet forces who the Terminators have been trying to eliminate for the last three films. Roland Kickinger will be the principal Terminator this because Arnold Schwarzenegger is said to be too busy running California to appear as the iconic cyborg killing machine and Anton Yelchin, Sam Worthington and Helena Bonham-Carter are along for the ride.
8: Monsters vs. Aliens (April)
A CGI mock-B-movie with a distinctly eclectic cast list - Kiefer Sutherland, Hugh Laurie, and Stephen Colbert lend their voices., Monsters v Aliens will go some of the way towards sating the enormous demand for a second Incredibles movie. Reese Witherspoon provides the voice of a young Californian woman who grows to gigantic size, after a freak meteorite encounter, and is recruited into a secret agency of super-freaks who are sent to battle a gigantic alien robot.
7: Avatar (December)
James Cameron’s long-awaited high-technology blockbuster shares some basic ideas with The Surrogates (Humans use humanoid remote drones, in this case to explore an alien planet) and some with Planet 51 (we are the invaders). In terms of technological ambition and cinematic reach though, this movie should be without equal. Sigourney Weaver, who combined so well for Cameron in the past reunites with her Aliens director As long as Cameron doesn’t allow the story to become too cerebral for mainstream audiences Avatar stands a fair chance of being the biggest movie of the year.
6: Angels & Demons (May)
In the wake of the Da Vinci Code, another recklessly improbable Dan Brown adventure gets the Tom Hanks treatment. Ewan McGregor comes on board this time for a breakneck chase around Vatican City in search of some antimatter, the Illuminati and a decent haircut. The critics will snigger, and Dan Brown fans (of whom there are many) will ignore them and make May one of the busiest months at the box office.
5: X-Men Origins: Wolverine (May)
Hugh Jackman’s back for an X-Men prequel set 17 years before the action of the first movie.The film traces the early career of Logan, the indestructible mutant who will one day be X-Man Wolverine. Cameos from future X-Men and the chance to see how Logan acquired his deadly claws and curious hairdo give the film a geek power that will set the internet buzzing ahead of the premiere. It will be interesting to see how this performs after the third X-Men movie was seen by many to be something of a mis-step in the X-franchise.
4: Watchmen (March)
Alan Moore’s superlative comic book finally, against the author’s will, reaches the big screen. There’s little doubt for anyone who’s read the original comic that this movie will be a huge triumph. We know the ending has been amended but every scene that’s been seen so far is slavishly faithful to Dave Gibbons’s original drawings, with just a few costume tweaks to make Nite Owl look a little less ridiculous and Silk Spectre a little bit sexier. How Watchmen will play to audiences who haven’t already been seduced by Moore’s vision of a parallel universe Cold War showdown between the members of a disbanded hero team remains to be seen. You can be sure, however, that every comic geek in the western world will see this film, and either rave about it or rail against it on the internet for evermore.
3: Star Trek (May)
J.J. Abrams attempts to reinvigorate the slightly tired Star Trek franchise with a story set immediately before the action of the first TV series. Winona Ryder looks set for a return to the big leagues as Amanda Grayson – Spock’s mum. British geek god Simon Pegg turns up as Scotty, and Zachary Quinto the dark presence at the heart of TV’s Heroes certainly looks the part as a young Spock. Expect tricksy time travel shenanigans, freak transporter accidents and a clever, ubiquitous and ultimately slightly annoying viral marketing campaign.
2: Public Enemies (July)
Creator of Miami Vice Michael Mann guides the apparently tireless Christian Bale (who appears to be in every movie of any note these days) and Johnny Depp in a period gangster romp about the FBI’s search for John Dillinger, Baby Face Nelson and Pretty Boy Floyd that is perfectly timed to chime with the new Great Depression.
1: Harry Potter and the Half-Blood Prince (July)
Harry Potter fans will already have a fairly good idea of what happens in this, the sixth film in the hugely popular boy wizard film adapted from JK Rowling’s all-conquering books. It was an early script draft of this film that prompted Rowling to ‘out’ Dumbledore while promoting the final Potter book.
Moviegoers might well be tempted by the impressive cast lining up for this wholly unnecessary sequel to a completely superfluous continuation of the once mighty comedy franchise. Steve Martin, Jean Reno, John Cleese and Andy Garcia may be acting greats, but for signing up to this they should hang their heads in shame.
49: Friday the 13th (February)
Back to Camp Crystal Lake again. The twelfth (couldn’t they have made it 13?) Friday the 13th movie is apparently a remake of the first film in the venerable teen slasher series, so long-time fans will have a fair idea what to expect. Probably not the ideal date movie for February 14.
48: Red Sonja (No release date announced)
Despite months of rumour about a new Conan movie, it’s his female counterpart Red Sonja who seems to be returning to the big screen first. There's some confusion about a release date for this film although the generally reliable IMDB has it hitting screens in late 2009. Planet Terror and Sin City director Robert Rodriguez re-teams with Grindhouse alumna Rose McGowan, who seems a somewhat unlikely choice as the Xena-type who fights her way across a sword-and-sorcery Hyborian landscape wearing as little as the censors will allow.
47: Night at the Museum 2: Battle of the Smithsonian (May)
A repeat of 2006’s ‘museum comes to life’ cameo jamboree with more or less everyone except Robin Williams back at the end of May to ham it up for the entertainment of young and undemanding cinemagoers. The film will need something very special in terms of advance reviews to give it any commercial visibility in what promises to be a very busy month at the movies. Ben Stiller, Amy Adams, Owen Wilson and Ricky Gervais are already crossing their fingers.
46: Fast & Furious (June)
Fourth in the franchise but (and pay attention, there will be a test) occupying the number three slot in the series narrative, the movie will take the story back to its very beginnings. Paul Walker and Vin Diesel reunite in the franchise that inspired a million minor motoring offences.
45: Spy Hunter (no release date announced)
Video game adaptations are rarely beloved of the cinema cognoscenti and there’s little likelihood that Spy Hunter will break that honourable tradition. The game is a fairly routine ‘heavily armed spy and supercar’ adventure distinguished only by a voice and motion capture contribution from Dwayne "The Rock" Johnson who, one imagines, must be favourite to play the lead in what we can safely assume will be an undemanding popcorner. Englishman Paul WS Anderson, of Alien vs Predator and Resident Evil fame, is slated to direct.
44: Nine (December)
In a year packed with remakes, this is perhaps the bravest of all: taking on Fellini’s hugely influential 8½ but going just that little bit further, it’s the behind-the-scenes story of an Italian movie director featuring a stellar cast (Including Nicole Kidman, Daniel Day-Lewis, Sophia Loren, Penelope Cruz and Dame Judi Dench), some of whom will be singing. The purists will be furious, the rest of us merely sceptical. Mamma Mia it isn’t. IMDB entry Fellini’s 8½:
43: Knowing (March)
A teacher (Nicolas Cage) opens a time capsule that has been dug up at his son's elementary school; in it are some chilling predictions -- some of events that have already occurred and others that are about to -- that lead him to believe his family plays a role in the events that are due to unfold.
42: Them (no release date announced)
Them, a recently announced feature to be directed by Sean of the Dead and Hot Fuzz’s Edgar Wright, is not, as far as we can tell, an update of the hoary old giant ant chiller but a fictionalised adaptation of Jon Ronson’s investigative book about the shadowy conspiracies that operate behind our notional governments. Unless it turns out that the Illuminati and the Bilderberg Group actually are all enormous ants.
41: Ninja Assassin (no release date announced)
Few star names – unless you remember Korean pop star Rain from the Wachowskis hallucinogenic Speed Racer – feature in this standard ‘assassin rebels against his masters’ tale. The title alone though promises to give Ninja Assassin that internet-friendly Snakes on a Plane appeal that should ensure a decent performance at the box office.
40: The Proposal (August)
A rom-com based on the morally rather questionable premise of a book editor (hence the title) forcing one of her subordinates to marry her so that she can gain US citizenship. Sandra Bullock is probably due another hit, and Malin Akerman still be surfing on the huge wave of excitement about Watchmen will but whether audiences will buy this rather dubious plot (remember Green Card?)
39: Planet 51 (November)
A classic 1950s B-Movie plot – alien lands among the white picket fences of a fearful, simple small-town community. The twist is that the alien is an Earthly astronaut and the small town folk are little green men. A promising CG-animated caper for younger cinemagoers in the 2009 Christmas holiday.
