The Sync Project and Berklee College Of Music Partner To Explore The Science Behind “Music As Medicine”

“The Sync Project, a PureTech startup working towards scientifically measuring and harnessing music to improve health, has announced a collaborative partnership with Berklee’s Institute for Creative Entrepreneurship (BerkleeICE). The partnership involves joint original research, course development and an internship program. 

‘Music can be a catalyst for new disruptive ideas to emerge, whether those ideas are applied to the creative music space or whether those ideas are exported into other fields, like health,” said Panos Panay, Founding Managing Director of Berklee’s Institute for Creative Entrepreneurship. “The Sync Project’s rigorous focus on the leading science of the neurological and health impacts of music, makes them a perfect partner.’

‘The Sync Project’s mission is to bring together the scientists, technologists, clinicians and musicians of the world to help accelerate the discovery of the clinical applications of music,” said PureTech CEO and Sync Project Co-founder, Daphne Zohar. “With this collaboration, we hope to engage and inspire the next generation of musicians to help us advance the field of music as medicine.'”

Via — Hyperbot

Kaiser Chiefs – Create your album

Kaiser Chiefs let fans pick 10 songs of 20, design album cover, pay to download, then resell at profit. Set up site for people to browse each other’s albums. Very interesting outside the box thinking.

David Byrne’s Survival Strategies for Emerging Artists

First, a definition of terms. What is it we’re talking about here? What exactly is being bought and sold? In the past, music was something you heard and experienced – it was as much a social event as a purely musical one. Before recording technology existed, you could not separate music from its social context. Epic songs and ballads, troubadours, courtly entertainments, church music, shamanic chants, pub sing-alongs, ceremonial music, military music, dance music – it was pretty much all tied to specific social functions. It was communal and often utilitarian. You couldn’t take it home, copy it, sell it as a commodity (except as sheet music, but that’s not music), or even hear it again. Music was an experience, intimately married to your life. You could pay to hear music, but after you did, it was over, gone – a memory.

Technology changed all that in the 20th century. Music  – or its recorded artifact, at least – became a product, a thing that could be bought, sold, traded, and replayed endlessly in any context. This upended the economics of music, but our human instincts remained intact. I spend plenty of time with buds in my ears listening to recorded music, but I still get out to stand in a crowd with an audience. I sing to myself, and, yes, I play an instrument (not always well).

We’ll always want to use music as part of our social fabric: to congregate at concerts and in bars, even if the sound sucks; to pass music from hand to hand (or via the Internet) as a form of social currency; to build temples where only “our kind of people” can hear music (opera houses and symphony halls); to want to know more about our favorite bards – their love lives, their clothes, their political beliefs. This betrays an eternal urge to have a larger context beyond a piece of plastic. One might say this urge is part of our genetic makeup.

All this is what we talk about when we talk about music.

All of it.

That’s what I always say!

Why Facebook Cannot Be Trusted

About 10 days ago I was informed that Facebook, in its infinite, benevolent — and, apparently, irreversible — wisdom, had decided that our “Fan” page was actually a “Community” page. There was no explanation for the involuntary re-categorization. Nor was there any recourse offered, other than a link that said “if you think this reassignment was made in error, click here”. That was not an link back to the original configuration, but a way to submit a request to get the original settings restored.At first I did not think too much of the change. It looked like the page was performing precisely as it had before the involuntary change. But then I started to notice one mission-critical difference: I could no longer set the “default tab” for first time visitors to the page.

I did not fully grasp what was happening until the good folk at DamnTheRadio (just recently a subsidiary of the FanBridge e-mail service) – whose excellent customer service typically responds to user inquiries within just a few hours – explained to me that Facebook, again in their infinite, benevolent –  and apparently arbitrary and capricious – wisdom, had eliminated the”set default tab” feature, but only for “Community”pages!

In other words, for reasons unforeseen and unknowable, Facebook had a) changed the category of my page and b) consequently disabled what I regarded as the single most important feature of the page.

Dave Cool on Why Bands Shouldn’t Give Away (ALL) their Music for Free

So what happened here? The artist took time to develop a relationship with me. Once I knew the artist better, once they had made a deeper connection with me by making me laugh and responding to me personally a few times, they no longer felt like just another one of the thousands of other artists out there. They stood out from the pack because they took time to get to know me and I felt like I was a part of their world. Now I wanted to support their career.

Great post about the importance of developing relationships rather than just throwing free downloads at everyone.

Jonathan Coulton on charges his success isn’t replicable

I can’t believe I have to point this out, but there are plenty of artists making music and using unique and creative promotional techniques to sell it directly to fans (say it with me, won’t you?): Trent Reznor, Radiohead, Amanda Palmer, Paul and Storm, Marian Call, OK Go, MC Frontalot, MC Lars, the list goes on and on and gets larger every day. We are successful to varying degrees and we have different ways of doing things, some of us came from labels, went to labels, or eschewed labels entirely, but we are all participating in the same basic re-jiggering of the spreadsheet. I obviously don’t know the details of everyone’s business, but I’m guessing that we have this one thing in common: we’ve all decided that it’s fine with us if we reach fewer people as long as we reach them more directly. The revolution in the music industry (which has already happened by the way) is one of efficiency, and it means that success is now possible on a much smaller scale. Nobody has to sell out Madison Square Garden anymore to make a living.

And that is the point. That is what’s inarguably different today because of the internet. We now have an entirely new set of contexts and they come with a whole new set of tools that give us cheap and easy access to all of them–niche has gone mainstream.

Read the whole post, it makes a lot of great points. Also, love the line “That’s like saying the Beatles won the British Invasion lottery.”

Dan Bull Auctioning Off A Custom Song On eBay | Techdirt

Dan seems to recognize that and is running an experiment in which he tries auctioning off the creation of a new song on eBay. Since eBay auctions disappear, here’s a screenshot:The text reads:

Hello, my name is Daniel and I make songs. You can see my stuff by typing “Dan Bull” into YouTube. I’ve decided to find out what my music is really worth so I’m sticking myself on eBay. The winning bidder will receive:One song on any topic of your choice, written, performed and produced by Dan Bull. Duration: 2.30 – 3.30 approx. I will liaise with you via e-mail if there any specific details you wish to include in the song. You will be free to use and redistribute this song in any way you wish, however I reserve the right to do the same. The song will be delivered to you in MP3 format within 14 days of the winning bid.

Get bidding now, because this may never happen again. Love from Dan 🙂 x

There are definitely musicians for whom I’d bid on a custom song. Definitely.