Luca Sutto’s Post

OUT NOW: “Re-Composing YouTube: Vernacular Musical Aesthetics in the Digital Age” (transcript Verlag) My book, which is based on my dissertation, provides a concise theory of musical everyday aesthetics on YouTube, shedding light on networked forms of composition and the systems of knowledge and discourse that produce them. More info here:

Embrace the improvisations of life: 'If I had to live my life over again, I'd try to make more mistakes next time.' 🎼🌈 Just like in jazz, where the unexpected note can lead to the most beautiful improvisation, our mistakes and missteps in life and music are often where we find our true rhythm. This quote encourages us to live boldly, to not shy away from the discordant notes, for they too have their place in our melody. Which song or piece of music reminds you that it's okay to embrace imperfections, to learn and grow from the unexpected turns? Share with us the tunes that celebrate the beauty of life's improvisations. 🎵💖 #MusicalMistakes #EmbraceImperfection #LifeImprovisation

About the Common Practice Period spanned roughly 250 years, during which the tonal system became the dominant foundation for composition. This era began when composers fully embraced tonal harmony, moving beyond earlier musical systems, and ended as some started experimenting with and developing new, innovative approaches to harmony. From the mid-Baroque period through the Classical and Romantic eras—roughly from 1650 to 1900—the tonal system reigned supreme, though its stylistic elements evolved over time. During these centuries, musical forms like the sonata form saw periods of flourishing and decline. Despite the many changes in style, the defining characteristic of this era was a harmonic language that modern theorists analyze using Roman numeral chord analysis. The term "common practice" refers not to a specific type of harmony but to the fact that for over two centuries, one dominant system guided musical composition.

I invite you to check our latest blog post exploring the power of music to break barriers, heal and connect 🩵 #BodyStoriesProject

You know what I've been thinking these days: for cultural inclusion (mandatory) it should be an example that at every concert at the university, when Bach, Weber, Chopin, Tchaikovsky are sung, hip hop, rock, pop, country, R&B, blues, heavy metal, reggae, Latino, jazz, house. I'm sure that an extra who listens to classical music would be very interested in listening to what the most popular artist of the mentioned genres has released (now that you're reading this article), and the extra from the university gets up and leaves to be severely fined and forced to sing the respective lines. What do you think...my opinion is that ART, specifically music is about everything, and secondarily about music. If we analyze Taylor Swift's songs, we discover that first of all it is about selectivity, choreography, lights and colors and then about music. You received bracelets, you were asked to hold the phones with your hands up, you were told to make some arrangements with crowds, that is, a choreography that makes me think of the communist campaigns, equally hypocritical, but this time unforced by anyone, but another form of manipulation. Music is no longer about freedom, to think differently is about ART through voting. What would you like to create: what is trending on YouTube and TikTok or do you want to represent yourself? Don't you think that nowadays it is a shame to think critically? #taylorswift, #racism, #art, #communism

I am pleased to share my latest blog post titled "Ode to This Thing I Found: Why I Love My Acoustic Solid Vintage Exclusive Turntable." In this post, I express my deep admiration for the unique qualities of my Acoustic Solid Vintage Exclusive Turntable. I delve into its exceptional musical output and the sensory experience it provides. If you're eager to learn more about my profound appreciation for this exceptional audio device, you can read the full post here: https://ift.tt/IocWxlS

This is just what India's new education guideline, NEP 2020 and its follow-up, NCF 2023, are prodding educationists to do! I'm so excited about their implementation in more and more schools across the country. #NEP2020 #NCF2023 #NEPNCF #inclusiveeducation

Technique as a means to an end, the sole/soul end being the production of a beautiful tone as if intoned from the depths of one's being is no more a gift than the study of breath and the breadth of spacing that would most effectively express the measures of a sonnet by Shakespeare as expressed by Branagh or Olivier live on stage, nuance then being the key that opens the door to an Aladdin's cave of miracles and magic. This sentiment holds true just as much for pianists as it does for singers and string players, the physical notion first being one of relaxation, of leaning into the sound rather than to pull away from it - where like attracts like - to give of yourself to it rather than to govern it, just as with life, to embrace the dream of what has yet to be and to be it. Such a sound can be heard in the playing of pianist Claudio Arrau, whose musical lineage can be traced back with as little as a stone's throw to the teachings of Franz Liszt. Essentially, how you approach a note is how it will sound. Whatever is retained in the body will not allow for the disembodiment of the beat, rhythm as aligned to dynamics then allowing for music's own beauty and buoyancy. The carriage should always be one of a cantabile touch, where even a more percussive approach need not deny the likes of Prokofiev the poetry that was to be the poison for Romeo and Juliet.

"You have small hands; you really should stick to Mozart." That one comment hit deep and stayed there, smoldering. It replayed in my mind over and over again as I practiced, and for a while, I almost let it shut me down. Yes, there are pieces that are beyond my octave reach. Of course, that's true. But then God sent me a coach who showed me a completely different way to approach the piano, both physically and artistically. And I realized something important: large hands don’t automatically mean an artistic performance. They might create something athletic, fast, or loud, but that doesn’t necessarily mean it’s musical. So often, people get caught up in the spectacle of a big, bold performance, but they miss the nuance, the subtleties, the true artistry that can come from those of us with smaller hands. The truth is, small hands can do so much more than just play Mozart (though, let’s be honest, Mozart is wonderful). Small hands can play with just as much expression, just as much depth, if not more, than large hands. We just have to be a little more creative, work a little harder, and bring our whole selves to the music. And isn’t that what makes it worth it? The effort, the perseverance, the refusal to be defined by limitations. Because that’s where the magic of music truly lives—in the courage to play your own way, regardless of the size of your hands.

I'm excited to share our latest blog post that delves into the mesmerizing world of Acid Mothers Temple & The Cosmic Inferno. This piece explores the innovative contributions of these Japanese freak rock pioneers, highlighting their unique sound and the impact they've had on the music scene. If you’re a fan of experimental rock or simply curious about new musical horizons, this post is a must-read. Discover more about their artistic journey and influence by following the link below. Read the full article here: [Graded on a Curve: Acid Mothers Temple & The Cosmic Inferno Starless And Bible Black Sabbath](https://ift.tt/YEeJxmI).