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You will have created a dependable tool which is guaranteed to energize your musical growth and development.

Lil Wayne’s new video is loosely based on Spike Lee’s “Inside Man” and features appearances by T-Pain and Mack Mane, plus a few surprises.

“Twilight” stars Kellan Lutz and Ashley Greene will reunite for the 2009 film “Strife,” MTV News has exclusively learned.

“Transformers: Revenge of the Fallen” star Tyrese Gibson doesn’t think Shia LaBeouf’s injury will hold up filming. “He just hurt his hand,” the actor said.

Amy Winehouse was hospitalized Monday after suffering an adverse reaction to medication, her spokeswoman tells MTV News.

Miley Cyrus apologized for her YouTube video that spoofed a clip posted by Demi Lovato and Selena Gomez, saying that she was just “being silly.”

“The Dark Knight” held at #1 at the weekend box office, while “Step Brothers” opened at #2 and “Mamma Mia!” fell to #3.

A new song from Whitney Houston — a collaboration with Akon — called “Like I Never Left” has hit the Internet.

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Music Video for When I Grow Up by The Pussycat Dolls

Added: Thursday, January 1, 1970
Views: 129312

Tags: The Pussycat Dolls When I Grow Up Pop Music Videos

Music Video for 7 Things by Miley Cyrus

Added: Thursday, January 1, 1970
Views: 124200

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Music Video for Cry by Rihanna

Added: Tuesday, July 8, 2008
Views: 86016

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Music Video for This Is Me feat. Demi Lovato & Joe Jonas by Camp Rock

Added: Thursday, January 1, 1970
Views: 69420

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Music Video for Take A Bow by Rihanna

Added: Thursday, January 1, 1970
Views: 63582

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Music Video for Forever by Chris Brown

Added: Thursday, January 1, 1970
Views: 55794

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Music Video for No Air feat. Chris Brown by Jordin Sparks

Added: Thursday, January 1, 1970
Views: 48054

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Music Video for One Step At A Time by Jordin Sparks

Added: Thursday, January 1, 1970
Views: 44988

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Music Video for Bleeding Love by Leona Lewis

Added: Thursday, January 1, 1970
Views: 37590

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Music Video for Burnin’ Up by Jonas Brothers

Added: Thursday, January 1, 1970
Views: 34590

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Music Video for Get Me Bodied (Remix) by Beyonce

Added: Monday, October 1, 2007
Views: 27912

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Music Video for See You Again by Miley Cyrus

Added: Friday, January 11, 2008
Views: 20094

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Episode 24 (Honor Thy Father) Air Date: 09-18-1979
Episode 25 (Reverend Jim: A Space Odyssey) Air Date: 09-25-1979
Episode 26 (Nardo Loses Her Marbles) Air Date: 10-02-1979
Episode 27 (Wherefore Art Thou, Bobby?) Air Date: 10-16-1979
Episode 28 (The Lighter Side of Angela Matusa) Air Date: 10-23-1979
Episode 29 (A Woman Between Friends) Air Date: 10-30-1979
Episode 30 (The Great Race) Air Date: 11-06-1979
Episode 31 (The Apartment) Air Date: 11-13-1979
Episode 32 (Alex”s Romance) Air Date: 11-20-1979
Episode 33 (Latka”s Revolting) Air Date: 11-27-1979
Episode 34 (Elaine”s Secret Admirer) Air Date: 12-04-1979
Episode 35 (Louie Meets the Folks) Air Date: 12-11-1979
Episode 36 (Jim Gets a Pet) Air Date: 12-18-1979
Episode 37 (The Reluctant Fighter) Air Date: 12-25-1979
Episode 38 (Tony and Brian) Air Date: 01-08-1980
Episode 39 (Guess Who”s Coming for Brefnish?) Air Date: 01-15-1980
Episode 40 (What Price Bobby?) Air Date: 01-22-1980
Episode 41 (Shut It Down: Part 1) Air Date: 01-29-1980
Episode 42 (Shut It Down: Part 2) Air Date: 02-05-1980
Episode 43 (Alex Jumps Out of an Airplane) Air Date: 02-26-1980
Episode 44 (Art Work) Air Date: 03-04-1980
Episode 45 (Fantasy Borough: Part 1) Air Date: 05-06-1980
Episode 46 (Fantasy Borough: Part 2) Air Date: 05-13-1980

Shia LaBeouf was injured in a car crash on Sunday morning and was arrested under suspicion of driving under the influence, according to TMZ.

