Category: Music

Music Therapy for Children With Autism?

Most children with Autism have difficulty with performing eye contact; music therapy works to help this in miraculous and numerous ways. The therapist starts by evaluating the child’s current base level, and then strategizes the best methods to help the child. After many sessions, they measure where the child has arrived. “Eye contact” refers to an event where child looks at the therapist while playing. Using Music Therapy, the therapists increased “turn taking” and eye contact measurably more than play therapy. Eye Contact was even proved to be held longer when the child was participating in music therapy activities.

Acoustic_GuitarThe music therapist has to reach the child to be able to interact with them and help them. The British Colombian Music Therapy association says that when the child feels free and unthreatened, they get more out of the session. When children with autism were not being told “don’t do this or don’t do that” and “no” to everything they were doing; it did wonders on their ability to express themselves.

Music therapy gives them a way to express themselves without being yelled at and told “no.” The tempo and rhythm of the instruments is a way for the children to express themselves. The British Colombia MTA states that the tempo and rhythm gets the child to progress from the rocking motion when they were in the womb and as a baby. It gives them a new independent feeling. Music therapy is one of the cutting edge therapies according to Tony Lyons. It also helps develop motor skills for the child to interact with the instruments. What an innovation.

It is important to understand the term “Turn Taking” which refers (according to the Journal of Autism and Developmental Disorder) to an event involving a sequence of turns to play alternating between the child and therapist. The therapist will measure frequency and the duration of eye contact. Music Therapy is proving to be effective as both parents and music therapists are seeing results; both recorded many testimonials. Both therapists and mothers agree that they see more eye contact improvement in their children with autism after exposing them to music therapy. Music Therapy can help children with autism with relationship skills by helping them communicate through music.

Every instrument can be and is a tool to help children to want to communicate. The music the children with autism hear or produce pulls them farther out of their own world and helps create interactions with things, first as the instruments, and later people. Music Therapy gives children another way to communicate other than verbally. This helps them to want to communicate in general.

Many different toys and musical instruments are used in a therapy session. Instruments and toys look similar especially in color and number. The therapists found out that it made no difference to the child what instrument was used or what the color was. Connecting this to communication, they also point out that play therapy does not take as much working with others as music therapy does.

The parents are eager to see results in order to invest the money into music therapy for their child. Results are seen in a year but parents are impressed by the results that music therapy shows in their child’s behavior. Many therapists believe that Music Therapy may be an effective method for increasing joint attention skills in some children with autism. Most children with Autism have difficulty with performing eye contact; music therapy works to help this in miraculous and numerous ways.Undoubtedly Music Therapy can and had had a major impact on some children’s lives.

Kelli Richards,
CEO of the All Access Group, LLC

 

Playground Sessions: The Untraditional Piano Teacher

 

Playground_Sessions_QuincyJonesPlayground Sessions may be your opportunity to learn to sooth crowds with melodic sounds of the piano like Mozart or Chopin did before us. Co-created by the music legend Quincy Jones, Playground Sessions is an interactive music curriculum that allows users to learn to play the piano in the comfort of their own home, with no physical teachers present.

The program is unique in its take on traditional learning. The curriculum focuses on playing popular radio hits that the user already knows, “to demonstrate music theory as [he or she] goes,” states the program’s website.

So if there is no one sitting beside the user and teaching him or her how to play, then how do they learn? A virtual teacher, David Sides, a self-taught musician and composer and YouTube sensation, with his rendition of One Republic’s “Apologize” racking up over 10 million views. Through tutorial lessons David guides students through the songs step by step. He first shows the user how to play a song and then plays it along side him or her, providing feedback all the while.Playground_Sessions1

There are several play modes in which a user can practice. Practice mode allows users to play on their own with, “real-time visual feedback that’s clear and instantaneous.” Users can also play with a band, “with accompaniments arranged by David.” The Performance Mode is, “where the pieces come together,” states the program’s website. Students can play, compose, and record a song and then share it with friends.

