MIMICRKY, AUDIO-TRANSVESTISM
Audio-piracy. Cf. John Oswald, known for his Plunderphonics, or glitch pop and mash up music uses “audiopiracy as a compositional prerogative”. He takes a sonic quote and keeps a degree of recognizability while shifting the parameters. His blatant approach makes the Plunderphonics distinct from samplepocketing, parroting, plagiarism and tune thievery. A good example of Plunderphonics is Dab on the basis of Michael Jackson’s Bad.
The term soundscape
Shafer
The term soundscape was coined by R. Murray Shafer in The Tuning of the World, (and even earlier that year in articles like Ear Cleaning) to describe an acoustic field of study. It approaches music as a walk-through environment.
See also Steven Connor: “At the beginning of The Tuning of the World (1977), Schafer defines a soundscape as ‘any acoustic field of study’, whether that be ‘a musical composition’, ‘a radio program’ or ‘an acoustic environment’. Schafer makes the point that a soundscape is not capturable in the same way as a landscape can be captured in a photograph. Unlike a camera, a microphone samples details: ‘It gives the close- up but nothing corresponding to aerial photography’ (Schafer 1977, 7). Where a map provides a representation of a landscape that one may easily learn to read, making sense of the many different kinds of sound notation required to document a given soundscape requires both much more information, and much more training. And, where maps are iconically congruous with what they represent (they are a visible representation of a visual scene), the notations of soundscapes are translations of sound into visible or legible form.”
Schafer also coined the terms acoustic ecology, schizophonia (the separation of sound from its source) and soundmark.
He deplored the lack of historical perspective of sound history, because to know how our world sounded like before we have to resort to old recordings, witnesses or just speculate, but there’s not much evidence we can build on.
A sound mark is a community sound which is unique or which makes it specially regarded by people in that community. It makes Shafer also somewhat conservationist as he deplores the vanishing of landmarks and also is quite negative about noise, like in increasing noise legislation. It raises the question to what extent sound ecology should act against the so-called ‘pollution of sound’.
A very influential publication is The Vancouver Soundscape (book and lp). Peter Cusack’s work is influenced by it, but he has a milder approach to the question of ‘pollution.’He refers to the German philosopher Gernot Böhme, who speaks about the atmosphere of sounds. Cf. The Atmosphere of a city (1998). Generators of atmosphere are odourn the acoustic dimension and life forms. He doesn’t approach it solely from a natural scientific way, but it’s an aesthetic theory of nature. Atmospheres are in-between environmental qualities and human sensibilities. Music is one such example of atmosphere: “it is a modification of space as it is experienced by the body. Music forms and informs the sense of self in a space; it reaches directly in his/her spatial economy”.
Contrary to landscape paintings a sound scape cannot be listened to at one glance, but unfolds in time. While landscape painting has libeterated itself from being a window on the world, much soundscapes are still exactly looking for that photographic (but then on the level of sound) of the environment.
Bernie Krause
Bernie Krause started recording in late sixties of natural sounds. The Great Animal Orchestra is a book on audible. Biophany is a term he coined, for all the sounds coming from life forms in a situation.
Bernie Krause wijst op de organisatie in soundscape van dieren lezing
#t17 from 17:30 onwards explanation of the orchestra structure of sound scape from 23:00 example of how selective lodging alters the sound scape taking away richness of texture some beautiful spectograms 27:40 mourning beavour 28:55 electric energy of thunder storms (whistlers) sounds really like techno, followed by an example of an imitation by animals 31:00 Playing to a frog, reindeers
http://www.youtube.com/watch?v=tsEgbo1o70g 22:00 biophany: sounds coming from animals geophany: sounds coming from trees, plants, wind anthrophony: sounds produced by women
Steven Connor:
http://www.stevenconnor.com/rustications/rustications.pdf
beautiful sentence where he says that animals as much listen as they produce sounds, because they continuously need to be on their guard:
“(over dieren in de soundscape: je overhear their interactions): Here I am not just knitting together a soundscape out of the coincidence of my attention, I am apprehending a pattern of sonorousinteraction that is already in itself, to borrow the Ignation formula, a kind of ‘composition of place’. Once one starts to hear the call and response, one begins to hear the periods of suspended song as hollowed out by listening”.