Lil Wayne’s new video is loosely based on Spike Lee’s “Inside Man” and features appearances by T-Pain and Mack Mane, plus a few surprises.

Britney Spears and Kevin Federline’s custody agreement was finalized on Friday, with Spears ordered to pay K-Fed’s legal fees.

Fabolous, the Clipse and Maino weighed in on how Rick Ross’ alleged prison-guard past might affect his career.

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There are different methods for pairing together music and autism. Besides simply presenting a child with music, you can give them access to a story or lesson taught with musical additions or enhancements. And in many cases, these lessons are made with autistic children in mind, and come as part of a set or series. You can even pick one out based on age group or your childs ability to learn.

Employing the example of Alexander the Great in opera seria, this essay reconsiders the performance of heroic roles in the 18th century. One of its aims is to extend our current understanding of Baroque gesture by taking seriously what contemporary acting tutors and treatises say: a complete performance is possible only after careful study of gesture in painting and statuary. An examination of Alexander iconography suggests both specific tactics for the singer, director and designer; and, more importantly, a broader agenda: the representation of Alexander’s essential grandeur. A second goal is to determine to what extent our performances today of Alexander and other operatic heroes can be shaped by comprehension of their significance and meanings for those who created and consumed heroic art in the 18th century. These heroes were (and are) not interchangeable, not simply emblems, but rather, individuals whose stories conjured up a host of resonances specific to each. We might portray them accordingly. Finally, the article explores some of the aesthetic and philosophical questions raised by this kind of historical approach.

On the richly travelled medieval road from Paris to Lyon, the city of Troyes, in Champagne, was probably the most important stop. The town was a major administrative and religious centre: it boasted a cathedral, several collegiate churches (at one of which, St John’s, King Henry V of England married Catherine of Valois in 1421) and a great number of parish churches.

The rich archives of these various establishments are kept today in the Archives départementales de l’Aube at Troyes, but do not appear to have been scrutinized by music historians since the appearance, more than 100 years ago, of Abbé Arthur Prévost’s Histoire de la maîtrise de la cathédrale de Troyes (1905). Renewed examination in the summer of 2006 has brought to light several documents of more than passing interest to the history of music.

Johannes Ockeghem held a canonry in absentia at Troyes Cathedral between 1457 and 1467, though it seems that the chapter was not especially happy to be able to count the composer among their number, and was looking for ways to encourage him to resign. Josquin visited Troyes on at least two occasions, in 1499 and 1501, and Antoine Brumel had done the same in 1497. There is reason to believe that these visits were more than overnight lodgings en route to other destinations. There appears to have been a tradition of singers’ meetings in the residence of the choirmaster of Troyes Cathedral—meetings of the kind that must have prompted, at much earlier dates, the composition of works like Compère’s Omnium bonorum plena and Josquin’s Illibata Dei virgo nutrix.

This article argues that a neume fragment found in the famous ‘Durham Cassiodorus’ (Durham, Cathedral Library, Ms.b.ii.30) may date from the first half of the 8th century. As part of this argument, I suggest the possibility of notated music in Anglo-Saxon England prior to the 10th century. Since the Durham Cassiodorus was likely read by Alcuin of York who played an important part in the Carolingian liturgical reform, the Durham Cassiodorus neume fragment may be linked to Alcuin and to what Kenneth Levy has called a ‘Carolingian archetype’, that is, a now-lost antiphoner with music compiled around 800. Other unreported English neume fragments found in the 8th-century ‘Tiberius Bede’ (London, British Library, Cotton Tiberius c.ii) are presented here.