The scoring and badging component of the program offers students a little motivation. The program gives the student badges when he or she achieves different levels of accuracy, rhythm, etc.

The interactivity of the curriculum is enhanced by the user’s ability to social network with other students. Students can, “create a network with other users around the world to practice with, support, chat to, or challenge.”

Rookie, Intermediate, and Advanced levels allow users to progress to more difficult songs at a faster pace. The program charts a user’s progression so he or she can visually see how they’ve done over a period of time.

Will the Playground Sessions change the dynamics of tradition piano lessons and allow students to bypass the car travel, scheduling issues, and excessive price that come along with a live teacher? Share your thoughts in the comments section below.

Want to hear more about Playground Sessions? Watch this short video with Quincy Jones:


Until next time,

Kelli Richards, CEO of The All Access Group, LLC

Why You Should Learn From Steve Jobs, Not Idolize Him

why-learn-from-steve-jobsImitation may be the highest form of flattery, but it’s not a winning-business strategy.

Steve Jobs not only revolutionized the way we listen to music and use a telephone, he also changed our understanding of a computer and even recaptured our ability to fall in love with films through his work with Pixar.

Without a doubt, young entrepreneurs can learn endlessly from Jobs’ example, but they shouldn’t adhere too closely to his image. After all, he may have been a design genius but he did ruffle a few feathers.

He disregarded every “rule” and regarded his mentors and role models loosely. Even he would hardly advise someone to emulate him. I think it’s far more likely he would say: “The best way to be like me is to be more fully yourself.”

Still, you can learn an awful lot from the man. Here are a few very specific things that up-and-comers can learn from Jobs’ example:

1. Keep the customer experience in focus. Jobs was a master at getting into customers’ minds. He knew what we wanted — and how we wanted it — often long before we did.

2. Have an eye for beauty. It couldn’t just work well. Steve knew that it also had to feel good to touch, be delightful to use, and be exceptionally beautiful to look at.

3. Foster innovation. Do you remember a time without an iPhone? How about an iPod? Steve created products and product categories no one even had a frame of reference for and made them central to our lives.

4. Insist upon excellence. Jobs had little patience for people who didn’t think things through, and he pushed the people around him to be their best. He accepted no substitutes and inspired great loyalty.

Finally, if there is one powerful absolute to learn from Steve Jobs, it is to focus on your customers and put them before everything else. Think about rabid Apple users — the ones who stand in line outside of a store for hours awaiting the release of the next iPhone. They’ve done more to grow the brand than Apple itself ever has.

You will never replicate that by trying to be Steve Jobs. But, if you ask these questions to apply his laser-focused attention to your own customers, you can definitely inspire that kind of brand advocacy.

Are we surprising and delighting our customers while also delivering a consistent experience?

Are our products and services frictionless for our customers to use and enjoy?

Are we meeting their needs each and every time they interact with our company?

Are we iterating and innovating with a product pipeline that’s in line with (or ahead of) the market?

Are we blazing new trails?

How do you inspire brand advocacy? Let us know with a comment.

 

Original blog posted on YoungEntrepreneur.com. View it here: https://www.youngentrepreneur.com/blog/entrepreneurship/why-you-should-lean-from-steve-jobs-not-idolize-him/

I would appreciate your feedback in the comments section.

Until next time,

Kelli Richards, CEO of The All Access Group, LLC

Working Behind the Scenes with Dave Stewart

Watch the video below as I share with you some insight on just how fun it is working with artists like Dave Stewart as a producer.

Until next time,

Kelli Richards, CEO of The All Access Group, LLC

The ‘Sound City’ Documentary Reminisces About a Simpler Time

7260262014_7858af2f60 (1)When Dave Grohl talks, people listen. That’s why music fans flocked to theaters to see Dave’s documentary “Sound City” last year. The former Nirvana drummer tells the story of legendary Los Angeles recording studio Sound City, which recorded such artist as Fleetwood Mac, Neil Young, Tom Petty and Nirvana. A number of these rock legends got their big break after recording at Sound City. Much of the studio’s success can be attributed to its sound board, the Neve 8028 analogue mixing console.