38: The Box (March)
Set, apparently, in the Seventies, The Box is the story of a young married couple who are given a mysterious box that has uncanny, deadly powers. Somehow connecting time travel, the 1976 Viking Mars lander, teleportation and kipper ties. With former X-Man James Marsden, the always watchable Cameron Diaz and the sinister presence of Frank Langella it’s an intriguing prospect indeed.
35: Underworld: Rise of the Lycans (January)
Rhona Mitra takes over from Kate Beckinsale as the female lead in the third instalment of the Vampires versus Werewolves saga. A prequel, it’s set before the birth of Beckinsale’s character, neatly sidestepping complaints about the regrettable absence of her PVC clad form. Unlikely to attract quite as many cinemagoers as its predecessor, it might still fill a dull winter’s evening.
36: Creature from the Black Lagoon (no release date announced)
Little is known so far of this planned remake of the classic 1954 creature feature which is to be helmed by Sahara director Breck Eisner. Bill Paxton is rumoured to be leading the team, which discovers a hitherto undocumented amphibious humanoid in the depths of the South American jungle. In keeping with the current remake mania, Eisners next project is expected to be a new version of Flash Gordon.
35: G.I. Joe: Rise of Cobra (August)
G.I Joe is a bigger name in the US: the toy line that we called Action Man gave rise to a popular 1980s cartoon series and long-running comics franchise. Without the solid bed of nostalgia that will give it a running start in its homeland, the movie’s appeal over here stands or falls on its star director – Stephen Sommers from the enjoyably silly Mummy films - and stellar cast, including Christopher Eccleston and Sienna Miller as well as Sommers’s old Mummy pals Brendan Fraser and Arnold Vosloo. If August 2009 is as much of a washout as 2008’s, summer legions of staycationers will be flocking to cinemas looking for some easygoing escapism, and this might just be it.
34: Fanboys (February)
The long-delayed comedy which sees a group of rabid Star Wars fanatics attempting to steal an early print of The Phantom Menace for their dying pal finally gets a release early in 2009. A version of the movie with the cancer-stricken fan removed nearly made it to cinemas in 2008 but was met with a vast internet campaign that demonstrated the awesome power of the fanboy. We’re assured that the movie will finally be released in early 2009.
33: Inkheart (January)
Brendan Fraser, fast becoming Hollywood’s go-to guy whenever kiddie-friendly action is required, joins with Andy Serkis, the man behind Gollum and King Kong, in this umpteenth attempt at the now-traditional ‘storybook miraculously comes to life’ plot. A little early for the half term crowd, but Fraser’s undeniable charm should bring in a few viewers.
32: The Surrogates (December)
A promisingly thoughtful sci-fi concept. Humanity is housebound and relies on remote-controlled drones to handle all the outdoors work. Bruce Willis stars as a futuristic detective investigating the apparent murder of these ‘surrogates’alongside former Bond Girl Rosamund Pike and charismatic bruiser Ving Rhames
31: The International (February)
What could be more timely than a drama about the international banking system? Clearly, the producers didn’t appreciate the serendipity because it was delayed while additional, more action-packed, scenes were added. Will the world be tired of hearing about bankers by February? Naomi Watts and the thinking woman’s action man Clive Owen rather hope not.
30: The Wolf Man (April)
We’ve had modern takes on Dracula, Frankenstein’s monster and The Mummy, so it was only a matter of time before The Wolfman was disinterred for another howl around the moors. More important than star Benicio Del Toro will be the inclusion of everybody’s favourite wolfman, makeup supremo Rick Baker who provided the eye-popping transformations in American Werewolf in London and The Howling. Anthony Hopkins turns up as the unfortunate lycanthrope’s father. Art Malik and Hugo Weaving will also be along for what promises to be a dark and disturbing ride.
29: The Spirit (January)
Will Eisner was one of the first comics writers to achieve personal fame and his best known creation, The Spirit, is considered by aficionados to be one of the great heroes of comics’ Golden Age. It’s surprising that we’ve had to wait this long to see the lighthearted Noir detective on the big screen. The director who has brought The Spirit to life is Frank Miller, himself a star comics writer (he wrote 300 and completely reinvigorated the industry in the 1980s with his Dark Knight Batman miniseries). Featuring Samuel L. Jackson, Scarlett Johansson and Eva Mendes the movie is shot in the same stylised hyper-realistic way that characterized Miller’s previous movie, Sin City. The Spirit is unlikely to break out of the fanboy demographic, but should provide undemanding comic book thrills in the long, cold weeks before Watchmen appeared
28: A Perfect Getaway (March)
A complex twisty-turny chase thriller filmed in Puerto Rico but set in Hawaii and starring Milla Jovovich and, in a rare lead role, Hitman star Timothy Olyphant. Ideal for movie fans who like to be kept guessing until the final scene, it’s about a honeymooning couple pursued across the picturesque island by a pair of relentless killers. Expect the unexpected.
27: The Birds (no release date announced)
Few details are available about this re-make of Hitchcock’s strangest movie. Naomi Watts is reputedly playing Melanie Daniels, the mischievous socialite portrayed byTippi Hedren in the 1963 film, and there’s talk of George Clooney for the role of Mitch Brenner, the smoothly irresistible lawyer who draws her to the doomed township of Bodega Bay.
26: S. Darko (no release date announced)
An unexpected sequel to 2001’s hallucinatory time loop brain-teaser Donnie Darko, which already has fans of the original film near-apoplectic at its superfluity. Curiosity value alone guarantees S. Darko a strong opening weekend. Word of mouth will determine whether it can survive in theatres for more than a week, but it could equally become a cult smash.
25: Hannah Montana (May)
Dolly Parton, Tyra Banks, Heather Locklear and of course Billy Ray Cyrus help Destiny 'Miley' Cyrus bring the massively popular tween pop character to the big screen. In the wake of the vast box office for High School Musical 3, Hannah Montana looks like a safe bet for the big cinema smash of the Easter school break.
24: Dorian Gray (November)
The classic Oscar Wilde fable retold by an impressive collection of British thespian eye-candy including Colin Firth and Emilia Fox. Ben Barnes, little known outside the Narnia cognoscenti or the few remaining fans of doomed boyband Hyrise, plays the dissipated fop with the magical portrait.
23: Sherlock Holmes (November)
Some extraordinary casting distinguishes the umpteenth Holmes movie with Robert Downey Jr. as a tough, sword-flourishing Holmes and Jude Law as an even tougher, no-nonsense Watson in Guy Ritchie’s ‘reimagining’ of the ultimate sleuth. Based on Lionel Wigram’s comic book about the consulting detective rather than directly upon Conan Doyle’s books, the film also features Rachel McAdams as Irene Adler, the captivating femme fatale introduced in an 1891 Holmes story A Scandal in Bohemi
22: Ice Age: Dawn of the Dinosaurs (July)
Playing fast and loose with the accepted chronology of the age of the dinosaurs this third instalment of the CGI school holiday favourite has the primitive mammal heroes of the first two films somehow getting mixed up with a ‘lost world’ of surviving dinosaurs trapped beneath a glacier. John Leguizamo, Queen Latifah, and Denis Leary provide voices for the computer created critters. Certain to both entertain undemanding under-fives and infuriate palaeontologists in equal measure, this has the air of being the last film in the series.
21: Nottingham (November)
Russell Crowe plays dual roles in this revision of the Robin Hood legend. If you can trust anyone, it’s a bona fide cinema genius like director Ridley Scott but Hood and Nottingham with the same face sounds like a recipe for chuckles rather than thrills.
20: Bride Wars (January)
Bride Wars is evidence that blockbuster movies aren’t always for the boys. With a near-unbeatable chick flick cast (Kate Hudson, Anne Hathaway, Candice Bergen), it’s an implausible tale of best friends clashing over a wedding day scheduling conflict. With the release date close enough to Valentine’s Day to warrant inclusion on the schedule of a fair percentage of early February dinner dates, it stands a reasonable chance of a strong mid-table performance on the box-office charts for the year.
19: 2012 (July)
Master of disaster Roland Emmerich (The Day after Tomorrow, Godzilla, Independence Day) assembles an impressive cast including John Cusack, Thandie Newton, Woody Harrelson and Danny Glover for an apocalyptic epic based on a 7th Century Mayan prophecy. Never one to do things by halves, Emmerich will apparently open the film with the end of the world as we know it and let things escalate from there
18: The Curious Case of Benjamin Button (January)
Brad Pitt leads the cast of this fable taken from an F.Scott Fitzgerald story about a man who is born in his seventies and ages in reverse. Cate Blanchett and Tilda Swinton feature in a story that spans a lifetime.