Evidence of provenance and bibliographic features suggest that three autograph symphonies of Ignace Pleyel from the collection of the Royal Philharmonic Society in the British Library are the works he composed in London in 1792, when he was engaged by the Professional Concert as a rival to Haydn in the latter’s appearances for Salomon. Details of their performance in the succeeding decade support the case. In the E symphony Pleyel anticipates features later used by Haydn in his symphony no.103.

This article introduces a newly discovered manuscript dated 1760 (which is the property of the author) of the sacred cantatas of Elisabeth Jacquet de la Guerre and René Drouard de Bousset, which had been published earlier in the 18th century. As the only known secondary source of La Guerre’s cantatas, the variant readings between the printed and manuscript versions are discussed, and the fine, but little-known, cantatas of De Bousset are surveyed. The late copy date is remarkable, for it is generally considered that the French sacred cantata repertory fell out of favour by c.1745–50 at the latest. The author suggests that the writings of Titon du Tillet (including Le Parnasse François (Paris, 1732)), Daquin and others contributed to an ongoing interest, amongst select circles, in the repertory of the ‘ancien musique’ well into the 1760s. Musical examples are included, both in facsimile and modern transcriptions, as well as a Critical Commentary giving the most significant differences between the manuscript and printed versions of La Guerre’s cantatas. The illustrations include photographs of the manuscript itself, and various engraved portraits from Titon du Tillet’s Parnasse François, including that of La Guerre.

Early 17th-century English lute song represents a perfect fusion of words and music, simultaneously conceived by poets and composers with a deep instinctive understanding of each other’s business. This is a critical commonplace with heavy implications for performers. To avoid distracting attention away from the words, musical settings were kept as simple as possible. To facilitate simple strophic setting the poets made sure that each stanza of a multi-stanza poem followed the same metrical scheme, and they naturally assumed that composers would follow it too. The Golden Age achievement relied on collective self-restraint (not too much self-expression or ‘interpretation’ therefore); and when Henry Lawes and other cavalier composers of masque songs and masque-inspired opera abandoned that restraint the Golden Age was over. Henry Purcell had to start again from scratch. Little of this turns out to be true. ‘A mangled chime’ looks again at the relationship between words and music in 17th-century England, suggesting a more complicated system of interplay between the two. Compositional technique was a mystery to most lyricists even at the height of the Golden Age, and as the century unfolded they found words matching the formal ambitions of contemporary theatre composers harder and harder to write. By 1680–90 (the decade of Venus and Adonis and Dido and Aeneas) the result was a peculiarly English approach to word-setting in which musical sound, though it echoed poetical sense, frequently obliterated poetic structure; a theory of English opera thoroughly confused in its aesthetic aims; and (in consequence) an uncoordinated response to opera seria when the Italian invasion began soon afterwards. Because Golden Age reserve inhibited frank negotiation between composers and poets it masked the composers’ textual needs in dramatic rather than lyrical situations and it led—via hugely resourceful but non-confrontational Lawes—to the overthrow of native English opera a century later.

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At the end, The Doddlebop completed their song with a Lesson that Everyone can use a little help once in a while to make them better. Today, Moe got help from the Mighty Moe Machine.

Employing the example of Alexander the Great in opera seria, this essay reconsiders the performance of heroic roles in the 18th century. One of its aims is to extend our current understanding of Baroque gesture by taking seriously what contemporary acting tutors and treatises say: a complete performance is possible only after careful study of gesture in painting and statuary. An examination of Alexander iconography suggests both specific tactics for the singer, director and designer; and, more importantly, a broader agenda: the representation of Alexander’s essential grandeur. A second goal is to determine to what extent our performances today of Alexander and other operatic heroes can be shaped by comprehension of their significance and meanings for those who created and consumed heroic art in the 18th century. These heroes were (and are) not interchangeable, not simply emblems, but rather, individuals whose stories conjured up a host of resonances specific to each. We might portray them accordingly. Finally, the article explores some of the aesthetic and philosophical questions raised by this kind of historical approach.

On the richly travelled medieval road from Paris to Lyon, the city of Troyes, in Champagne, was probably the most important stop. The town was a major administrative and religious centre: it boasted a cathedral, several collegiate churches (at one of which, St John’s, King Henry V of England married Catherine of Valois in 1421) and a great number of parish churches.