Over muizen: “The urban animals that live in closest proximity to us listen out for us so intensely, that hearing them is the sound of our own silence, and their silence the sound of our approach. So often the silence we hear is the quelling of animal sound by our own thunderous approach. “
“Non-domestic animals do not dwell in the city, so much as haunt it, and their disembodied cries and whispers are a sign of this haunting.”
“Since Rachel Carson, the survival or silencing of birdsong has become a sonorous measure of the degradation of environments. In fact, however, there is some reason to believe that we may be forcing birds to become louder rather than quieter. Hans Slabbekoorn of Leiden University studied the songs of great tits in a number of Northern European cities, and found that they routinely sang faster and higher,incorporating fewer low-frequency notes than birds in the wild. It seems very likely that this is in order to compensate for the low -frequency hum of traffic that would otherwise mask their song.”
“For there is noise everywhere; what is more, there is no information without noise. The birds who adapt their songs in cities may be there because their songs have been formed in circumstances in which very similar kinds of noise – wind, water or the sounds of other species – have to be overcome (Ríos - Chelén 2009, 155). The dawn chorus, often taken as an image of the orchestral plenitude of nature, is in fact an extremely stressful acoustic environment, an order that is formed in and through competing noise. Signal is the opposite of noise, but information is found in theemergence of signal from noise, and therefore in a certain signal-noise coupling. So there is no signal without noise, and there is noise in and around every signal. In fact, this is the very reason for the importance of birds and birdsong in human history – since birdsong represents the very principle of meaning amidst noisiness, and the intensification of meaning that comes from the intensification of noise.”
“Serres represents this as a kind of interception of signals, an integration of the noise of animal perceptions in many different modalities, whether it is the epic din of shrimps and krill in the ocean, which is loud enough for submarines to hide behind them to avoid detection by enemy sonar, the thermoception of the rattlesnake, the sensitivity to ultrasound of bats, the tympanic bubbles of whales and dolphins which make out a three-dimensional map of the ocean far superior to human sonar (Serres 2001, 144). All these constitute specific channels of communication, representing the special kind of tuning of each animal to its existential and communicational niche.”
Modern soundscape
J
Other approaches to nature
The indigineous relation
“The Fatal Shore” by Robert Hughes
Nature as sexual force
Elisabeth Grosz
Rustications
Steven Connor
Becomings
Mala Kline recounts a dream: “i am in the same location as the building i am sleeping in but long ago in some other age… i am with a group of women who do prayers for others… this is literally a place where secrets are revealed. i am looking at the tree and suddenly i understand the secret of the ‘language of the birds’ - why the birds are called the messengers (after the prophets and the dreams): i see a bird SOUNDING a tree branch. the bird literally sings the branch into existence by totally tuning into it, feeling it, becoming it completely - it sings it into being, its shape and all. i realize that all that is, IS, cuz it is sounded into existence. i wake up knowing this is a dream for u”
WHAT Birds SOUND LIKE
Classy singing The Nightingale
Nightingales interpreted
Alma Gluck The Nightingale song
Nat King Cole, A nightingale sang in Berkeley Square
The Everly Brothers, On the wings of a nightingale
Stravinsky, Le Chant Rossignol
The loudest birds
Bittern or Roerdomp. The bird makes the sound through the oesophagus (he has long intenstines). It’s comparable with a burp, only this call is with its low frequency range able to travel kilometers.
Kakapo, parrot from New Zealand that cannot fly and is threatened with extinction. When making a sound he becomes inflated like a ball;
Sirrocco is the most famous ambassador for his species, a real celeb.
Goldcrest the highest frequency 9khz
Canary, the sexy fast syllabes
Humans cannot perceive intervals shorter than one tenth of a second). This is in fact the only aspect where birds beat humans (in the auditive range). It’s like they can hear in slowmotion, whereas we hear not the structure and intervals, if they are too rapid for our ear. But birds hear the transitions too.
For example:
Detailed analysis has shown dat in canary song there is a very fast alternation from low to high frequencies, produced in the left and right part of the syrinx. 17 times per second. Humans perceive this sound as a continuous trill, where in fact birds hear also the intervals inbetween (it’s called the sexy syllabes of the canary).
