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Freedom


It

Fabian Schmid

“fly me to the moon…”
“Fly me to the moon and let me play amongst the stars…!” writes Bart Howard in the popular Jazz tune. “Fly me to the moon” — what’s the big issue? Am I not free to do as I please — book budget air tickets to go wherever I want, get on Skype to talk to anybody in the world for free, learn to sky dive, dance Tango Argentino, or get my PhD through an Open University? Let’s go and fly to the moon! It is one click away and you can do it if you really want to. Just jump on the net, Google “space tourism” and away you go!
Don’t you consider that freedom? I do, but then, what is “all that jazz”? I assume that’s where the consequences come into play. Space tourism? Can’t do the space thing because of my account — it is empty.
“Fly me to the moon and let me play amongst the stars”. Fly, moon, play, and stars — it sounds like vision, longing, desperation, and desire. Actually, …

THE

Ng Yi-Sheng

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Happy Year of the Ox, dear browsers! To herald the new and bid farewell to the old, I’ve drawn up a list of artsy people based in and/or from Singapore, singling them out for being interesting, independent and (thus far) a little unrecognised.
It’s a personal response to the front-page article of Straits Times Life! at the end of last year (“FEEL THE POWER”, Thursday, 4 December 2008). You see, every year since 2005, ST has published an annual Power List — a ranking of the ten people/groups in Singapore who’re most important to the arts scene, in their eyes. And this time round, the list was, in the words of one of my friends, “shit”.
Take a look at the lineup:
1. Lee Chor Lin, 46, director National Museum of Singapore
2. Michael Koh, 46, chief executive officer National Heritage Board
3. Esplanade programming team led by JP Nathan, 53, director of programming
4. National Library Board Dr N. Varaprasad, 60, and team
5. The Necessary Stage Resident playwright Haresh Sharma, 43, artistic director Alvin Tan, 45
6. …

How

Tony Makarome

Sketching of a solo…

I teach a course about the materials of jazz music at the Yong Siew Toh Conservatory of Music (NUS), and each year, my students are surprised to learn that jazz musicians actually think and make conscious choices during their improvisations. Another shocker is that jazz musicians actually need to master their “theory” before they can effectively “play by ear”, bearing in mind mastering your music theory does not mean learning musical nomenclature or someone’s opinion about how music should behave. Rather, in its basic form, knowledge of music theory refers to an understanding of how musical materials relate to one another (acoustically) or how composers and performers of different styles of music create and use their personal musical language.
This is best achieved through active listening to the kinds of music you love and wish to emulate. Over time, you will develop a sort of “intuitive” understanding of how one musical idea relates to another. I placed the word “intuitive” in parenthesis because it relates to a paradoxical idea that (in music) intuition is better than …

JACQUES