As the music industry settles into the post-pro-tools world, the documentary is a homage to the way things used to be. Long recording sessions, a dirty studio and some of the best music in history. That’s legacy of Sound City.

The Board that Started it All

While Sound City is a hallowed monument to rock ‘n’ roll, it wasn’t much to look at. In the documentary, interviewees describe the hideous shag carpet and beat up couches that lined the room. It wasn’t the atmosphere that made Sound City special, though. It was the Neve 8028, widely considered one of the best recording systems in the world.

“The Neve boards were considered like the Cadillacs of recording consoles,” Grohl told NPR. This Cadillac ushered a new era of music in California. With 28 inputs, 24 monitors and 1085 EQ, the Neve 8028 was a recording monster in the ’70s. Neil Young recorded “After the Gold Rush” at Sound City, and Fleetwood Mac recorded “Never Going Back Again” from the acclaimed album “Rumours.” In Sound City, music legends talk about the Neve as if it’s an old friend.

The Digital Takeover

The underlying theme in the documentary is a longing for the glory days. The musicians featured are some of the best in the world, and when they recorded at Sound City, they couldn’t rely on technology for cleaning up mistakes. Much like cable.tv offers a new experience for watching — digital recording revolutionized music. Rather than recording digitally, these icons recorded on tape. Viewers get the sense that a part of the artistic process dies when computers correct every tiny mistake. For musicians, Sound City is a challenge not to rely on technology. Average listeners may not spot the difference, but recording with Pro Tools has a plastic, sterile sound. There’s nothing wrong with that for certain genres, but rock ‘n’ roll are as much about the mistakes as the synchronization.

Grohl’s Reunion

The documentary isn’t just a reflection of this legendary studio it’s a continuation of its legacy. Sound City closed in 2011, but Grohl purchased the Sound City Neve for his personal studio. In addition to the documentary, Grohl also released and recorded a new record with a number of Sound City alumni, including Paul McCartney, Rick Springfield, Stevie Nicks and Trent Reznor.

This blog was contributed by Mario Vasquez
Mario teaches screenwriting at his local community center and writes about TV, movies and entertainment in his spare time.
**Image by Man Alive! pursuant to the terms of his Creative Commons license.

Do Female Music Artists Have a Lock On The Industry?

 PicMonkey Collage

After taking the stage at “Sound For Change” in London on June 1st, Jennifer Lopez declared that “women have taken over the music industry.” The event was presented by Gucci’s “Chime for Change” charity, which seeks to promote health, equality and justice “for every girl, every woman, everywhere.” J-Lo joined fellow female superstars Beyonce, Madonna, Ellie Goulding and Mary J Blige for a series of performances designed to “put girls’ and women’s issues on the world’s stage.”

Lopez, in an interview with Stylist magazine, went on to say that female artists have had a grip on the industry ”going back 20 years,” citing performers such as “Cher and Gloria Estefan,” followed by “Mariah Carey and Celine Dion, and then the next wave which was me and then Britney and Beyonce,” and culminating now with “Rihanna and Lady GaGa.” She admitted that in all this time, there have been “a few guys,” but overall the ladies “have really had it on lock for a bit.”

It’s clear that some of the biggest names in music right now belong to women. In addition to les femmes fatales who performed alongside J-Lo in June, one doesn’t have to think too hard to come up with more names: Taylor Swift, Katy Perry, Lana Del Rey, Adele, and even Ke$ha are a few that come to mind. The prevalence of female success stories makes it tempting to assume that J-Lo’s optimistic claims are well founded.