The rich archives of these various establishments are kept today in the Archives départementales de l’Aube at Troyes, but do not appear to have been scrutinized by music historians since the appearance, more than 100 years ago, of Abbé Arthur Prévost’s Histoire de la maîtrise de la cathédrale de Troyes (1905). Renewed examination in the summer of 2006 has brought to light several documents of more than passing interest to the history of music.

Johannes Ockeghem held a canonry in absentia at Troyes Cathedral between 1457 and 1467, though it seems that the chapter was not especially happy to be able to count the composer among their number, and was looking for ways to encourage him to resign. Josquin visited Troyes on at least two occasions, in 1499 and 1501, and Antoine Brumel had done the same in 1497. There is reason to believe that these visits were more than overnight lodgings en route to other destinations. There appears to have been a tradition of singers’ meetings in the residence of the choirmaster of Troyes Cathedral—meetings of the kind that must have prompted, at much earlier dates, the composition of works like Compère’s Omnium bonorum plena and Josquin’s Illibata Dei virgo nutrix.

This article argues that a neume fragment found in the famous ‘Durham Cassiodorus’ (Durham, Cathedral Library, Ms.b.ii.30) may date from the first half of the 8th century. As part of this argument, I suggest the possibility of notated music in Anglo-Saxon England prior to the 10th century. Since the Durham Cassiodorus was likely read by Alcuin of York who played an important part in the Carolingian liturgical reform, the Durham Cassiodorus neume fragment may be linked to Alcuin and to what Kenneth Levy has called a ‘Carolingian archetype’, that is, a now-lost antiphoner with music compiled around 800. Other unreported English neume fragments found in the 8th-century ‘Tiberius Bede’ (London, British Library, Cotton Tiberius c.ii) are presented here.

Evidence of provenance and bibliographic features suggest that three autograph symphonies of Ignace Pleyel from the collection of the Royal Philharmonic Society in the British Library are the works he composed in London in 1792, when he was engaged by the Professional Concert as a rival to Haydn in the latter’s appearances for Salomon. Details of their performance in the succeeding decade support the case. In the E symphony Pleyel anticipates features later used by Haydn in his symphony no.103.

This article introduces a newly discovered manuscript dated 1760 (which is the property of the author) of the sacred cantatas of Elisabeth Jacquet de la Guerre and René Drouard de Bousset, which had been published earlier in the 18th century. As the only known secondary source of La Guerre’s cantatas, the variant readings between the printed and manuscript versions are discussed, and the fine, but little-known, cantatas of De Bousset are surveyed. The late copy date is remarkable, for it is generally considered that the French sacred cantata repertory fell out of favour by c.1745–50 at the latest. The author suggests that the writings of Titon du Tillet (including Le Parnasse François (Paris, 1732)), Daquin and others contributed to an ongoing interest, amongst select circles, in the repertory of the ‘ancien musique’ well into the 1760s. Musical examples are included, both in facsimile and modern transcriptions, as well as a Critical Commentary giving the most significant differences between the manuscript and printed versions of La Guerre’s cantatas. The illustrations include photographs of the manuscript itself, and various engraved portraits from Titon du Tillet’s Parnasse François, including that of La Guerre.

Early 17th-century English lute song represents a perfect fusion of words and music, simultaneously conceived by poets and composers with a deep instinctive understanding of each other’s business. This is a critical commonplace with heavy implications for performers. To avoid distracting attention away from the words, musical settings were kept as simple as possible. To facilitate simple strophic setting the poets made sure that each stanza of a multi-stanza poem followed the same metrical scheme, and they naturally assumed that composers would follow it too. The Golden Age achievement relied on collective self-restraint (not too much self-expression or ‘interpretation’ therefore); and when Henry Lawes and other cavalier composers of masque songs and masque-inspired opera abandoned that restraint the Golden Age was over. Henry Purcell had to start again from scratch. Little of this turns out to be true. ‘A mangled chime’ looks again at the relationship between words and music in 17th-century England, suggesting a more complicated system of interplay between the two. Compositional technique was a mystery to most lyricists even at the height of the Golden Age, and as the century unfolded they found words matching the formal ambitions of contemporary theatre composers harder and harder to write. By 1680–90 (the decade of Venus and Adonis and Dido and Aeneas) the result was a peculiarly English approach to word-setting in which musical sound, though it echoed poetical sense, frequently obliterated poetic structure; a theory of English opera thoroughly confused in its aesthetic aims; and (in consequence) an uncoordinated response to opera seria when the Italian invasion began soon afterwards. Because Golden Age reserve inhibited frank negotiation between composers and poets it masked the composers’ textual needs in dramatic rather than lyrical situations and it led—via hugely resourceful but non-confrontational Lawes—to the overthrow of native English opera a century later.