Early bird and late bird: the blackbird
Seagulls
It sounds a bit like laughter
Cuckoo
and yes it’s famous for the nest trick like performed here on the wobler
Laughing Kookaburra
Black capped Chickadee (Dutch: matkop)
A bird that calls its own name: chicka dee dee dee
The chickadee has two calls: the wisthled fee-bee-ee and a more ‘zoemend’ chick-a-dee-dee-dee a researcher thought the fee-bee-ee sounded like hey sweetie but some variants said: sweetie hey.
Common Loons
Myna Bird
Birds of paradise
Pied butcher birds and magpies
Pied butcher birds in duet
Pied Butcher bird with baby learning the calls
Another dancing bird
Look at this bird (a woodcock or houtsnip) traversing the street and dancing to music coming from the car. http://www.deredactie.be/cm/vrtnieuws/videozone/ookdatnog/MV_140504_SpechtDansenDansen
Birds imitating Magpies, myna birds
bird imitating a cat and mice too
The Lyrebird The champion of imitation
And of course the parrots
Catbird mimickry
Birds used for ringtone
Pet bird house sparrow
a group of sparrows, sound:
MORE FACTS ABOUT BIRD SONG
gekwinkeleer van roodborstlijster ganzen die gakkend de beweging van de formatie coördineren
the tape recorder and the sonograph have revolutionized the bio-acoustics since the 50s. Stenography (sonographs) could for example show that 2 seconds of bird song actually contained 45 to 100 notes, with 50 changes of pitch.
Bird song is a combination of learning and innate instincts/skills. Especially the singing birds impress with their capacity at learning new things. Birds are born with their calls; but they learn more the songs.
Young birds practice their songs first in subzang during the first life year mostly all through summer (and not anymore in fall) to recapture the proces in the spring (molded sung). IN the subzang: hey sing the right sounds but not in the right order, a bit like an scramble. The exercise after being fed, they stil very quiet and still, eyes closed, heads a bit tilted, as if in trance, while they whisper the sounds quietly. When disturbed they open their eyes and stop the singing. In the spring when they resume their learning (kneedbare zang).
Birds sing most at dawn, perhaps to signal that they have survived the night and still own their territory or to let the newly arrived femals know about their existence.
Bird song is characterized by repetition: for example the wren can sing his song 50 times before he switches to another song.
Wrens are small, fast, brutal birds. They are not good fliers but are very active. They are one of the most talkative birds amongst us, much akin to the spotlijster. “Hun wijsjes die vol gezoem, gejodel en gegorgel zitten, zijnv aak ingewikkeld en afwisselend, nu eens muzikaal dan weer domweg luidruchtig.” “Een karakteristiek liedje begint met een rasperig geluid, zakt dan in toonhoogte naar een paar gejodelde noten, gevolgd door een kort fluitje, en eidnigt met een serke, heldere triller die abrupt afgeborken wordt. Dat alles duurt ongeveer twee seconden.” (Don Stap, p. 59)
Anatomy: Nearly 100 percent of the air that passes through the vocal chords is used. Compare with people: they only use average 2 procents to produce sound.
The larynx is called syrinx and is placed at the exit where the two airpipes conjoin. Some birds can at the same time or alternately use left and right part of the airpripes (two voices). So strictly speaking for expample the lijster sings a synchronized duet with itself. (door in elk van zijn twee luchtpijptakken een afzonderlijk geluid voor te brengen). Twee-stemmige zangers zijn: grijswangdwerglijster, de goudsijs, de Incagaai, de katvogel, de Lecontes-gors, de zanggors, de ijsgors en de Amerikaanse boslijster, die door hem de ‘meest veelzijdige en bedreven ‘inwendige duetzanger’ werd genoemd.” Als geluiden uit eenzelfde bron komen moten de frequenties een veelvoud van elkaar zijn, maar bij de tweestemmige vogels merkte men dat er twee geluidsbronnen waren. Het leek op iets uit een mythe.
Birds have the same hearing range more or less (humans have a bit a binger range). With birds they are the most sensitive in the frequency range of 1 to 5 KHz. They hear very slight changes in frequency, but humans can do that too (the ability to understand speech is pretty developed). Also the intensity of sound works more or less the same. The biggest difference is
the capacity to distinguish intervals: Birds can much better than human perceive how time is partitioned. They hear smaller intervals as distinctive breaks, whereas we hear a continous sound.
