16,642 plays
8-bit version of ‘Doomsday’
Did I just make Doomsday 8-bit?
Yes I did.
do I regret it?
I always do.
16,642 plays
8-bit version of ‘Doomsday’
Did I just make Doomsday 8-bit?
Yes I did.
do I regret it?
I always do.
3,288 plays
Nocturne in C minor, Op. 48 No. 1Josef Hofmann - Chopin, Nocturne in C Minor, Op. 48 No. 1
51 plays
Prélude № 8 es-moll (BWV 853)Johann Sebastian Bach (1685 – 1750)Prelude and Fugue No. 8 in E-flat minor, BWV 853
When people listen to a piece of music they have never heard before, activity in one brain region can reliably and consistently predict whether they will like or buy it, this is the nucleus accumbens which is involved in forming expectations that may be rewarding. What makes music so emotionally powerful is the creation of expectations. Activity in the nucleus accumbens is an indicator that expectations were met or surpassed, and in our study we found that the more activity we see in this brain area while people are listening to music, the more money they are willing to spend.
The second important finding is that the nucleus accumbens doesn’t work alone, but interacts with the auditory cortex, an area of the brain that stores information about the sounds and music we have been exposed to. The more a given piece was rewarding, the greater the cross-talk between these regions. Similar interactions were also seen between the nucleus accumbens and other brain areas, involved in high-level sequencing, complex pattern recognition and areas involved in assigning emotional and reward value to stimuli. In other words, the brain assigns value to music through the interaction of ancient dopaminergic reward circuitry, involved in reinforcing behaviours that are absolutely necessary for our survival such as eating and sex, with some of the most evolved regions of the brain, involved in advanced cognitive processes that are unique to humans.“This is interesting because music consists of a series of sounds that when considered alone have no inherent value, but when arranged together through patterns over time can act as a reward, says Dr. Robert Zatorre, researcher at The Neuro and co-director of the International Laboratory for Brain, Music and Sound Research. “The integrated activity of brain circuits involved in pattern recognition, prediction, and emotion allow us to experience music as an aesthetic or intellectual reward.”
“The brain activity in each participant was the same when they were listening to music that they ended up purchasing, although the pieces they chose to buy were all different,” adds Dr. Salimpoor. “These results help us to see why people like different music — each person has their own uniquely shaped auditory cortex, which is formed based on all the sounds and music heard throughout our lives. Also, the sound templates we store are likely to have previous emotional associations.”
What happens in the brain to make music rewarding? (via myserendipities)
Joe’s take: This is interesting, because understanding the mechanisms of how our brains turn music into enjoyment is a pretty awesome question to look at. But it doesn’t answer the larger question: Why do we find those patterns enjoyable (or not) in the first place??
Music is just patterned sound. What is it that makes it cross the line to emotion? Is it dependent on our cultural experience? Or is it just THERE, man?!
Also, I may or may not be working on an episode about this for my YouTube channel so it’s kind of on my mind.
(via jtotheizzoe)
O R C H E S T R A L O V E R T U R E S a chronological mix of classic symphony orchestra overtures through the years, from the magic flute to aida to south pacific & everything in between
1791. the magic flute » wolfgang amadeus mozart | 1816. the barber of seville » gioachino rossini | 1817. la gazza ladra » gioachino rossini | 1826. oberon » carl maria von weber | 1848. lohengrin, act iii » richard wagner | 1853. la traviata » giuseppe verdi | 1858. orpheus in the underworld » jacques offenbach | 1864. la belle hélène » jacques offenbach | 1868. die meistersinger von nurnberg » richard wagner | 1871. aida » giuseppe verdi | 1874. die fledermaus » johann strauss, ii | 1875. carmen » georges bizet | 1885. the mikado » w. s. gilbert & arthur sullivan | 1890. prince igor » alexander borodin | 1932. cuban overture » george gershwin | 1949. south pacific » richard rodgers & oscar hammerstein | 1956. candide » leonard bernstein
that’s how the light gets in.
some mornings you’re too heavy to wake up. some mornings the world presses down on your back like a hundred stones; some mornings your lungs are crushed, your eyelids heavy, and you lie in your bed with the alarm blaring and wonder what’s worth rolling out of bed for.
a mix for getting up.
i. a better son/daughter - rilo kiley - sometimes in the morning i am petrified and can’t move, awake but cannot open my eyes, and the weight is crushing down on my lungs i know i can’t breathe, and hope someone will save me this time.
ii. shoreline - anna ternheim - lose your hunger, you lose your way; get confused and you fade away. oh, this town kills you when you’re young.
iii. home - the wealthy west - you heard that the truth would set you free, but there are times when you don’t want to be. so every time you feel like you should go, you’re never going to be that far away from home.
iv. all my favorite people - over the rhine - is each wound you’ve received just a burdensome gift? it gets so hard to lift yourself up off the ground. but the poet says we must praise a mutilated world. we’re all working the graveyard shift, you might as well sing along.
v. can’t go back now - the weepies - you know there will be days when you’re so tired that you can’t take another step. the night will have no stars and you’ll think you’ve gone as far as you will ever get. you and me walk on.
vi. feather on the clyde - passenger - round aching bones to my restless heart; well, I would swim, but the river is so wide, and I’m scared I won’t make it to the other side. well, God knows I’ve failed, but He knows that I’ve tried.
vii. cloud atlas sextet (piano cover) - thilo voissel - [instrumental]
viii. a girl, a boy, and a graveyard - jeremy messersmith - she says, “life’s a game we’re meant to lose. but stick by me, and I will stick by you.”
ix. comes and goes (in waves) - greg laswell - this one’s for believing, if only for its sake. come on, friends, get up now; love is to be made.
x. always - panic! at the disco - when the world gets too heavy, put it on my back; I’ll be your levy. you are taking me apart like bad glue on a get-well card.
xi. blackbird - the beatles - blackbird, singing in the dead of night! take these sunken eyes and learn to see. all your life, you were only waiting for this moment to be free.
xii. this year - the mountain goats - there will be feasting and dancing in jerusalem next year, i am going to make it through this year if it kills me.
xiii. down to earth - peter gabriel - did you feel you were tricked by the future you picked? well, come on down.
xiv. welcome home - radical face - peel the scars from off my back, I don’t need them anymore. you can throw them out or keep them in your mason jars; I’ve come home.
xv. tomorrow will be kinder - the secret sisters - but I feel warmth on my skin; the stars have all aligned. the wind has blown, but now I know that tomorrow will be kinder.(art credit jeremy mann)
good air in bad air out | for when you feel your grasp on reality slipping; for when you need an anchor, a handhold, a flimsy tree branch to grab on the way down; something to ground you, to stop the fall, to start to pull yourself back up; for when the world tilts and you flip up your hood and just have to wait for things to right themselves again {listen | download upon request}
safe now mark isham | shipping news christopher young | 503 hans zimmer | from western woods to beaversdam harry gregson-williams | fanfare for a resurrected priest christopher young | assassin’s creed theme lorne balfe | diaspora oratorio bear mccreary | go forward lisa gerrard
358 plays
Qui habitat in adiutorio Altissimi, canon for 24 voicesJosquin des Prez (1455 – 1521) - Qui habitat in adiutorio Altissimi, canon for 24 voices
Huelgas Ensemble
Song: Blue (Da Ba Dee)
Artist: Max Raabe & Palast OrchesterI…I can’t say anything to adequately describe the majesty of this song. Just listen.
MozART Group / Grupa MoCarta - Quartet for four hands / Kwartet na cztery ręce