Because English solo songs from the Golden Age period (c.1600–20) are chiefly familiar from printed books clearly intended for domestic use, modern scholars and performers have tended to assume that composers had the literary interests, practical needs and technical limitations of upper-class amateurs in mind right from the start of the creative process. According to this view, lute ayres are the musical equivalents of early 17th-century miniature portraits: objets d’art for personal contemplation (the self-accompanying singer) or special sharing with special friends. This article explores the lute song repertory from a different angle, as the domesticated tip of a professional and (at the time) a publicly appreciable iceberg much of which melted away with the professional performers originally responsible for its semi-improvisatory effectiveness. The manuscript Oxford, Christ Church Mus.439 is studied in particular—a source with probable professional provenance, preserving some highly ornamented versions of songs now much better known in their plainer printed versions and (at the other extreme) some songs from which the fully written-out lute parts familiar from the printed books have been removed. What sorts of alternative were improvised in their place? While lute song publishers assumed a ‘minimalist aesthetic’ and sensibly encouraged their customers to do the same, lute song composers were aware of other possibilities and those with a theatrical leaning (Campion, Rosseter, Johnson, for instance) might even have preferred them. Today’s historically informed performers have a wider range of interpretative choice legitimately open to them than perhaps they realize.

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There?s talk of a new album. For the meantime, get this magnificent masterpiece and play very very loud indeed.

Gillett is an inspiring guide along a vast and wonderful shore.

This album is always going to have too much of an abrasive edge for it to become dinner party or furniture showroom music.

Exit Strategy Of The Soul is a slow-burning treat, another most enjoyable well-kept secret.

Everyone needs a little sunshine in their life.

Finally it’s our turn to marvel at their pop heroics.

This entire second-half run has a sustained momentum that lends the listening experience a cumulative power.

Uninspired and smoothed to an unpleasant sheen.

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Employing the example of Alexander the Great in opera seria, this essay reconsiders the performance of heroic roles in the 18th century. One of its aims is to extend our current understanding of Baroque gesture by taking seriously what contemporary acting tutors and treatises say: a complete performance is possible only after careful study of gesture in painting and statuary. An examination of Alexander iconography suggests both specific tactics for the singer, director and designer; and, more importantly, a broader agenda: the representation of Alexander’s essential grandeur. A second goal is to determine to what extent our performances today of Alexander and other operatic heroes can be shaped by comprehension of their significance and meanings for those who created and consumed heroic art in the 18th century. These heroes were (and are) not interchangeable, not simply emblems, but rather, individuals whose stories conjured up a host of resonances specific to each. We might portray them accordingly. Finally, the article explores some of the aesthetic and philosophical questions raised by this kind of historical approach.

On the richly travelled medieval road from Paris to Lyon, the city of Troyes, in Champagne, was probably the most important stop. The town was a major administrative and religious centre: it boasted a cathedral, several collegiate churches (at one of which, St John’s, King Henry V of England married Catherine of Valois in 1421) and a great number of parish churches.

The rich archives of these various establishments are kept today in the Archives départementales de l’Aube at Troyes, but do not appear to have been scrutinized by music historians since the appearance, more than 100 years ago, of Abbé Arthur Prévost’s Histoire de la maîtrise de la cathédrale de Troyes (1905). Renewed examination in the summer of 2006 has brought to light several documents of more than passing interest to the history of music.