Some female birds may sing to lure the men back to the nest (he thinks it’s a rival).
Some birds sing all the songs they know in one medley to repeat then again the medley. Others sing every song for so many times before they jump to the next one in line in the repertory.
Countersong is when a bird imitates the song of his rival (he can overtake by taking the lead of the song - he just sings the next song of the sequence).
LIST of bird transcriptions
Chickadee (matkop) Hey sweetie (fee-bee-ee) and chick-a-dee-dee
varianten zeggen echter: sweetie hey, sosweetie-sweetie
Maskerzanger
witchity-witchity-witchity-witch naar gelang de plaats krijgt dit meer of minder lettergrepen.
Brilparulazanger: (snel omhoog klimmend) zeeeeeeeeeeeup
Towie: drink-your-teeee
Roodkraaggorst: pleased pleased pleased to meetcha (6 times per minute). er zijn varianten, waarbij een mannetje wel een dozijn ‘gejodelde’ wijsjes zingt. Een haast eindeloze verscheidenheid in jodelliedjes)
Humans and Birds
Etnography study by Steven Feld on birdsong and Kaluli tribe
Sound and Sentiment, Birds, Weeping, Poetics, and Song in Kaluli Expression.
There’s a whole set of beliefs that organizes the interpretation of everyday living in a world that is full of birds and alive with their sounds. Myths, seasons, colors, gender, taboos, curses, spells, time, space and naming are systematically patterned; all of these are grounded in the perception of birds, and foremost, by their sounds.
It’s important to continually remind us what it means that all o society is structured around birds, like the sequence of a day, with waking up to a certain bird call, gathering in the afternoon to another, and again in the evening. The days is structured socially. Also cross-influences in the formation of language, metaphors, etc.
When women perform weeping songs they become the birds, and by the listeners they are compared to them.
Bird song can give song to the Kaluli, butthe Kaluli themsleves shape (cod and perform) what they hear. Composers hear these birds’ sounds in their heads and flood their inner senses with the call until it unravels into the melody of a song. The birds give them melodic form.
Also dances can be influenced, like by the Giant Cuckoodove, who makes a call in the bobbing down movement (wok) and then another one in the up movement (wuuuu). These down and up movements is reflected in the dancing. Attached to the costume are long streamers who make a shhh sound as they move. This resembles the sound of water, as the brids are usually heard calling near a waterfall or juts above the suhing sound of the water.
The central myth in the study is of a Muni boy who turns into a bird as he is denied food by a sibling and cries and weeps.
In another part of the book he describes weeping women, singing and semi-speaking around the corpes of a deceased: “My strongest impressions centered on the mixture of weeping sounds, actual wept melodies, phrases and longer texts that were semispoken, semisung while tears were being shed.” Women cry and it leads into weeping song; and men have weeping song move them to tears.
For my larger interests in weeping and funerary song: especially p.87 and 88 are interesting. Weeping is mostly done when social relations are disrupted, in face of abandonment, with all the mixed feelings it stirs.
Studies not always make distinction between all the aspects of mournful song, weeping, wailing, funerary songs, etc. Usually of descending dynamics and pitch, ‘tuneful weeping’ in northern india is for example a communicative mode. Wept statemetns are verbal messages in weeping intonations, delivered while shedding tears. It’s precisely the intention of Feld to describe more accurately the way these expressive weepings take form and meaning in the case of Kaluli.
Humans imitate birds with the voice
transpositions
Oliver Messiaen Catalogue des Oisseaux (7 books)
http://jrscience.wcp.muohio.edu/nsprojects/ns1fall04/birds/home.html http://robertinventor.com/software/tunesmithy/pitch_tracer.htm
the vowels of bird http://earbirding.com/blog/archives/2578
about bird notation http://shallnot.calepin.co/bird-songs-notated.html foto https://dl.dropbox.com/u/285229/calepin%20images/musurgia_p30.jpg
Beethoven Sixt Symphony, passages of the cuckoo, the nightingale and the quail (kwartel)
Bartok Pianoconcerto 3 inspired by birds in North_Carolina after walks in the mountains.