It is exciting to think that women are “taking over the music industry.” But it is one thing to command the spotlight; it is quite another to command an entire industry. One is forced to wonder how many female producers, agents, and record-label owners are working behind the scenes to back up J-Lo’s claim.

Indeed, as a recent BBC article reveals, “the story is not being replicated on the other side of the sound desk.” The article goes on to say that while we may recognize George Martin or Pharrell Williams as household names, “only three women have ever been nominated for best producer at the Brits or the Grammys. None of them went home with the prize.” Susan Rogers, one-time studio-engineer for Prince, pointed out that “women who want to enter the field face a boys’ club.”

But the spotlight is not a bad place for women to start. After all, one of the benefits is guaranteed global attention – which is perhaps the most powerful force imaginable. The real question is how our empowered female artists will use that spotlight to shed light on the real issues faced by the girls and women who look up to them. How will our contemporary female music stars use their influence to advance the causes of health, equality, and justice for every girl, every woman, everywhere?

 

Until next time,

Kelli Richards, CEO of The All Access Group, LLC

An Exclusive Interview with Stewart Copeland, Drummer from The Police

stewartI recently talked with my good friend, Stewart Copeland, a film composer, musician and the and the drummer for The Police on my Blog Talk Radio show, All Access Radio. Stewart has an extensive and diverse resume. We started the interview talking about what motivates him and what passions drive his choices. Steward said, “It has to be creatively amusing.”

We discussed his childhood, and living in Lebanon with a father who was unknowingly working for the CIA. His cultural environment in the Middle East very much influenced his music as a creator. He explained that the “cultural environment was Arabic music, which has that dropkick beat, which is very similar to the rhythm trick of reggae which has that dropkick beat; the absence of one an emphasis of three of the bar.”

stewart_copelandCopeland described how his passion for drums began and shared with me hisfavorite memory with The Police. “Favorite experience, probably Shea Stadium. We probably all agree that out best, ultimate gig where we reached the pinnacle, -Sting likes to say ‘the only place we could go from now is down’ –and soon after that we broke up, but that was a really great gig, a really great evening, a wonderful experience and a pinnacle of everything that we had struggled to achieve.

To hear the whole interview, more stories and more about Copeland’s career as a film composer visit my website where I put out a new interview every Monday at 8:00 EST.

Until next time,

Kelli Richards, CEO of The All Access Group, LLC

 

The Continued Convergence of Music & Tech: Laptop Orchestras

Remember lugging that giant trumpet case to and from school just so you could be a part of the school band? Half the time you forgot to bring it and the times you remembered, your arm was sore by the time you entered the school’s doors. Or maybe you just regret never having had the musical instrument experience at all. Well here is your opportunity to combine some of the skill sets you already possess to be part of an orchestra. But instead of the use of a traditional instrument, a laptop is all that is needed to become a part of a unique ensemble.

Schools are actually forming bands where student-manned laptop computers are the primary instruments. The most visible schools to be adapting to this modern orchestra are Stanford and Princeton. Students can take a seminar where the expectation is to make music with their laptop. Students are instructed to design their own software instrument, a “meta instrument,” using code.

To learn more about the technical process involved, watch the video below from the Stanford Laptop Orchestra:

My question is this: If laptop orchestras are the future of music classes, what effect will it have on traditional instrument learning and playing? Studies show that playing an instrument positively improves cognitive functions, enhances hand-eye coordination, sharpens concentration, and relieves stress.  Of course, there are huge opportunities there for underserved populations who may not have the financial resources to outfit all of their schools with instruments – but could, perhaps, afford or acquire one or two laptops to be shared…

In the end, however, it comes down to this: Can making synthesized sounds from computers really compensate for traditional instruments?  That is the question we have to ask.

Outside of bringing music and instruments into places that might not otherwise be able to participate, maybe the real question is: Should it?