Johannes Ockeghem held a canonry in absentia at Troyes Cathedral between 1457 and 1467, though it seems that the chapter was not especially happy to be able to count the composer among their number, and was looking for ways to encourage him to resign. Josquin visited Troyes on at least two occasions, in 1499 and 1501, and Antoine Brumel had done the same in 1497. There is reason to believe that these visits were more than overnight lodgings en route to other destinations. There appears to have been a tradition of singers’ meetings in the residence of the choirmaster of Troyes Cathedral—meetings of the kind that must have prompted, at much earlier dates, the composition of works like Compère’s Omnium bonorum plena and Josquin’s Illibata Dei virgo nutrix.

This article argues that a neume fragment found in the famous ‘Durham Cassiodorus’ (Durham, Cathedral Library, Ms.b.ii.30) may date from the first half of the 8th century. As part of this argument, I suggest the possibility of notated music in Anglo-Saxon England prior to the 10th century. Since the Durham Cassiodorus was likely read by Alcuin of York who played an important part in the Carolingian liturgical reform, the Durham Cassiodorus neume fragment may be linked to Alcuin and to what Kenneth Levy has called a ‘Carolingian archetype’, that is, a now-lost antiphoner with music compiled around 800. Other unreported English neume fragments found in the 8th-century ‘Tiberius Bede’ (London, British Library, Cotton Tiberius c.ii) are presented here.

Evidence of provenance and bibliographic features suggest that three autograph symphonies of Ignace Pleyel from the collection of the Royal Philharmonic Society in the British Library are the works he composed in London in 1792, when he was engaged by the Professional Concert as a rival to Haydn in the latter’s appearances for Salomon. Details of their performance in the succeeding decade support the case. In the E symphony Pleyel anticipates features later used by Haydn in his symphony no.103.

This article introduces a newly discovered manuscript dated 1760 (which is the property of the author) of the sacred cantatas of Elisabeth Jacquet de la Guerre and René Drouard de Bousset, which had been published earlier in the 18th century. As the only known secondary source of La Guerre’s cantatas, the variant readings between the printed and manuscript versions are discussed, and the fine, but little-known, cantatas of De Bousset are surveyed. The late copy date is remarkable, for it is generally considered that the French sacred cantata repertory fell out of favour by c.1745–50 at the latest. The author suggests that the writings of Titon du Tillet (including Le Parnasse François (Paris, 1732)), Daquin and others contributed to an ongoing interest, amongst select circles, in the repertory of the ‘ancien musique’ well into the 1760s. Musical examples are included, both in facsimile and modern transcriptions, as well as a Critical Commentary giving the most significant differences between the manuscript and printed versions of La Guerre’s cantatas. The illustrations include photographs of the manuscript itself, and various engraved portraits from Titon du Tillet’s Parnasse François, including that of La Guerre.

Early 17th-century English lute song represents a perfect fusion of words and music, simultaneously conceived by poets and composers with a deep instinctive understanding of each other’s business. This is a critical commonplace with heavy implications for performers. To avoid distracting attention away from the words, musical settings were kept as simple as possible. To facilitate simple strophic setting the poets made sure that each stanza of a multi-stanza poem followed the same metrical scheme, and they naturally assumed that composers would follow it too. The Golden Age achievement relied on collective self-restraint (not too much self-expression or ‘interpretation’ therefore); and when Henry Lawes and other cavalier composers of masque songs and masque-inspired opera abandoned that restraint the Golden Age was over. Henry Purcell had to start again from scratch. Little of this turns out to be true. ‘A mangled chime’ looks again at the relationship between words and music in 17th-century England, suggesting a more complicated system of interplay between the two. Compositional technique was a mystery to most lyricists even at the height of the Golden Age, and as the century unfolded they found words matching the formal ambitions of contemporary theatre composers harder and harder to write. By 1680–90 (the decade of Venus and Adonis and Dido and Aeneas) the result was a peculiarly English approach to word-setting in which musical sound, though it echoed poetical sense, frequently obliterated poetic structure; a theory of English opera thoroughly confused in its aesthetic aims; and (in consequence) an uncoordinated response to opera seria when the Italian invasion began soon afterwards. Because Golden Age reserve inhibited frank negotiation between composers and poets it masked the composers’ textual needs in dramatic rather than lyrical situations and it led—via hugely resourceful but non-confrontational Lawes—to the overthrow of native English opera a century later.

