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Discussion of AI for producers.
#AI #Music #Musicians #Producers #musicproduction #Creators

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Q&A: A high-tech take on Wagner’s “Parsifal” operaThe world-famous Bayreuth Festival in Germany, annually centered around the works of composer Richard Wagner, launched this summer on July 25 with a production that has been making headlines. Director Jay Scheib, an MIT faculty member, has created a version of Wagner’s celebrated opera “Parsifal” that is set in an apocalyptic future (rather than the original Medieval past), and uses augmented reality headset technology for a portion of the audience, among other visual effects. People using the headsets see hundreds of additional visuals, from fast-moving clouds to arrows being shot at them. The AR portion of the production was developed through a team led by designer and MIT Technical Instructor Joshua Higgason.

The new “Parsifal” has engendered extensive media attention and discussion among opera followers and the viewing public. Five years in the making, it was developed with the encouragement of Bayreuth Festival general manager Katharina Wagner, Richard Wagner’s great-granddaughter. The production runs until Aug. 27, and can also be streamed on Stage+. Scheib, the Class of 1949 Professor in MIT’s Music and Theater Arts program, recently talked to MIT News about the project from Bayreuth.

Q: Your production of “Parsifal” led off this year’s entire Bayreuth festival. How’s it going?

A: From my point of view it’s going quite swimmingly. The leading German opera critics and the audiences have been super-supportive and Bayreuth makes it possible for a work to evolve … Given the complexity of the technical challenge of making an AR project function in an opera house, the bar was so high, it was a difficult challenge, and we’re really happy we found a way forward, a way to make it work, and a way to make it fit into an artistic process. I feel great.

Q: You offer a new interpretation of “Parsifal,” and a new setting for it. What is it, and why did you choose to interpret it this way?

A: One of the main themes in “Parsifal” is that the long-time king of this holy grail cult is wounded, and his wound will not heal. [With that in mind], we looked at what the world was like when the opera premiered in the late 19th century, around the time of what was known as the Great African Scramble, when Europe re-drew the map of Africa, largely based on resources, including mineral resources.

Cobalt remains [the focus of] dirty mining practices in the Democratic Republic of Congo, and is a requirement for a lot of our electronic objects, in particular batteries. There are also these massive copper deposits discovered under a Buddhist temple in Afghanistan, and lithium under a sacred site in Nevada. We face an intense challenge in climate change, and the predictions are not good. Some of our solutions like electric cars require these materials, so they’re only solutions for some people, while others suffer [where minerals are being mined]. We started thinking about how wounds never heal, and when the prospect of creating a better world opens new wounds in other communities. … That became a theme. It also comes out of the time when we were making it, when Covid happened and George Floyd was murdered, which created an opportunity in the U.S. to start speaking very openly about wounds that have not healed.

We set it in a largely post-human environment, where we didn’t succeed, and everything has collapsed. In the third act, there’s derelict mining equipment, and the holy water is this energy-giving force, but in fact it’s this lithium-ion pool, which gives us energy and then poisons us. That’s the theme we created.

Q: What were your goals about integrating the AR technology into the opera, and how did you achieve that?

A: First, I was working with my collaborator Joshua Higgason. No one had ever really done this before, so we just started researching whether it was possible. And most of the people we talked to said, “Don’t do it. It’s just not going to work.” Having always been a daredevil at heart, I was like, “Oh, come on, we can figure this out.”

We were diligent in exploring the possibilities. We made multiple trips to Bayreuth and made these milimeter-accurate laser scans of the auditorium and the stage. We built a variety of models to see how to make AR work in a large environment, where 2,000 headsets could respond simultaneously. We built a team of animators and developers and programmers and designers, from Portugal to Cambridge to New York to Hungary, the UK, and a group in Germany. Josh led this team, and they got after it, but it took us the better part of two years to make it possible for an audience, some of whom don’t really use smartphones, to put on an AR headset and have it just work.

I can’t even believe we did this. But it’s working.

Q: In opera there’s hopefully a productive tension between tradition and innovation. How do you think about that when it comes to Wagner at Bayreuth?

A: Innovation is the tradition at Bayreuth. Musically and scenographically. “Parsifal” was composed for this particular opera house, and I’m incredibly respectful of what this event is made for. We are trying to create a balanced and unified experience, between the scenic design and the AR and the lighting and the costume design, and create perfect moments of convergence where you really lose yourself in the environment. I believe wholly in the production and the performers are extraordinary. Truly, truly, truly extraordinary.

Q: People have been focused on the issue of bringing AR to Bayreuth, but what has Bayreuth brought to you as a director?

A: Working in Bayreuth has been an incredible experience. The level of intellectual integrity among the technicians is extraordinary. The amount of care and patience and curiosity and expertise in Bayreuth is off the charts. This community of artists is the greatest. … People come here because it’s an incredible meeting of the minds, and for that I’m immensely filled with gratitude every day I come into the rehearsal room. The conductor, Pablo Heras-Casado, and I have been working on this for several years. And the music is still first. We’re setting up technology not to overtake the music, but to support it, and visually amplify it.

