Mark Foley

Music commentator

Mark Foley is Assistant Professor of Double Bass and Electric Bass, and Principal Double Bass in the Wichita Symphony Orchestra.

He has been a featured soloist with the Wichita Symphony Orchestra. He also has performed with the Rochester Philharmonic, the Heidelberg Castle Opera Festival, the Binghamton Symphony, the Minnesota Opera and also performs extensively as a jazz artist.

Ways To Connect

recordstoreday.com

    

April 19th is Record Store Day—an international celebration of vinyl records that caters to rabid fans and rabid collectors alike. The first Record Store Day was in 2007 and came with a hitch in the age of online shopping: The releases were only available at independent stores and you had to physically go to the store to get the records you wanted—if your store received those releases in your shipment.

http://www.thewildernessdowntown.com/

Its always bothered me how listening to music can be a very passive and linear experience. Lately I’ve been checking out some interactive music videos; these might help solve the problem. Interactive Music Videos are software-driven, using input from the listener to determine the course of the images.

As much as I love classical music, there’s one thing that bothers me about going to a symphony concert; it’s that awkward moment when the music stops and people don’t know if they should clap. Symphonies and sonatas are divided into movements; the question is whether there should be applause after each movement, or only after the whole piece.

The Red Bull Music Academy is a two-week long festival of New Music that happens every Fall. There are a lot of great music festivals around the world, but this one is interesting to me because it represents how arts patronage can work in the digital age.

The idea of sliding something against the strings of a guitar is as American as pecan pie.

the lonesome cry of the slide guitar is a distinctive part of our musical heritage.

Courtesy photo

Here’s something that’s caught my ear recently: Skweee (that’s S-K-W-E-E-E), which started in Finland and Sweden a little over 10 years ago. The goal of skweee seems to be the use of the most synthetic sounds possible to make music that is still funky and soulful. It is a downtempo style - much slower than Electro House or Drum and Bass. The digital drum parts are lifted from funk and R & B, the melodies, chords and basslines tend to sound like they came from the cheapest synthesizers available.

Musical Space: Phoneland

Jan 21, 2014

The song you are hearing is made entirely from music produced on my phone. Doing it was fast, fun and easy; it didn’t take much know-how, either. Most of you could do it, too; I think all of you should try.

Wikipedia

As always, I’ve been fretting over the state of live music, and I think I’ve found a way that maybe the internet can help. Concerts are not new to the internet, of course. NPR’s All Songs Considered, for instance, has its excellent Tiny Desk Concert series. But these are just recordings.

Wikipedia

Some kinds of music work better while driving than others, so it can be said that the automobile has had an influence on what kind of music people listen to.

A car is not the ideal listening environment. It’s noisy, so any music that is too soft will get lost.

I hate to say it, but classical music is the most difficult music to enjoy while driving. Any soft string chord or timpani roll is going to be lost in the rumble; and you can’t count on an important part to be repeated, so a passing ambulance could make you miss the climax of the entire piece.

When Napster came out, it was predicted that the music industry would suffer. This turned out to be true: file sharing has decimated the incomes of record companies and artists.

New, legal streaming services like Grooveshark, Last.FM, Rdio and Pandora have been created to compete with music pirating. The convenience of on-demand music is attracting more listeners than FM radio; it remains to be seen, though, whether streaming actually benefits the artists or if it has become a way for record companies to exploit them.

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