17: The Lovely Bones (March)
Saoirse Ronan narrates from beyond the grave in this brave adaptation of Alice Sebold’s practically unfilmable novel. A fine cast (not only Rachel Weisz and Susan Sarandon but also Stanley Tucci, former Soprano and now Life on Mars star Michael Imperioli and winner of the ‘most unpredictable career choices’ award Mark Wahlberg) added to Lord of the Rings (and more importantly Heavenly Creatures) director Peter Jackson’s formidable talent promise a thoughtful, thought-provoking gem.
16: The Imaginarium of Doctor Parnassus (no release date announced)
A Terry Gilliam film is always something of a curiosity: ploughing his own off-kilter furrow away from the calcified strictures of Hollywood cliché, he has made films that, while differing wildly in subject matter (Brazil, The Fisher King, Baron Munchausen), share a distinctively baroque surrealism. The Imaginarium of Doctor Parnassus is a curiosity even among Gilliam films, containing as it does the final performance of Heath Ledger. Because Ledger did not survive to complete the movie, Gilliam has enlisted Johnny Depp, Colin Farrell and Jude Law to share the lead role with the departed star. Adding an extra surreal twist to the Faustian fantasy, this is sure to be one of the most talked-about films of 2009.
15: Coraline (May)
Cult author Neil Gaiman’s dark fairytale gets a faithful adaptation which will entrance anyone who enjoyed Tim Burton’s Nightmare Before Christmas or, indeed, anyone who has ever escaped through a secret door in their bedroom that leads to a mysterious parallel version of their own home.
14: They Came from Upstairs (July)
Ashley Tisdale, the delightfully pushy blonde Sharpay from High School Musical, leads a group of teens fighting an alien invasion in this light-hearted family adventure. Closer to Gremlins or Critters than War of the Worlds, They Came from Upstairs will be one of those guilty movie gems films you might take a young relative along to, but secretly quite enjoy.
13: Transformers: Revenge of the Fallen (June)
The inevitable sequel to last year’s surprise hit features more action, more laughs, and more shape-shifting robots. Michael Bay and Shia LeBoef return as director and star respectively with the astoundingly attractive Megan Fox as Shia’s love interest, a more international battleground and the eagerly anticipated introduction of fan favourite Soundwave.
12: The Taking of Pelham 123 (August)
If there’s a unifying trend to 2009 it’s the classic remake, and The Taking of Pelham 123 is nothing if not a classic. A major influence on new genre filmmakers like Quentin Tarantino (note the colour-coded names for the main characters) the 1970s original doesn’t seem in much need of an update. Nevertheless director Tony Scott, who’s been a little quiet for the last few years, has recruited old pal Denzel Washington as well as John Travolta and James Gandolfini to revisit the brilliantly improbable tube train hijack caper. Purists who are wincing at the thought should probably know now that Scott plans to start work on a retread of The Warriors next.
11: The Informant (September)
Matt Damon and Scott Bakula star in Steven Soderbergh’s promising black comedy based on a true story about the ostensibly dull world of agribusiness price fixing. If you enjoyed The Insider and would like to see much the same film again, but this time laced with some mordant humour and featuring a bipolar hero, this might be just the movie for you.
10: Inglourious Basterds (June)
Quentin Tarantino returns with an eclectic cast (Brad Pitt, Mike Myers and star of Hitcock's The Birds Rod Taylor) and another one of his playful reinventions of 1970s genre cinema. This time he moves from the American underworld to World War 2, with a team of Jewish-American special forces operating behind German lines, terminating Nazi commanders with extreme prejudice. Anyone who likes Tarantino, war movies in the vein of The Dirty Dozen or Nazis getting their comeuppance will undoubtedly love this movie. Fans of correct spelling may be less thrilled.
9: Terminator Salvation (June)
The long-awaited ‘future war’ segment of the Terminator saga, previously only hinted at in the first three movies, dominates proceedings in Charlie’s Angels director McG’s bold reawakening of the killer robot franchise. Christian Bale, fresh from his spectacular triumph as one fanboy hero in Dark Knight essays another - John Connor, charismatic leader of the anti-Skynet forces who the Terminators have been trying to eliminate for the last three films. Roland Kickinger will be the principal Terminator this because Arnold Schwarzenegger is said to be too busy running California to appear as the iconic cyborg killing machine and Anton Yelchin, Sam Worthington and Helena Bonham-Carter are along for the ride.
8: Monsters vs. Aliens (April)
A CGI mock-B-movie with a distinctly eclectic cast list - Kiefer Sutherland, Hugh Laurie, and Stephen Colbert lend their voices., Monsters v Aliens will go some of the way towards sating the enormous demand for a second Incredibles movie. Reese Witherspoon provides the voice of a young Californian woman who grows to gigantic size, after a freak meteorite encounter, and is recruited into a secret agency of super-freaks who are sent to battle a gigantic alien robot.
7: Avatar (December)
James Cameron’s long-awaited high-technology blockbuster shares some basic ideas with The Surrogates (Humans use humanoid remote drones, in this case to explore an alien planet) and some with Planet 51 (we are the invaders). In terms of technological ambition and cinematic reach though, this movie should be without equal. Sigourney Weaver, who combined so well for Cameron in the past reunites with her Aliens director As long as Cameron doesn’t allow the story to become too cerebral for mainstream audiences Avatar stands a fair chance of being the biggest movie of the year.
6: Angels & Demons (May)
In the wake of the Da Vinci Code, another recklessly improbable Dan Brown adventure gets the Tom Hanks treatment. Ewan McGregor comes on board this time for a breakneck chase around Vatican City in search of some antimatter, the Illuminati and a decent haircut. The critics will snigger, and Dan Brown fans (of whom there are many) will ignore them and make May one of the busiest months at the box office.
5: X-Men Origins: Wolverine (May)
Hugh Jackman’s back for an X-Men prequel set 17 years before the action of the first movie.The film traces the early career of Logan, the indestructible mutant who will one day be X-Man Wolverine. Cameos from future X-Men and the chance to see how Logan acquired his deadly claws and curious hairdo give the film a geek power that will set the internet buzzing ahead of the premiere. It will be interesting to see how this performs after the third X-Men movie was seen by many to be something of a mis-step in the X-franchise.
4: Watchmen (March)
Alan Moore’s superlative comic book finally, against the author’s will, reaches the big screen. There’s little doubt for anyone who’s read the original comic that this movie will be a huge triumph. We know the ending has been amended but every scene that’s been seen so far is slavishly faithful to Dave Gibbons’s original drawings, with just a few costume tweaks to make Nite Owl look a little less ridiculous and Silk Spectre a little bit sexier. How Watchmen will play to audiences who haven’t already been seduced by Moore’s vision of a parallel universe Cold War showdown between the members of a disbanded hero team remains to be seen. You can be sure, however, that every comic geek in the western world will see this film, and either rave about it or rail against it on the internet for evermore.
3: Star Trek (May)
J.J. Abrams attempts to reinvigorate the slightly tired Star Trek franchise with a story set immediately before the action of the first TV series. Winona Ryder looks set for a return to the big leagues as Amanda Grayson – Spock’s mum. British geek god Simon Pegg turns up as Scotty, and Zachary Quinto the dark presence at the heart of TV’s Heroes certainly looks the part as a young Spock. Expect tricksy time travel shenanigans, freak transporter accidents and a clever, ubiquitous and ultimately slightly annoying viral marketing campaign.
2: Public Enemies (July)
Creator of Miami Vice Michael Mann guides the apparently tireless Christian Bale (who appears to be in every movie of any note these days) and Johnny Depp in a period gangster romp about the FBI’s search for John Dillinger, Baby Face Nelson and Pretty Boy Floyd that is perfectly timed to chime with the new Great Depression.
1: Harry Potter and the Half-Blood Prince (July)
Harry Potter fans will already have a fairly good idea of what happens in this, the sixth film in the hugely popular boy wizard film adapted from JK Rowling’s all-conquering books. It was an early script draft of this film that prompted Rowling to ‘out’ Dumbledore while promoting the final Potter book.