Because English solo songs from the Golden Age period (c.1600–20) are chiefly familiar from printed books clearly intended for domestic use, modern scholars and performers have tended to assume that composers had the literary interests, practical needs and technical limitations of upper-class amateurs in mind right from the start of the creative process. According to this view, lute ayres are the musical equivalents of early 17th-century miniature portraits: objets d’art for personal contemplation (the self-accompanying singer) or special sharing with special friends. This article explores the lute song repertory from a different angle, as the domesticated tip of a professional and (at the time) a publicly appreciable iceberg much of which melted away with the professional performers originally responsible for its semi-improvisatory effectiveness. The manuscript Oxford, Christ Church Mus.439 is studied in particular—a source with probable professional provenance, preserving some highly ornamented versions of songs now much better known in their plainer printed versions and (at the other extreme) some songs from which the fully written-out lute parts familiar from the printed books have been removed. What sorts of alternative were improvised in their place? While lute song publishers assumed a ‘minimalist aesthetic’ and sensibly encouraged their customers to do the same, lute song composers were aware of other possibilities and those with a theatrical leaning (Campion, Rosseter, Johnson, for instance) might even have preferred them. Today’s historically informed performers have a wider range of interpretative choice legitimately open to them than perhaps they realize.

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One who learns how to play the piano using chords does it more so through trial and error. This person may not actually be able to read musical notations or scores, but he or she will at least be able to judge what chord is played and for how long. As the tune or melody is practiced, usually by breaking a song up into its basic elements and listening to it as it is being played, the person matches what he or she is hearing.

Mariah Carey is planning an “elaborate” fall tour in support of E=MC²; the singer is also hoping for an end to her VMA losing streak.

Timbaland promises collaborations with Beyoncé, Rihanna, Madonna, T-Pain, the Jonas Brothers and many more on Shock Value 2.

Nas took Fox News to task for what he calls “racist attacks” against the Obamas at a rally in New York on Wednesday.

50 Cent sued Taco Bell on Wednesday over a promotional letter that asked the rapper to change his name.

“Camp Rock” star Demi Lovato has an album on the way, but she isn’t interested in following in Miley Cyrus’ footsteps: “I am who I am.”

Bow Wow has patched things up with Jermaine Dupri and will play a comedian on the upcoming season of “Entourage.”

Panels on “Twilight,” “Watchmen,” “Terminator Salvation” and much more have us geeked for this year’s Comic-Con.

Nas’ Untitled will debut at #1 on next week’s Billboard albums chart, while Lil Wayne’s Tha Carter III falls to #2.

Dr. Dre says he hopes to drop Detox — with some help from Lil Wayne, Nas and Jay-Z — later this year.

Pink’s fifth album is slated for an October 28 release, and the video for its first single, “So What,” will premiere on “FNMTV” in August.

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West Coast Coolin” literally grabs your attention right out of the gate with I Might and doesn”t let go until the very last note of the very last song Remember The Time, which is another great track by the way.

New video: Elton John played his 50th U.S. state last night — Vermont — and Ben & Jerry’s honored the music legend with his own ice cream flavor — Goodbye Yellow Brickle Road!

"When I was born, I never thought I’d be an ice cream! I’ve had an amazing life," Elton John says about the honor in our video.

The ice cream, a yummy blend of chocolate ice cream, peanut butter cookie dough, butter brickle and white chocolate chunks, will be sold for a limited time only — from July 18-25 — in the Green Mountain state’s Ben & Jerry’s locations, and all the proceeds will benefit the Elton John Aids Foundation. The scoop shops will also play Elton’s CD Rocket Man: The Definitive Hits, and his 60th birthday concert DVD.

Kid Rock was fined $1,000 and sentenced to one year’s probation for his role in a fight at a Waffle House in Atlanta last fall, reports the Associated Press.

