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Music for the Eyes has also turned into gathering space for our small community. Sometimes we have talks in the shop, about recent travels, or performances, by people as far away as throat singers from Tuva. We have hosted a Buddhist Lama and a dancing dervish. We have had musicians from Turkey and lessons on how to play a didgeridoo.

By simple definition eye music is when the graphic notation of music is altered in some meaningful way visible to the performers. Often the changed "meaning" of the altered notation is enhanced by the music having compositional elements of melody and form such as word painting and canon. Moreover, the concept is demonstrated by sometimes differing perceptions of composer, performer, and listener.[1]

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The difficulty in definition is also apparent with border-line cryptographic contrapuntal works such as puzzle canons, which appear in the score entirely as a bare line of notes with clefs, rests, time signatures, or key signatures as clues to reveal multiple lines of music in canon. (Closer to true cryptographic works would be those with soggetto cavato, where letters are embedded in the work using their solfge names.)[1] As an example, a puzzle canon might be notated as one line of music with two key signatures and clefs, where the worked-out result will be a two-voice canon with one voice the retrograde (reverse) of the other. In itself the score with the clues alone is not eye music. But represent the same work "graphically spelled out," however, say with a drawing of the clued score facing a mirror, and the score/drawing becomes eye music.[2]

The type of puzzle canon is also a factor. A four-voiced circular canon, when notated as a puzzle canon, may remain an un-worked-out single line of notes, and be inadmissible as eye music. When that single line of notes is inscribed in a graphical shape it becomes eye music, even if the contrapuntal puzzle remains unsolved.[1]

The Gulliver Suite by Telemann discussed below, shows a combination of three eye music features. The score is made difficult "unnecessarily," is eye-catching for its graphics, and has a clever external reference, all unnoticeable to the listener.

Two examples of eye music from the early Renaissance are from Baude Cordier (ca. 1380-ca.1440). Cordier's chanson about love Belle, bonne, sage is in a heart shape, with red notes (coloration) indicating rhythmic alterations. Eye-music-within-eye music is in the small group of notes hanging like a locket in the upper left, also all in red and in the shape of a heart.[3] Another work of Cordier, this time inscribed in circles, Tout par compas suy composs ("With a compass was I composed"), goes out of its way to identify itself as eye music.[4]

Josquin des Prez, the most important composer of the next generation, used black note notation eye music in his well-known Nymphes des bois, a lament over the death of the composer Ockeghem, as well as another lament, this time for the composer Jacob Obrecht, Absolve, quaesumus, Domine.[5]

It can be seen that words of death and lament are associated with black notes, a mannerism made even simpler to achieve in light of the contemporaneous simplification to white note notation. This feature of eye music would extend through the Humanist period.

With the Italian madrigalists from the 1580s until the early 17th century (whose style was almost literally imported to England), eye music reached its apogee until its transformation in the 20th century.[10] Luca Marenzio is considered the composer most fond of eye music.[10] For example, in the madrigal Senza il mia sole from his Madrigali a quattro, cinque e sei voci (1588), black notes are used for "chiuser le luci" ("close their eyes")[11][12]

Reaction by theorists of the time was mixed. A leading musical humanist, Vincenzo Galilei (the father of the physicist), was opposed to it but Zarlino approved.[1] In the 20th century, Alfred Einstein, a groundbreaking scholar of the Humanist madrigal, wrote that eye music is "the most extreme and (for our aesthetic convictions) most horrible testimony of naturalism, of imitazione, in the madrigal."[13]

Post-tonal music has seen an expansion of eye music in line with its expansion and experimentalism of musical techniques. The last examples using a rigorous scoring system rooted in standard practice are the finely turned circles and spirals (as well as a peace symbol and a crucifix) in the works of George Crumb.

The beauties of many examples of graphic notation are not, in fact, a feature of eye music. As novel and attractive as the graphics may be in these scores, they function entirely as performance indications or true records of compositional method (such as the Steiner score shown here). Also often seen are graphical or conceptual art works that use the symbols of music notation but are not performing scores at all, such as Erwin Schulhoff's 1919 In futurum (Zeitma-zeitlos)[14] and Cornelius Cardew's Treatise.