HISTORY OF MUSIC
Prehistoric eras
Ancient music can only be imagined by scholars, based on findings from a range of paleolithic sites, such as bones in which lateral holes have been pierced: these are usually identified as flutes, blown at one end like the Japanese shakuhachi. Instruments, such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus Valley Civilization archaeological sites. India has one of the oldest musical traditions in the world—references to Indian classical music (marga) can be found in the ancient scriptures of the Hindu tradition, the Vedas.The earliest and largest collection of prehistoric musical instruments was found in China and dates back to between 7000 and 6600 BC.
Biblical period
According to Easton's Bible Dictionary, Jubal was the inventor of musical instruments (Gen. 4:21). The Hebrews were much given to the cultivation of music. Their whole history and literature afford abundant evidence of this. After the Deluge, the first mention of music is in the account of Laban's interview with Jacob (Gen. 31:27). After their triumphal passage of the Red Sea, Moses and the children of Israel sang their song of deliverance (Ex. 15). But the period of Samuel, David, and Solomon was the golden age of Hebrew music, as it was of Hebrew poetry. Music was now for the first time systematically cultivated. It was an essential part of training in the schools of the prophets (1 Sam. 10:5; 19:19-24; 2 Kings 3:15; 1 Chr. 25:6). There now arose also a class of professional singers (2 Sam. 19:35; Eccl. 2:8). Solomon's Temple, however, was the great school of music. In the conducting of its services large bands of trained singers and players on instruments were constantly employed (2 Sam. 6:5; 1 Chr. 15; 16; 23;5; 25:1-6). In private life also music seems to have held an important place among the Hebrews (Eccl. 2:8; Amos 6:4-6; Isa. 5:11, 12; 24:8, 9; Ps. 137; Jer. 48:33; Luke 15:25).
Music and theatre scholars studying the history and anthropology of Semitic and early Judeo-Christian culture, have also discovered common links between theatrical and musical activity in the classical cultures of the Hebrews with those of the later cultures of the Greeks and Romans. The common area of performance is found in a "social phenomenon called litany," a form of prayer consisting of a series of invocations or supplications. The Journal of Religion and Theatre notes that among the earliest forms of litany, "Hebrew litany was accompanied by a rich musical tradition:"
"While Genesis 4.21 identifies Jubal as the “father of all such as handle the harp and pipe,” the Pentateuch is nearly silent about the practice and instruction of music in the early life of Israel. Then, in I Samuel 10 and the texts which follow, a curious thing happens. “One finds in the biblical text,” writes Alfred Sendrey, “a sudden and unexplained upsurge of large choirs and orchestras, consisting of thoroughly organized and trained musical groups, which would be virtually inconceivable without lengthy, methodical preparation.” This has led some scholars to believe that the prophet Samuel was the patriarch of a school which taught not only prophets and holy men, but also sacred-rite musicians. This public music school, perhaps the earliest in recorded history, was not restricted to a priestly class--which is how the shepherd boy David appears on the scene as a minstrel to King Saul."
Antiquity
Music was an important part of cultural and social life in Ancient Greece: mixed-gender choruses performed for entertainment, celebration and spiritual ceremonies; musicians and singers had a prominent role in ancient Greek theater. In the 9th century, the Arab scholar al-Farabi wrote a book on music titled Kitab al-Musiqi al-Kabir ("Great Book of Music"). He played and invented a variety of musical instruments and devised the Arab tone system of pitch organisation, which is still used in Arabic music.
Western cultures
During the Medieval music era (500-1400), the only European repertory which has survived from before about 800 is the monophonic liturgical plainsong of the Roman Catholic Church, the central tradition of which was called Gregorian chant. Alongside these traditions of sacred and church music there existed a vibrant tradition of secular song. Examples of composers from this period are Léonin, Pérotin and Guillaume de Machaut. From the Renaissance music era (1400-1600), much of the surviving music of 14th century Europe is secular. By the middle of the 15th century, composers and singers used a smooth polyphony for sacred musical compositions. The introduction of commercial printing helped to disseminate musical styles more quickly and across a larger area. Prominent composers from this era are Giovanni Pierluigi da Palestrina, Thomas Morley and Orlande de Lassus.
Allegory of Music, by Filippino Lippi
The era of Baroque music (1600-1750) began when the first operas were written and when contrapuntal music became prevalent. German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as choirs, pipe organ, harpsichord, and clavichord. During the Baroque period, several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, the invention, the sonata, and the concerto. Composers from the Baroque era include Johann Sebastian Bach, George Frideric Handel and Georg Philipp Telemann. The music of the Classical period (1750-1800) is characterized by homophonic texture, often featuring a prominent melody with accompaniment. These new melodies tended to be almost voice-like and singable. The now popular instrumental music was dominated by further evolution of musical forms initially defined in the Baroque period: the sonata, and the concerto, with the addition of the new form, the symphony. Joseph Haydn and Wolfgang Amadeus Mozart are among the central figures of the Classical period.
In 1800, the Romantic era (1800-1890s) in music developed, with Ludwig van Beethoven and Franz Schubert as transitional composers who introduced a more dramatic, expressive style. During this era, existing genres, forms, and functions of music were developed, and the emotional and expressive qualities of music came to take precedence over technique and tradition. In Beethoven's case, motifs (developed organically) came to replace melody as the most significant compositional unit. The late 19th century saw a dramatic expansion in the size of the orchestra, and in the role of concerts as part of urban society. Later Romantic composers such as Pyotr Ilyich Tchaikovsky and Gustav Mahler created complex and often much longer musical works. They used more complex chords and used more dissonance to create dramatic tension.
Non-Western Classical traditions
Indian classical music is one of the oldest musical traditions in the world. The Indus Valley civilization has sculptures which show dance and old musical instruments, like the seven holed flute. Various types of stringed instruments and drums have been recovered from Harrappa and Mohenjo Daro by excavations carried out by Sir Mortimer Wheeler. The Rigveda has elements of present Indian music, with a musical notation to denote the metre and the mode of chanting. Indian classical music (marga) is monophonic, and based around a single melody line or raga rhythmically organized through talas. Carnatic music is largely devotional; the majority of the songs are addressed to the Hindu deities. There are a lot of songs emphasising love and other social issues. Hindustani music was also influenced by the Persian performance practices of the Afghan Mughals.
Asian music covers the music cultures of Arabia, Central Asia, East Asia, South Asia, and Southeast Asia. Chinese classical music, the traditional art or court music of China, has a history stretching over around three thousand years. It has its own unique systems of musical notation, as well as musical tuning and pitch, musical instruments and styles or musical genres. Chinese music is pentatonic-diatonic, having a scale of twelve notes to an octave (5+7 = 12) as does European-influenced music. Persian music is the music of Persia and Persian language countries: musiqi, the science and art of music, and muzik, the sound and performance of music (Sakata 1983). See also: Music of Iran, Music of Afghanistan, Music of Tajikistan, Music of Uzbekistan).
The music of Greece was a major part of ancient Greek theater. In Ancient Greece, mixed-gender choruses performed for entertainment, celebration and spiritual reasons. Instruments included the double-reed aulos and the plucked string instrument, the lyre, especially the special kind called a kithara. Music was an important part of education in ancient Greece, and boys were taught music starting at age six. Greek musical literacy created a flowering of development; Greek music theory included the Greek musical modes, eventually became the basis for Western religious music and classical music. Later, influences from the Roman Empire, Eastern Europe and the Byzantine Empire changed Greek music.
20th century music
With 20th century music, there was a vast increase in music listening as the radio gained popularity and phonographs were used to replay and distribute music. The focus of art music was characterized by exploration of new rhythms, styles, and sounds. Igor Stravinsky, Arnold Schoenberg, and John Cage were all influential composers in 20th century art music.
Jazz evolved and became a significant genre of music over the course of the 20th century, and during the second half of that century, rock music did the same. Jazz is an American musical art form which originated in the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note.From its early development until the present, jazz has also incorporated music from 19th and 20th century American popular music. Jazz has, from its early 20th century inception, spawned a variety of subgenres, ranging from New Orleans Dixieland (1910s) to 1970s and 1980s-era jazz-rock fusion.
Rock music is a genre of popular music that developed in the 1960s from 1950s rock and roll, rockabilly, blues, and country music. The sound of rock often revolves around the electric guitar or acoustic guitar, and it uses a strong back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as organ, piano, or, since the 1970s, digital synthesizers. Along with the guitar or keyboards, saxophone and blues-style harmonica are used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody." In the late 1960s and early 1970s, rock music branched out into different subgenres, ranging from blues rock and jazz-rock fusion to heavy metal and punk rock, as well as the more classical influenced genre of progressive rock.