Until next time,

Kelli Richards, CEO of The All Access Group, LLC

Q&A with Hank Barry, Co-Chair of Sidley Austin

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I welcomed Hank Barry, co-chair of Sidley’s Emerging Companies and Venture Capital practice, on my Blog Talk Radio show last Monday. I met Hank during his tenure years as the CEO at Napster.

During our interview Hank shared his experience with Napster as a “good one.” He said,

“I wouldn’t change a moment of it.” Hank explained to me that because of some internal issues at Napster, his partners asked him to be the CEO for, “quote, three or four weeks,” but he ended up staying in that position for almost two years. We talked about his complex career with Napster, learning about policy making, negotiating with record companies, and interactions with some of the major artists.

We then shifted into a conversation about Hanks career with Sidley, a worldwide law firm. Hank said, “The fundamental mission of the firm is to provide the highest quality of professional legal services, simple as that.” We discussed his work with pro bono cases and human rights cases including the launch of the first global pro bono initiatives called the Africa and Asia Agricultural Enterprise program, which entails reaching out to developing countries and helping people who have agricultural goods get those products to market and get a fair return on their investment.

When asked what his next project or collaboration might be Hank said, “Well I’m just trying to be a good partner to Sidley Austin. I mean that’s my main goal in life right now, just to be a good partner and grow this office.”

To hear the full interview visit my BTR with Hank Barry

There, you can find new interviews with some of the top innovators of our time.

My BlogTalkRadio episodes are regularly scheduled live, every Monday at 8:00 pm EST.

Until next time,

Kelli Richards, CEO of All Access Group

https://allaccessgroup.com

The Scoop on Zach Zalon, Former President of Virgin Digital

I recently talked with Zach Zalon, the co-founder of Wilshire Axon and former President of Virgin Digital, the digital platform for Virgin’s Entertainment Group. We discussed his inspiration for launching Virgin Digital and the philosophies that have structure his career.

Zalon attributed most of his career to the fundamental philosophy that was created when he worked as manager at the Troubador club, a live music nightclub. He spoke of the clubs ability to showcase up-and-coming artists that didn’t have a big following by bookending a major label act with these new artists. “Our philosophy was to democratize, in some respects, access to fans by using the bigger bands that were going to draw all those people to our club as the gateway to that bands fan base.” The philosophy that was created from this was the underlying desire to support independent artists that didn’t have the proper following or support.

He took that philosophy with him when he left the Troubador. At that time, the Internet was in its early states, and Zalon teamed up with his connections in the music world to use the Internet as another vehicle for expanding an artist’s access to new audiences, which inspired him to branch out and create his own consulting firm, The Factory Network.

Transitioning into his career with Virgin, Zalon explains that Virgin had been a client of The Factory Network (TFN), and they had worked with the company to do a variety of things. TFN wrote a business plan for what they thought would be a fairly innovative service called Radio Free Virgin, a global, online radio service that connected very deeply with the mega stores around the world to drive a fairly significant audience. When Richard Branson funded it, Zalon and his team decided to close down TFN and take on the project for Virgin full time.

After many years with Virgin, Zalon and his team spun out of the company and created two separate companies, Wilshire Axon and Hello Music. Zalon and his team used the blueprinting methods they had created during their time at Virgin and established a digital product design firm. Hello Music started from the teams desire to help artists. The idea behind it is to pre-negotiate opportunities that, up until now, only major acts have gotten access to and providing that access to artists anywhere in America in a standardized experience.

When asked what he most wanted to be remembered for Zalon said that he didn’t feel like he had been around long enough for a legacy, but rather explained that the three things he and his team were focused on were helping large companies create amazing digital experiences for their customers, helping independent artists get support, and an overarching focus on the city of Los Angles.

To hear the full interview visit my BRT Interview With Zack Zalon.

There, you can find new interviews with some of the top innovators of our time.

My BlogTalkRadio episodes are regularly scheduled live every Monday at 8:00 pm EST.

 

Until next time,

Kelli Richards, CEO of All Access Group

https://allaccessgroup.com

 

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