The 37-year-old rocker, whose real name is Robert J. Ritchie, pleaded no contest to one count of simple battery and was also sentenced to six hours of anger management counseling and tasked to perform 80 hours of community service, says the DeKalb County solicitor’s office.

It was about 5 a.m. on Oct. 21 when Kid’s tour bus stopped at the Waffle House for a bite after a performance and the performer got into a brawl with a male customer that led to his arrest and a short stay in jail on misdemeanor charges of simple battery.

Singer tells fans Obama should team up with Hillary.

Rock star George Michael told fans during a performance in New York that he would like to see Democratic presidential candidate Barack Obama team up with Hillary Clinton to try to bring about change in America, Reuters reports.

I know you guys all need a change, he told the crowd at Madison Square Garden, according to Reuters. The 45-year-old British singer then told fans that while he is not sure what changes an Obama presidency would actually bring, he thinks teaming up with Hillary would be a major asset.

Michael said Obama has already shown his toughness just for being in the campaign against a strong opponent like Hillary Clinton. 

Just in…

Miley Cyrus goes on the record with "Good Morning America," speaking in an exclusive interview for the first time since her Vanity Fair shoot — calling the provocative pics "a mistake."

"I think I was just in a stage where I was just trying to get things done, and maybe look for an older audience. I was working with a big magazine just trying to go with what they were saying," she told Robin Roberts this morning about the shots that caused a storm of controversy for the teen star.

"It’s something where everyone made a mistake," she said.

After dabbling in acting and gospel music, country superstar Randy Travis is back with his first new country album in eight years called Around the Bend. Now, the Grammy winner is talking to ET about his start in a tiny bar in North Carolina and his early obsession with drugs and alcohol.

"It was just, every upper, downer, anything I could find," he says. "I was using any and everything I could get my hands on in those days."

Now sober for many years, the Always and Forever crooner is ready to reclaim his country title.

Will Mimi bring the bling?

Newlywed Mariah Carey is getting ready to rock the mic at "Fashion Rocks," the star-studded annual music event that showcases singers against a backdrop of the hottest fashions.

Just announced today, this year’s line-up includes Mariah, Beyonce, the Black Eyed Peas, Chris Brown, Justin Timberlake, Keith Urban and Rihanna. The two-hour blowout pairs superstar performers with models stomping down the catwalks in clothes by some of the industry’s most-wanted designers.

Sponsored by the Conde Nast Media Group, "Fashion Rocks" will once again take place at New York’s Radio City Music Hall on September 5th, and air a few days later on CBS at 9 p.m. on Tuesday, Sept. 9.

The latest …

Ruby Fleetwood, the 6-year-old daughter of musician Mick Fleetwood, was hospitalized at Cedars Sinai Pediatric ICU after losing consciousness in a swimming pool, a spokesman tells ET.

The family says Ruby was discovered unconscious on a playdate Friday after doing somersaults in a pool. (She was not doing cartwheels as some Web reports have claimed.) She was revived by CPR and rushed to West Hills Hospital before being transferred to Cedars Sinai.

"Ruby was the
victim of an accident that is potentially extremely serious, but she is doing
quite well and the medical staff here at Cedars is optimistic that she will make
a full recovery," Dr. Keith Kimble said in a statement.

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It is all very subjective, and leads directly to the learner. The question is not always when is it good, and when is it bad. Sometimes it is best put by asking what can I get from this that I couldn”t get elsewhere?

Bow Wow has patched things up with Jermaine Dupri and will play a comedian on the upcoming season of “Entourage.”

Panels on “Twilight,” “Watchmen,” “Terminator Salvation” and much more have us geeked for this year’s Comic-Con.

John Legend says the video for “Green Light,” the first single from his upcoming album, Evolver, has a “surreal dance sequence, synchronized swimmers and showgirls.”

Miley Cyrus is just like you — only with a bigger bank account, in Bigger Than the Sound.

Presidential candidates Barack Obama and John McCain are the heroes of two new biographical comic books available in October; J. Scott Campbell drew both covers.

“Dark Knight” star Christian Bale, who was arrested and released early Tuesday, has denied allegations of assault by his mother and sister.

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