Ancient music can only be imagined by scholars, based on findings from a range of paleolithic sites, such as bones in which lateral holes have been pierced: these are usually identified as flutes, blown at one end like the Japanese shakuhachi. Instruments, such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus Valley Civilization archaeological sites. India has one of the oldest musical traditions in the world—references to Indian classical music (marga) can be found in the ancient scriptures of the Hindu tradition, the Vedas.The earliest and largest collection of prehistoric musical instruments was found in China and dates back to between 7000 and 6600 BC.
Biblical period
According to Easton's Bible Dictionary, Jubal was the inventor of musical instruments (Gen. 4:21). The Hebrews were much given to the cultivation of music. Their whole history and literature afford abundant evidence of this. After the Deluge, the first mention of music is in the account of Laban's interview with Jacob (Gen. 31:27). After their triumphal passage of the Red Sea, Moses and the children of Israel sang their song of deliverance (Ex. 15). But the period of Samuel, David, and Solomon was the golden age of Hebrew music, as it was of Hebrew poetry. Music was now for the first time systematically cultivated. It was an essential part of training in the schools of the prophets (1 Sam. 10:5; 19:19-24; 2 Kings 3:15; 1 Chr. 25:6). There now arose also a class of professional singers (2 Sam. 19:35; Eccl. 2:8). Solomon's Temple, however, was the great school of music. In the conducting of its services large bands of trained singers and players on instruments were constantly employed (2 Sam. 6:5; 1 Chr. 15; 16; 23;5; 25:1-6). In private life also music seems to have held an important place among the Hebrews (Eccl. 2:8; Amos 6:4-6; Isa. 5:11, 12; 24:8, 9; Ps. 137; Jer. 48:33; Luke 15:25).
Music and theatre scholars studying the history and anthropology of Semitic and early Judeo-Christian culture, have also discovered common links between theatrical and musical activity in the classical cultures of the Hebrews with those of the later cultures of the Greeks and Romans. The common area of performance is found in a "social phenomenon called litany," a form of prayer consisting of a series of invocations or supplications. The Journal of Religion and Theatre notes that among the earliest forms of litany, "Hebrew litany was accompanied by a rich musical tradition:"
"While Genesis 4.21 identifies Jubal as the “father of all such as handle the harp and pipe,” the Pentateuch is nearly silent about the practice and instruction of music in the early life of Israel. Then, in I Samuel 10 and the texts which follow, a curious thing happens. “One finds in the biblical text,” writes Alfred Sendrey, “a sudden and unexplained upsurge of large choirs and orchestras, consisting of thoroughly organized and trained musical groups, which would be virtually inconceivable without lengthy, methodical preparation.” This has led some scholars to believe that the prophet Samuel was the patriarch of a school which taught not only prophets and holy men, but also sacred-rite musicians. This public music school, perhaps the earliest in recorded history, was not restricted to a priestly class--which is how the shepherd boy David appears on the scene as a minstrel to King Saul."
Antiquity
Music was an important part of cultural and social life in Ancient Greece: mixed-gender choruses performed for entertainment, celebration and spiritual ceremonies; musicians and singers had a prominent role in ancient Greek theater. In the 9th century, the Arab scholar al-Farabi wrote a book on music titled Kitab al-Musiqi al-Kabir ("Great Book of Music"). He played and invented a variety of musical instruments and devised the Arab tone system of pitch organisation, which is still used in Arabic music.
Western cultures
During the Medieval music era (500-1400), the only European repertory which has survived from before about 800 is the monophonic liturgical plainsong of the Roman Catholic Church, the central tradition of which was called Gregorian chant. Alongside these traditions of sacred and church music there existed a vibrant tradition of secular song. Examples of composers from this period are Léonin, Pérotin and Guillaume de Machaut. From the Renaissance music era (1400-1600), much of the surviving music of 14th century Europe is secular. By the middle of the 15th century, composers and singers used a smooth polyphony for sacred musical compositions. The introduction of commercial printing helped to disseminate musical styles more quickly and across a larger area. Prominent composers from this era are Giovanni Pierluigi da Palestrina, Thomas Morley and Orlande de Lassus.
Allegory of Music, by Filippino Lippi
The era of Baroque music (1600-1750) began when the first operas were written and when contrapuntal music became prevalent. German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as choirs, pipe organ, harpsichord, and clavichord. During the Baroque period, several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, the invention, the sonata, and the concerto. Composers from the Baroque era include Johann Sebastian Bach, George Frideric Handel and Georg Philipp Telemann. The music of the Classical period (1750-1800) is characterized by homophonic texture, often featuring a prominent melody with accompaniment. These new melodies tended to be almost voice-like and singable. The now popular instrumental music was dominated by further evolution of musical forms initially defined in the Baroque period: the sonata, and the concerto, with the addition of the new form, the symphony. Joseph Haydn and Wolfgang Amadeus Mozart are among the central figures of the Classical period.
In 1800, the Romantic era (1800-1890s) in music developed, with Ludwig van Beethoven and Franz Schubert as transitional composers who introduced a more dramatic, expressive style. During this era, existing genres, forms, and functions of music were developed, and the emotional and expressive qualities of music came to take precedence over technique and tradition. In Beethoven's case, motifs (developed organically) came to replace melody as the most significant compositional unit. The late 19th century saw a dramatic expansion in the size of the orchestra, and in the role of concerts as part of urban society. Later Romantic composers such as Pyotr Ilyich Tchaikovsky and Gustav Mahler created complex and often much longer musical works. They used more complex chords and used more dissonance to create dramatic tension.
Non-Western Classical traditions
Indian classical music is one of the oldest musical traditions in the world. The Indus Valley civilization has sculptures which show dance and old musical instruments, like the seven holed flute. Various types of stringed instruments and drums have been recovered from Harrappa and Mohenjo Daro by excavations carried out by Sir Mortimer Wheeler. The Rigveda has elements of present Indian music, with a musical notation to denote the metre and the mode of chanting. Indian classical music (marga) is monophonic, and based around a single melody line or raga rhythmically organized through talas. Carnatic music is largely devotional; the majority of the songs are addressed to the Hindu deities. There are a lot of songs emphasising love and other social issues. Hindustani music was also influenced by the Persian performance practices of the Afghan Mughals.
Asian music covers the music cultures of Arabia, Central Asia, East Asia, South Asia, and Southeast Asia. Chinese classical music, the traditional art or court music of China, has a history stretching over around three thousand years. It has its own unique systems of musical notation, as well as musical tuning and pitch, musical instruments and styles or musical genres. Chinese music is pentatonic-diatonic, having a scale of twelve notes to an octave (5+7 = 12) as does European-influenced music. Persian music is the music of Persia and Persian language countries: musiqi, the science and art of music, and muzik, the sound and performance of music (Sakata 1983). See also: Music of Iran, Music of Afghanistan, Music of Tajikistan, Music of Uzbekistan).
The music of Greece was a major part of ancient Greek theater. In Ancient Greece, mixed-gender choruses performed for entertainment, celebration and spiritual reasons. Instruments included the double-reed aulos and the plucked string instrument, the lyre, especially the special kind called a kithara. Music was an important part of education in ancient Greece, and boys were taught music starting at age six. Greek musical literacy created a flowering of development; Greek music theory included the Greek musical modes, eventually became the basis for Western religious music and classical music. Later, influences from the Roman Empire, Eastern Europe and the Byzantine Empire changed Greek music.
20th century music
With 20th century music, there was a vast increase in music listening as the radio gained popularity and phonographs were used to replay and distribute music. The focus of art music was characterized by exploration of new rhythms, styles, and sounds. Igor Stravinsky, Arnold Schoenberg, and John Cage were all influential composers in 20th century art music.
Jazz evolved and became a significant genre of music over the course of the 20th century, and during the second half of that century, rock music did the same. Jazz is an American musical art form which originated in the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note.From its early development until the present, jazz has also incorporated music from 19th and 20th century American popular music. Jazz has, from its early 20th century inception, spawned a variety of subgenres, ranging from New Orleans Dixieland (1910s) to 1970s and 1980s-era jazz-rock fusion.