Listening to music can change the way that people visually experience the environment, probably as a result of an inwardly directed shift of attention. We investigated whether this attentional shift can be demonstrated by reduced eye movement activity, and if so, whether that reduction depends on absorption. Participants listened to their preferred music, to unknown neutral music, or to no music while viewing a visual stimulus (a picture or a film clip). Preference and absorption were significantly higher for the preferred music than for the unknown music. Participants exhibited longer fixations, fewer saccades, and more blinks when they listened to music than when they sat in silence. However, no differences emerged between the preferred music condition and the neutral music condition. Thus, music significantly reduces eye movement activity, but an attentional shift from the outer to the inner world (i.e., to the emotions and memories evoked by the music) emerged as only one potential explanation. Other explanations, such as a shift of attention from visual to auditory input, are discussed.

Introduction: Intensive care unit (ICU) environmental factors such as noise and light have been cited as important causes of sleep deprivation in critically ill patients. Previous studies indicated that using earplugs and eye masks can improve REM sleep in healthy subjects in simulated ICU environment, and improve sleep quality in ICU patients. This study aimed to determine the effects of using earplugs and eye masks with relaxing background music on sleep, melatonin and cortisol levels in ICU patients.

Methods: Fifty patients who underwent a scheduled cardiac surgery and were expected to stay at least 2 nights in Cardiac Surgical ICU (CSICU) were included. They were randomized to sleep with or without earplugs and eye masks combined with 30-minute relaxing music during the postoperative nights in CSICU. Urine was analyzed for nocturnal melatonin and cortisol levels. Subjective sleep quality was evaluated using the Chinese version of Richards-Campbell Sleep Questionnaire (a visual analog scale, ranging 0-100).

Welcome to our livestream series, Music to Our Eyes. In each episode, we sit down with various artists to discuss their experiences with vision loss and discuss their commitment to creating music that celebrates diversity and belonging.

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The Secret Garden - it was not my first Broadway musical, but it was the first time I saved up my own money and went to New York City by myself to see a Broadway show. I remember, since I was by myself, that I was able to secure a 6th row center ticket at the St. James theatre for about $65 (full price) to see this show without knowing anything about either the music or the story. I had never read the book. Truthfully, I had a big crush on John Cameron Mitchell and that's what got me into the theatre. In fact, I almost saw Nick & Nora that weekend (in previews), but after seeing Mitchell's picture outside the theatre, I decided to see The Secret Garden. I figured Nick & Nora would be a hit and that it would be around for a while. It's the only time my teenage hormones worked in my favor (The Secret Garden) and not the only time my teenage judgement of what would run worked against me (Nick & Nora). It turns out that this was one of the most glorious days of theatregoing I would ever experience. Sorry Nick & Nora.

In partnership with Nashville Songwriters Association International, each week we will release a video interview with a songwriter about his or her work. See the full interview with Jim Peterik at www.tennessean.com/music along with past installments.

I am a professional session singer, songwriter, and voiceover artist. I work with other songwriters, producers and musicians to help them complete their creative ideas by providing my voice to their song or project. I am happy you're here! Feel free to look around and contact me if I can help you complete your work!

Many Eyes, the new project of former Every Time I Die vocalist Kieth Buckley, has released the official music video for their debut single, "Revelation." The video was directed by Tom Flynn and Mike Watts.

Consider the following: musicians generally accept that anyone who gets to the finals is qualified for the job, and would fit into the fabric of the orchestra just fine. This truth is especially consoling when the runner-up is you.

Worshipping sound at the expense of character has had consequences beyond missed opportunities. Blind orchestral auditions have led to orchestras filled with wonderful players. But with no other vetting of any kind, many of them are as interpersonally difficult as they are musically skilled. Much of the time, they cannot stand each other, and dysfunction abounds. e24fc04721