There was nothing predictable about David Bowie. Everything was designed to intrigue, to challenge, to defy all expectations. But perhaps no period in David Bowie's extraordinary career raised more fascination, more surprise, and more questions than the last five years. This is an intimate portrait of one of the defining artists of the twentieth and early twenty first centuries, told by the people who knew him best - his friends and artistic collaborators. This film takes a detailed look at Bowie's last albums, The Next Day and Blackstar, and his play Lazarus. In his final five years, Bowie not only began producing music again, but returned to the core and defining themes of his career. This film explores how Bowie was a far more consistent artist than many interpretations of his career would have us believe. It traces the core themes from his final works and relates them to his incredible back catalogue. His urge to communicate feelings of spirituality, alienation and fame underpin his greatest works from the 1960s to 2016. This is what lies at the heart of his success and appeal - music that deals with what it means to be human in a way that goes far beyond the normal palette of a rock star. The film is not a comprehensive overview of his entire career, but an in-depth exploration of pivotal moments that show how the themes, the narrative and the approach is consistent - it is simply the palette that changes. The film includes every key member of the Next Day band, the Blackstar band and those who worked with him on the stage play Lazarus. In addition, old friends and colleagues are on hand to explore how the work of the last five years relates to Bowie's back catalogue. And, as in David Bowie: Five Years, there is a wealth of unseen and rare archive footage.
When you listen to music, multiple areas of your brain become engaged and active. But when you actually play an instrument, that activity becomes more like a full-body brain workout. What's going on? Anita Collins explains the fireworks that go off in musicians' brains when they play, and examines some of the long-term positive effects of this mental workout.
Like an actor's script, a sheet of music instructs a musician on what to play (the pitch) and when to play it (the rhythm). Sheet music may look complicated, but once you've gotten the hang of a few simple elements like notes, bars and clefs, you're ready to rock.
The composer examines the middle to late 19th century, exploring the European craze for opera and music that dealt with death and destiny. He suggests that composers were inspired by Berlioz's Symphonie Fantastique to write about witches, ghouls, trolls and hellish torment, and that the death of the heroine in Verdi's La Traviata was a comment on the hypocrisies of wider society. Howard also argues that the image of the composer as a misunderstood genius was cemented in the public imagination during this period.
In standard notation, rhythm is indicated on a musical bar line. But there are other ways to visualize rhythm that can be more intuitive. John Varney describes the ‘wheel method’ of tracing rhythm and uses it to take us on a musical journey around the world.
The composer examines the age of Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schumann and Chopin. This period from 1750 to 1850 saw composers going from being paid, liveried servants of princes and archbishops to working as freelancers required to appeal to a new, middle-class audience. The era also saw tremendous social upheaval, including the American, French and Industrial revolutions, but until around the turn of the 19th century, the music that was being written bore little relevance to the tumultuous changes in society.