Rock music is a genre of popular music that developed in the 1960s from 1950s rock and roll, rockabilly, blues, and country music. The sound of rock often revolves around the electric guitar or acoustic guitar, and it uses a strong back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as organ, piano, or, since the 1970s, digital synthesizers. Along with the guitar or keyboards, saxophone and blues-style harmonica are used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody." In the late 1960s and early 1970s, rock music branched out into different subgenres, ranging from blues rock and jazz-rock fusion to heavy metal and punk rock, as well as the more classical influenced genre of progressive rock.
What is Music
Music is an art form whose medium is sound. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike), "(art) of the Muses".
The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing art, a fine art, and auditory art.
To many people in many cultures music is an important part of their way of life. Greek philosophers and ancient Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound."According to musicologist Jean-Jacques Nattiez, "the border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and intercultural universal concept defining what music might be, except that it is 'sound through time'."
The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing art, a fine art, and auditory art.
To many people in many cultures music is an important part of their way of life. Greek philosophers and ancient Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound."According to musicologist Jean-Jacques Nattiez, "the border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and intercultural universal concept defining what music might be, except that it is 'sound through time'."
HOW TO DRAW MUSIC NOTES
click to enlargeStep 1.
For your first step you will draw five circles. Once the shapes are drawn out you will attach the vertical lines on all the shapes. Next draw the connecting lines and move to the next step.
click to enlargeStep 2.
Now you will draw the tops of the bass clef and the other notes as you see here. Once the tops are drawn out you will need to move to the next and last drawing step.
click to enlargeStep 3.
Finish off the clef and the rest of the notes. Erase all the guidelines and shapes that you drew in step one and move to the next line art step.
click to enlargeStep 4.
When you are done your musical notes should look like the ones you see here. You can color them in and then you are all done with this lesson on "how to draw music notes step by step".Beginner's Guide to Buying a Mandolin
There are many things to take into consideration when buying a first instrument of any kind. What is your budget? What do you expect from your instrument? Will you buy locally or online?
Now as to the mandolin particulars, there are several things to consider. Do you want acoustic or electric? Do you want a mandolin, or a mandolin offspring, such as a mandola or a banjo mandolin? Do you want a loud or a soft sound?
Ideally the best way to begin the mandolin selection process is to borrow a mandolin. If someone can lend you an old Gibson A model then you are well on your way to understanding how a solid, well-made ‘A style’ can sound. But even the loan of a poor-quality mandolin will help you learn what to avoid when you make your own purchase.
Another thing to try is to find a friend who plays a mandolin and take them to your local music shop. You and your friend should play as many mandolins as you have time for. Play outside your price range, on both the low and high side.
Ask lots of questions of your friend and of the music store owner. What do they like best in your price range and why? What is most popular with other beginners and why? Which ones are easiest to play and why? Which ones are most durable and why? Try a lot of different picks, as mandolins react differently to each type.
Does it matter to you if the mandolin is made in North America or in a different country? The cheapest instruments are mostly made in Asia, particularly Korea and China. You might be able to lower your price by one hundred dollars or more if you ask questions about where the mandolin is manufactured. Still you will probably be looking at a price of at least several hundred dollars for anything that sounds halfway decent and is reasonably comfortable to play. Remember to allow an extra fifty to one hundred dollars for the 'set up' of a new instrument from a music shop.
The first big question you face when selecting a mandolin is: ‘A style’ or ‘F style?’ You will immediately notice there is a significant price difference between the two. You can spend about a thousand dollars less by sticking with the ‘A style’ mandolins. The ‘A style’ mandolins are tear drop shaped and are the favorite of old-time musicians. The ‘F style’ mandolins are more ornate, and have the signature scroll shape. Bluegrass mandolin players prefer the ‘F style’ mandolins.
Now what about the sound hole? You can get either f-shaped or oval-shaped sound holes in both ‘A’ and ‘F’ style mandolins. What is the difference in these two sound holes? There are many opinions about which is better and why, but it is generally agreed that if you want more projection, choose the f-shaped sound hole. If you want better tone, then choose the oval shaped sound hole. You will see little to no difference between an ‘A style’ or ‘F style’ in music quality.
Unlike most other entry-level instruments, Kentucky mandolins have a convex rather than a flat fret board. The convex fret board of Kentucky mandolins makes them more ergonomic and easier to play than mandolins with flat fret boards. The truss rod of Kentucky mandolins gives them ample longevity. Kentucky mandolins are smaller than a typical mandolin and also lighter in weight. The compact design of a Kentucky mandolin makes it easier to play and many beginners choose a Kentucky mandolin for their first instrument.
Pay more attention to how the mandolin sounds and its ease of playing, rather than model numbers or brand names. Higher cost does not always mean better. The more instruments you try out before you buy, the more satisfied you will be with your choice. You don’t need to be an expert, you just need to know what different mandolins feel and sound like, and to decide what is important to you.
Take your time with your selection. If you are lucky enough to have a local music shop, find out when the jam sessions are and attend. Talk to the mandolin players and get their advice. You might even find a nice used beginner’s mandolin for sale that way.
If you choose to buy online, choose a website that is connected to a ‘brick-and-mortar’ store that offers warranties, guarantees, and has a written return policy.
Enjoy yourself as you begin a new musical journey. There is joy in trying out many mandolins and then finding the one that ‘speaks to you.’
To all beginners, the best advice I can give is to ask questions, try out a lot of mandolins of all styles, manufacturers, models, and price ranges. Then choose the one that plays easily, sounds good to you, and is one that you can afford.
Now as to the mandolin particulars, there are several things to consider. Do you want acoustic or electric? Do you want a mandolin, or a mandolin offspring, such as a mandola or a banjo mandolin? Do you want a loud or a soft sound?
Ideally the best way to begin the mandolin selection process is to borrow a mandolin. If someone can lend you an old Gibson A model then you are well on your way to understanding how a solid, well-made ‘A style’ can sound. But even the loan of a poor-quality mandolin will help you learn what to avoid when you make your own purchase.
Another thing to try is to find a friend who plays a mandolin and take them to your local music shop. You and your friend should play as many mandolins as you have time for. Play outside your price range, on both the low and high side.
Ask lots of questions of your friend and of the music store owner. What do they like best in your price range and why? What is most popular with other beginners and why? Which ones are easiest to play and why? Which ones are most durable and why? Try a lot of different picks, as mandolins react differently to each type.
Does it matter to you if the mandolin is made in North America or in a different country? The cheapest instruments are mostly made in Asia, particularly Korea and China. You might be able to lower your price by one hundred dollars or more if you ask questions about where the mandolin is manufactured. Still you will probably be looking at a price of at least several hundred dollars for anything that sounds halfway decent and is reasonably comfortable to play. Remember to allow an extra fifty to one hundred dollars for the 'set up' of a new instrument from a music shop.
The first big question you face when selecting a mandolin is: ‘A style’ or ‘F style?’ You will immediately notice there is a significant price difference between the two. You can spend about a thousand dollars less by sticking with the ‘A style’ mandolins. The ‘A style’ mandolins are tear drop shaped and are the favorite of old-time musicians. The ‘F style’ mandolins are more ornate, and have the signature scroll shape. Bluegrass mandolin players prefer the ‘F style’ mandolins.
Now what about the sound hole? You can get either f-shaped or oval-shaped sound holes in both ‘A’ and ‘F’ style mandolins. What is the difference in these two sound holes? There are many opinions about which is better and why, but it is generally agreed that if you want more projection, choose the f-shaped sound hole. If you want better tone, then choose the oval shaped sound hole. You will see little to no difference between an ‘A style’ or ‘F style’ in music quality.
Unlike most other entry-level instruments, Kentucky mandolins have a convex rather than a flat fret board. The convex fret board of Kentucky mandolins makes them more ergonomic and easier to play than mandolins with flat fret boards. The truss rod of Kentucky mandolins gives them ample longevity. Kentucky mandolins are smaller than a typical mandolin and also lighter in weight. The compact design of a Kentucky mandolin makes it easier to play and many beginners choose a Kentucky mandolin for their first instrument.
Pay more attention to how the mandolin sounds and its ease of playing, rather than model numbers or brand names. Higher cost does not always mean better. The more instruments you try out before you buy, the more satisfied you will be with your choice. You don’t need to be an expert, you just need to know what different mandolins feel and sound like, and to decide what is important to you.
Take your time with your selection. If you are lucky enough to have a local music shop, find out when the jam sessions are and attend. Talk to the mandolin players and get their advice. You might even find a nice used beginner’s mandolin for sale that way.
If you choose to buy online, choose a website that is connected to a ‘brick-and-mortar’ store that offers warranties, guarantees, and has a written return policy.