It must be said that Katharina Wagner has been one of the most powerfully supportive artistic directors I have ever worked with. I find it inspiring to witness her tenacity and vision in seeing all of this through, despite the hurdles. It’s been a great collaboration. That’s the essence: great collaboration.

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How To Set Up A Trombone: Assembly Steps Made Simple!Putting a trombone together looks like a tough task for those who’ve never done it before, but after a couple of times doing it, it’s quite easy.

In this post, I’ll go the steps I and many other music teachers have used for years to teach people how to set up a trombone.

Let’s dive in!

Steps For How To Set Up A Trombone

#1 Put The Case On Stable Ground Or Surface

Take your case and lay it flat on the ground or a table that doesn’t move. You’d feel terrible if you opened the case to let the trombone drop on the ground!

Often, the label faces up when opening the case.

#2 Open The Case And Remove The Slide

The latches are different by make, so you’ll have to figure out how to undo the latches on your own (I believe in you!).

Open the case up all the way and take a look at the parts. Again, each case is different, so the different parts may be stored in different ways.

We’re looking for the slide of the trombone now. It’s a long U-shape with a bar going across the middle on one end.

The bell may also have a U-shape to it, but the bell is the end with the large opening that flares out. We don’t need this yet.

Remove the slide once you locate it. Double-check the slide lock is holding the inner slide and outer slide together. Often, this is a little turning part near the slide brace (the middle part).

Hold the slide perpendicular with the ground, so the two opening are facing up and the U part is facing the ground.

#3 Attach The Bell To The Slide

Remove the bell and line up the opening on the slide that has the threads to attach the bell. Align and attach the smaller end of the bell part to it.

As you tighten the parts to each other, adjust the angle of the slide and bell. They need to be 90 degrees with each other with the slide going off to the right when the large bell end is up.

Ensure the bell-slide connection is finger-tight and not wiggly as you move it around.

#4 Insert The Mouthpiece

Take your mouthpiece and insert the smaller end into the remaining slide opening.

Give it a slight twist when you put it in to ensure a solid connection through friction.

If the mouthpiece is too big to fit or it’s too small and keeps spinning, you have the wrong bore mouthpiece.

Check out our complete guide to the best trombone mouthpieces for more info to help you pick the right one.

At this point, you’re technically done, but I’d like to offer one more bonus step that most guides skip completely.

#5 Lubricate The Slide (Optional)

Your slide is how you change notes, so keeping it working smoothly is critical! Before you even play, I encourage you to lubricate it a little bit.

Taking care to hold your slide braces, undo the slide lock to release the inner slide. Let it move out, but keep a hand on it so it doesn’t fall all the way out.

Take a spray bottle with water and give the length of the slide a quick spritz.

Now, move the slide in and out to distribute the moisture.

If you notice it still doesn’t move well, you may need to do a deeper clean.

For a full guide, check out our post on how to clean a trombone slide.

How To Dissemble Or Take Apart A Trombone

Taking a trombone apart is the same as putting it together, just in reverse order.

Make sure the slide lock is on!

Remove the mouthpiece, then take the bell off and put it away.

Finally, put the slide in the right place. Close the case and latch it, and you’re on your way!

Commonly Asked Questions Related To Trombone Assembly

How Do You Hold A Trombone?

The trombone is held in a balanced position between the left and right hands. The left hand grips the brace located near the bell, fingers wrapped around the slide cross bar for support.

Thumb rests on the brace behind the mouthpiece.

Meanwhile, the right hand, pinching the movable brace with two/three fingers and a thumb, moves the slide in a smooth horizontal motion.

It’s important to maintain a relaxed posture to avoid strain and facilitate optimal playing performance.

Is Trombone Easy For Beginners?

Learning to play the trombone can be a challenge for beginners, as it requires mastering several skills simultaneously, including breath control, lip tension, slide positions, and reading music.

Unlike other instruments with defined notes like piano or guitar, trombone relies heavily on the player’s ear for pitch accuracy.

However, with proper instruction and regular practice, many beginners find the journey rewarding and achievable.

The learning curve varies from person to person, but patience and persistence always pave the way for improvement.

How Often Should You Oil A Trombone?

The frequency of oiling a trombone largely depends on usage and the player’s personal comfort. However, as a general guideline, it’s recommended to oil the trombone slide once a week.

Regular lubrication ensures smooth movement and extends the instrument’s longevity. If the trombone is played heavily or feels sluggish, oiling may need to occur more often.

Always remember to wipe off any excess oil to avoid buildup.

Do Trombones Need To Be Tuned?

Trombones need to be tuned, but they do tune on the fly as well.

Because they change pitch with their slide anyway, small adjustments are easy to make.

However, trombones need their fundamentals tuned to make everyone’s lives easier and limit the adjustments needed as they play.

For a full guide, check out our post on how to tune a trombone.

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