Note from Publisher. Note from Editor.
ISSUE II: PHILOSOPHY OF MUSIC
Classical music has always been a part of me. From a young age, I would take hold of a baton and conduct my invisible symphony. I still remember my first music lesson; I wanted to play cello. My mother siad it was too big, so I siad viola. They were out of viola’s, so I was left with the violin and have not looked back since. Learning the violin required a great deal of patience and diligence, however the result of countless hours of practice and rehearsal molded my life.
I was always eager to skip scales and exercises and jump into classical symphonies by Saint Saëns, Mendelssohn or Mozart. I was taught patience, how to learn, proper posture and presentation. Lessons I continue to embed into my life everyday; this publication, for instance.
Mode-Moderne Journal has added several new sections: MMJ. Soirees, highlighting Mode-Moderne Journal’s events in support of the arts and performance. We have also added a Subscriber section and share links via Facebook and Twitter on each section article.
This month Mode-Moderne Journal brings you articles accessing the art world from Madrid to Amsterdam, to an International survey of the Biennial and what it has become, to premier pieces on fashion, highlighting the details in accessories for ladies and gentlemen this season.
MMJ. ISSUE II: Philosophy of Music selected two particular individuals for their incredible contributions in the music industry. Our Moderne Day Man, Patrick Carney of The Black Keys, spoke with our very own MMJ. Editor in Chief, Kelly A. Shannon for an exclusive interview. Our Moderne Day Woman, Niki Roberton, founder of the record label IAMSOUND, spoke with me about breaking into the record industry, how the business has changed, and performances to look out for.
MMJ. ISSUE II: Philosophy of Music places an emphasis on various aspects in the music industry; from record labels, to an excellent piece on Axl Rose, to rising talents coming from New Zealand, to Coachella, to life in New York amidst incredible talent not found on Broadway, to the philosophy of music itself.
We invite you into the discussion.
Roxana Vosough
Music is not just something we hear, it’s something we feel. It inspires, moves and helps us when we want it to - and when we need it to. It has the ability to set you free, if you’ll let it. It’s something we relate to, whether it’s heartbreak or sheer happiness. Basically, music is a personal mood identifier. Like when your friend is picking you up for dinner, and you get in his car and he’s playing Jeff Buckley’s “Halleluah,” you instantly know he’s this close to completely losing it. Music bridges the gap between human beings. It not only connects us to each other, but also to the musicians who pour their innermost secrets within their souls out for us, so we can feel a deeper connection to something.
Listening to music in the car, on your headphones, or over the jukebox at a dive bar is great, but concerts are an experience in themselves; a place where a bunch of complete strangers share a common bond. And there’s so much more to it than the talented musicians. There’s the producers, songwriters, arrangers, collaborators, sound designers, and the list goes on. The industry is changing every day. More and more Internet streaming sites are emerging, concert promoters are buying land to sustain prominence and multiply festival revenue, and with competition reality television, your puppy could probably become the next Britney Spears.
ISSUE II of MMJ. presents you with fashion, art, and perspective into our exclusive take on the Philosophy of Music. We may not be music experts or ‘industry people,’ but somewhere within each of us, we can identify with one another through heartache.
Kelly A. Shannon