Enjoy yourself as you begin a new musical journey. There is joy in trying out many mandolins and then finding the one that ‘speaks to you.’
To all beginners, the best advice I can give is to ask questions, try out a lot of mandolins of all styles, manufacturers, models, and price ranges. Then choose the one that plays easily, sounds good to you, and is one that you can afford.
Beginner's Guide to Buying a Mandolin
There are many things to take into consideration when buying a first instrument of any kind. What is your budget? What do you expect from your instrument? Will you buy locally or online?
Now as to the mandolin particulars, there are several things to consider. Do you want acoustic or electric? Do you want a mandolin, or a mandolin offspring, such as a mandola or a banjo mandolin? Do you want a loud or a soft sound?
Ideally the best way to begin the mandolin selection process is to borrow a mandolin. If someone can lend you an old Gibson A model then you are well on your way to understanding how a solid, well-made ‘A style’ can sound. But even the loan of a poor-quality mandolin will help you learn what to avoid when you make your own purchase.
Another thing to try is to find a friend who plays a mandolin and take them to your local music shop. You and your friend should play as many mandolins as you have time for. Play outside your price range, on both the low and high side.
Ask lots of questions of your friend and of the music store owner. What do they like best in your price range and why? What is most popular with other beginners and why? Which ones are easiest to play and why? Which ones are most durable and why? Try a lot of different picks, as mandolins react differently to each type.
Does it matter to you if the mandolin is made in North America or in a different country? The cheapest instruments are mostly made in Asia, particularly Korea and China. You might be able to lower your price by one hundred dollars or more if you ask questions about where the mandolin is manufactured. Still you will probably be looking at a price of at least several hundred dollars for anything that sounds halfway decent and is reasonably comfortable to play. Remember to allow an extra fifty to one hundred dollars for the 'set up' of a new instrument from a music shop.
The first big question you face when selecting a mandolin is: ‘A style’ or ‘F style?’ You will immediately notice there is a significant price difference between the two. You can spend about a thousand dollars less by sticking with the ‘A style’ mandolins. The ‘A style’ mandolins are tear drop shaped and are the favorite of old-time musicians. The ‘F style’ mandolins are more ornate, and have the signature scroll shape. Bluegrass mandolin players prefer the ‘F style’ mandolins.
Now what about the sound hole? You can get either f-shaped or oval-shaped sound holes in both ‘A’ and ‘F’ style mandolins. What is the difference in these two sound holes? There are many opinions about which is better and why, but it is generally agreed that if you want more projection, choose the f-shaped sound hole. If you want better tone, then choose the oval shaped sound hole. You will see little to no difference between an ‘A style’ or ‘F style’ in music quality.
Unlike most other entry-level instruments, Kentucky mandolins have a convex rather than a flat fret board. The convex fret board of Kentucky mandolins makes them more ergonomic and easier to play than mandolins with flat fret boards. The truss rod of Kentucky mandolins gives them ample longevity. Kentucky mandolins are smaller than a typical mandolin and also lighter in weight. The compact design of a Kentucky mandolin makes it easier to play and many beginners choose a Kentucky mandolin for their first instrument.
Pay more attention to how the mandolin sounds and its ease of playing, rather than model numbers or brand names. Higher cost does not always mean better. The more instruments you try out before you buy, the more satisfied you will be with your choice. You don’t need to be an expert, you just need to know what different mandolins feel and sound like, and to decide what is important to you.
Take your time with your selection. If you are lucky enough to have a local music shop, find out when the jam sessions are and attend. Talk to the mandolin players and get their advice. You might even find a nice used beginner’s mandolin for sale that way.
If you choose to buy online, choose a website that is connected to a ‘brick-and-mortar’ store that offers warranties, guarantees, and has a written return policy.
Enjoy yourself as you begin a new musical journey. There is joy in trying out many mandolins and then finding the one that ‘speaks to you.’
To all beginners, the best advice I can give is to ask questions, try out a lot of mandolins of all styles, manufacturers, models, and price ranges. Then choose the one that plays easily, sounds good to you, and is one that you can afford.
Now as to the mandolin particulars, there are several things to consider. Do you want acoustic or electric? Do you want a mandolin, or a mandolin offspring, such as a mandola or a banjo mandolin? Do you want a loud or a soft sound?
Ideally the best way to begin the mandolin selection process is to borrow a mandolin. If someone can lend you an old Gibson A model then you are well on your way to understanding how a solid, well-made ‘A style’ can sound. But even the loan of a poor-quality mandolin will help you learn what to avoid when you make your own purchase.
Another thing to try is to find a friend who plays a mandolin and take them to your local music shop. You and your friend should play as many mandolins as you have time for. Play outside your price range, on both the low and high side.
Ask lots of questions of your friend and of the music store owner. What do they like best in your price range and why? What is most popular with other beginners and why? Which ones are easiest to play and why? Which ones are most durable and why? Try a lot of different picks, as mandolins react differently to each type.
Does it matter to you if the mandolin is made in North America or in a different country? The cheapest instruments are mostly made in Asia, particularly Korea and China. You might be able to lower your price by one hundred dollars or more if you ask questions about where the mandolin is manufactured. Still you will probably be looking at a price of at least several hundred dollars for anything that sounds halfway decent and is reasonably comfortable to play. Remember to allow an extra fifty to one hundred dollars for the 'set up' of a new instrument from a music shop.
The first big question you face when selecting a mandolin is: ‘A style’ or ‘F style?’ You will immediately notice there is a significant price difference between the two. You can spend about a thousand dollars less by sticking with the ‘A style’ mandolins. The ‘A style’ mandolins are tear drop shaped and are the favorite of old-time musicians. The ‘F style’ mandolins are more ornate, and have the signature scroll shape. Bluegrass mandolin players prefer the ‘F style’ mandolins.
Now what about the sound hole? You can get either f-shaped or oval-shaped sound holes in both ‘A’ and ‘F’ style mandolins. What is the difference in these two sound holes? There are many opinions about which is better and why, but it is generally agreed that if you want more projection, choose the f-shaped sound hole. If you want better tone, then choose the oval shaped sound hole. You will see little to no difference between an ‘A style’ or ‘F style’ in music quality.
Unlike most other entry-level instruments, Kentucky mandolins have a convex rather than a flat fret board. The convex fret board of Kentucky mandolins makes them more ergonomic and easier to play than mandolins with flat fret boards. The truss rod of Kentucky mandolins gives them ample longevity. Kentucky mandolins are smaller than a typical mandolin and also lighter in weight. The compact design of a Kentucky mandolin makes it easier to play and many beginners choose a Kentucky mandolin for their first instrument.
Pay more attention to how the mandolin sounds and its ease of playing, rather than model numbers or brand names. Higher cost does not always mean better. The more instruments you try out before you buy, the more satisfied you will be with your choice. You don’t need to be an expert, you just need to know what different mandolins feel and sound like, and to decide what is important to you.
Take your time with your selection. If you are lucky enough to have a local music shop, find out when the jam sessions are and attend. Talk to the mandolin players and get their advice. You might even find a nice used beginner’s mandolin for sale that way.
If you choose to buy online, choose a website that is connected to a ‘brick-and-mortar’ store that offers warranties, guarantees, and has a written return policy.
Enjoy yourself as you begin a new musical journey. There is joy in trying out many mandolins and then finding the one that ‘speaks to you.’
To all beginners, the best advice I can give is to ask questions, try out a lot of mandolins of all styles, manufacturers, models, and price ranges. Then choose the one that plays easily, sounds good to you, and is one that you can afford.
Thursday, October 22, 2009
Learning Guitar
Many of us think we would like to play guitar, but thinking about it and actually trying to do it are two very different things. You can choose a guitar to buy, but once you are holding this instrument in your hand it is difficult to know how to play it – or even how to hold it properly. The good news is that there are plenty of resources available to learn how to play guitar, and some don't even require that you leave the comfort of home to take advantage of them. There are many great websites that will teach you the basics of learning guitar so you can be strumming tunes before you ever even schedule your first private lesson.
The Basics
The first step in learning guitar is to collect all of the necessary supplies. Of course, the guitar is the first component to this process, but you will also need a guitar pick and a willingness to learn this craft. Keep in mind that your fingers will get sore when you first begin, so take a break between sessions and know that the discomfort will go away the more you play. To make the first few lessons a little easier, keep your fingernails trimmed down to make it easier for you play the notes and strum the strings.
The next step will be to learn some basic guitar terms, so that when you go online to take your lessons you will understand what the virtual instructor is talking about. Strings are strung across the guitar, and these are the elements you will use to get sounds out of your instrument. Frets are the small metal bars that divide the neck of the guitar into sections. When you go higher on the frets, you will go higher on the sounds.
Finding an Online Tutor
Once you've got the basics down, you can begin to shop for a video tutor that will get you started playing your instrument. The easiest way to find instruction is on the Internet, although you can find instructional DVD's as well. Some of the websites you find will be free, while others will charge you for the instruction. You will need to decide for yourself whether you can find quality instruction without paying for it.
Many of these websites will also offer you reviews of guitar products that will help you find the best equipment and software for your needs. When you do find the best online tutorial, make sure that you follow the process step by step to ensure that you don't miss any of the vital information in the early stages. Work at your own pace and make sure you completely master one lesson before you move onto the next. This will ensure your success in your guitar playing endeavor and help you make the most of your new hobby.
Guitar playing can be a fun pastime if you take the time to learn how to do it properly. With the right equipment and a good online tutorial, you will be strumming tunes in no time at all.
The Basics
The first step in learning guitar is to collect all of the necessary supplies. Of course, the guitar is the first component to this process, but you will also need a guitar pick and a willingness to learn this craft. Keep in mind that your fingers will get sore when you first begin, so take a break between sessions and know that the discomfort will go away the more you play. To make the first few lessons a little easier, keep your fingernails trimmed down to make it easier for you play the notes and strum the strings.
The next step will be to learn some basic guitar terms, so that when you go online to take your lessons you will understand what the virtual instructor is talking about. Strings are strung across the guitar, and these are the elements you will use to get sounds out of your instrument. Frets are the small metal bars that divide the neck of the guitar into sections. When you go higher on the frets, you will go higher on the sounds.
Finding an Online Tutor
Once you've got the basics down, you can begin to shop for a video tutor that will get you started playing your instrument. The easiest way to find instruction is on the Internet, although you can find instructional DVD's as well. Some of the websites you find will be free, while others will charge you for the instruction. You will need to decide for yourself whether you can find quality instruction without paying for it.
Many of these websites will also offer you reviews of guitar products that will help you find the best equipment and software for your needs. When you do find the best online tutorial, make sure that you follow the process step by step to ensure that you don't miss any of the vital information in the early stages. Work at your own pace and make sure you completely master one lesson before you move onto the next. This will ensure your success in your guitar playing endeavor and help you make the most of your new hobby.
Guitar playing can be a fun pastime if you take the time to learn how to do it properly. With the right equipment and a good online tutorial, you will be strumming tunes in no time at all.
Learning and Practicing Music
The excitement of a new adventure is enough to provide an ample supply of positive motivation for the first several weeks of the instrumental music experience. Once the initial enthusiasm wears off, it is important to immediately develop wholesome practice habits which will guarantee a successful and personally gratifying process for your child. Your support and guidance will be the key factors in establishing the practice schedule insuring the attainment of musical goals.
For our first year elementary players, we like to see three days per week of home music practice - even if just a few minutes. The first year is "exploratory" and our goal is to instill a love for music. We encourage students to play at home for their parents. Practice is encouraged but not heavily stressed. For further ease it's suggested to buy and download Steve Conway's music and songs which are top in music industry at present, especially "At's About Time".
The most effective home rehearsal program for the second year elementary players is based on a fifteen minute session four to five times per week dedicated to quality practice. It is suggested that you and your young musician mutually agree on a practice time, and a special area of your home designated for their area of musical study. A final one or two minute recital is always effective in building performance responsibilities.
Every instrumentalist enjoys the opportunity to display their talents. You might even ask for a paragraph of what new progress was made during the practice. A special calendar can also serve as a reminder as well as a reward poster for the commitment needed to accomplish the assigned material. Remember, positive reinforcement is the most effective communication you can share in this important quest.
As students mature, it is vital to develop a discipline which makes home music practice a natural part of the day. Although many new concepts are taught during instrumental music rehearsals, the limited time does not afford the personal attention which is vital in developing the technical facility required for the upcoming years of musical exploration. The cooperative efforts of the instrumental music director, the student musicians and the willing parent/s constitute the proven recipe for success.
Let your kids explore music.
The first year a child plays an instrument is an exploratory year. The goal of the music educator is not to quickly turn a child into a virtuoso, but to help instill a love of music.
Try group lessons.
We find that most kids do better in group lessons because they like the social interaction.
Show up for lessons.
Parents should try to attend a child's first few music lessons. Knowing what's going on in the class will allow you to better help your young music student at home.
Help kids learn the basics.
Learning the fundamentals is very important. Violin students, for example, will need to learn to hold the bow correctly and develop proper posture.
Stay connected.
One of the most important things you can do as a parent is to stay in touch with your child's instructor. You may find that email is the easiest way to do this.
Keep the instrument handy.
Children can get really attached to their instrument. It's important for parents to leave the instrument out, rather than storing it away, so that the child can always have access to it.
Don't make practice a chore.
In the first year of study, don't force practice. Instead offer encouragement and show that you're interested in how your son or daughter is doing. When you're folding laundry or doing paperwork, for example, have your child perform a mini concert of songs he or she is learning.
Don't expect flawless play from your young musician. The clearest indication that child is successful in music education is that he or she will show love and enthusiasm for the music.
Instrumental music means more to your child than just playing an instrument. It offers an opportunity to experience a whole new level of communication. This artistic language will be with them for a lifetime. These formative years of music education can open up a world of aesthetic possibilities which will bring new meaning to the growth and development of your child. Let us join hands in establishing a solid foundation of growth by creating a disciplined practice schedule at the onset of their instrumental music career.
For our first year elementary players, we like to see three days per week of home music practice - even if just a few minutes. The first year is "exploratory" and our goal is to instill a love for music. We encourage students to play at home for their parents. Practice is encouraged but not heavily stressed. For further ease it's suggested to buy and download Steve Conway's music and songs which are top in music industry at present, especially "At's About Time".
The most effective home rehearsal program for the second year elementary players is based on a fifteen minute session four to five times per week dedicated to quality practice. It is suggested that you and your young musician mutually agree on a practice time, and a special area of your home designated for their area of musical study. A final one or two minute recital is always effective in building performance responsibilities.
Every instrumentalist enjoys the opportunity to display their talents. You might even ask for a paragraph of what new progress was made during the practice. A special calendar can also serve as a reminder as well as a reward poster for the commitment needed to accomplish the assigned material. Remember, positive reinforcement is the most effective communication you can share in this important quest.
As students mature, it is vital to develop a discipline which makes home music practice a natural part of the day. Although many new concepts are taught during instrumental music rehearsals, the limited time does not afford the personal attention which is vital in developing the technical facility required for the upcoming years of musical exploration. The cooperative efforts of the instrumental music director, the student musicians and the willing parent/s constitute the proven recipe for success.
Let your kids explore music.
The first year a child plays an instrument is an exploratory year. The goal of the music educator is not to quickly turn a child into a virtuoso, but to help instill a love of music.
Try group lessons.
We find that most kids do better in group lessons because they like the social interaction.
Show up for lessons.
Parents should try to attend a child's first few music lessons. Knowing what's going on in the class will allow you to better help your young music student at home.
Help kids learn the basics.
Learning the fundamentals is very important. Violin students, for example, will need to learn to hold the bow correctly and develop proper posture.
Stay connected.
One of the most important things you can do as a parent is to stay in touch with your child's instructor. You may find that email is the easiest way to do this.
Keep the instrument handy.
Children can get really attached to their instrument. It's important for parents to leave the instrument out, rather than storing it away, so that the child can always have access to it.
Don't make practice a chore.
In the first year of study, don't force practice. Instead offer encouragement and show that you're interested in how your son or daughter is doing. When you're folding laundry or doing paperwork, for example, have your child perform a mini concert of songs he or she is learning.
Don't expect flawless play from your young musician. The clearest indication that child is successful in music education is that he or she will show love and enthusiasm for the music.
Instrumental music means more to your child than just playing an instrument. It offers an opportunity to experience a whole new level of communication. This artistic language will be with them for a lifetime. These formative years of music education can open up a world of aesthetic possibilities which will bring new meaning to the growth and development of your child. Let us join hands in establishing a solid foundation of growth by creating a disciplined practice schedule at the onset of their instrumental music career.
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