Respighi Pini di Roma a record player is used with recording of nightingalei n concert
James Fasett Symphony of Birds: it’s entirely coposed of songs and calls of birds
Mozart Ein Musikalischer Spass, after his pet starling (spreeuw)who imitated a part of Pianoconcerto G major when mozart must have whistled it when walking on the market. He was incredible in grief when the starling died and organized a funeral with peom, and friends in the right clothes singing hymns. The composition that Mozart wrote not long after has the same ‘illogical mix’, some false notes, or arbrupt stops in the musical phrasing, long and unpredictable phrasings, abrupt ending.
De Zurich’s sisters
Female singers in duet with birds
Yma Sumac, the peruvian songbird
Kate Bush
19:30 into An endless sky of Honey one minute long duet with a bird
Clement Janequin, Chant des oiseaux
INSECT SOUNDS
Insects: http://www.naturesongs.com/insects.html
The snappy shrimp makes an incredible blast of sound to stun the fish.
Crickets
Crickets are known for their chirp (which only male crickets can do; the male wings have ridges that act like an instrument). On a hot summer night the sound of crickets can serve as a reminder of the unseen natural world that surrounds us.
Here you find a list of various cricket sounds: http://www.soundboard.com/sb/crickets_sounds_audio
This video gives a close-up of a cricket chirping:
Here David Rothenburg plays music with a cicade who only comes up every 17 years to make sounds.
More info on cricket http://insects.answers.com/crickets/how-and-why-crickets-make-their-sound
David Rothenburg and John Cooley, on cicades http://vimeo.com/68216788
11:00 - 13:10 cicades duet 20:00 clarinet with duetting birds 24:50: with whale 27:00 - 28:47 how do crickets synchronize 32:40 Special attention for pygmee women sing with crickets: 39:11: slow mo cricket (the end tail of the sound drops away)
41:52 - 42:52 sounds again
musique concrete
Schaeffer, plucking a sound from its original setting and then using it as artistic material, free from associations or contextual surroundings;
this is what behind the object sonore: to make it an autonomous sound object. Reduced listening orients itself then to sound as sound, rather than listening for its cause or meaning.
Interspecies communication
cats, dogs and babies
foetal sound
41:06 of http://www.youtube.com/watch?v=_kXunfOQ_A0
ALVIN LUCIER communicates with aliens
He has a composition that wants to communicate to outerspecies in the universe: ‘North American Time Capsule’, 1967 Liner notes: “a message to listeners who don’t know about us. These could be very remote and exotic humans or the fabled ‘beings’ in some other part of the universe. The message is encoded in accordance with the empirical fact that purely electronic signals are more easily transmitted through space (and through time) than the more complex waveforms of speech. The sounds of the recording ere made on the Sylvania Electronic Systems Vocoder, a device designed to encode speech or speech-like sounds so that, presumably, the speech or other speech-like information would not be intelligible to any system except a system controlled by a designated listener. This is standard practice among intelligence operatives, whether they use the Sylvania Vocoder or some other form of encoding. Lucier ignores Sylvania’s obvious motive of sececy and treats the sounds as a matter of urgency: Here We Are. Lucier’s unstated premise is that the exotic human receivers will have acces to a decoder on their end of transmission, or that the ones in outer space are simply smart enough to be way beyond Vocoders and can simply chuckle the message when it arrives in such a primitive form. This is a nice joke. The piece should be heard with this in mind. Or heard simply as amazing sound, unexplained. Note: performers can speek about any subject matter, they can include sounds of domestic appliances, or other sounds that we make indirectly, in keeping with letting someone out there know who we are. Lucier: “prepare a plan of activity using speech, singing, musical instruments or any other sound producing means that might describe - to beings very far from the earth’s environment either in space or time - the physical, social, spiritual or any other situation in which we find ourselves at the present time.”
Non-biotic sounds
Plants have an incredible influence on sound.
Air. Cf. Japanese sound recordist Toshiya Tsunoda. He is interested in the properties of air, how it moves but also vibrates in solid objects. He made many recordings of air by lowering microphones in bottles, pipes, etc
Air vibration in a bent pipe: http://www.youtube.com/watch?feature=player_detailpage&v=m4o8O_OwBhA
Compare also with the sound of
Rüsenberg, Kölner Brucken Sinfonie
Animals and language
Quote MIchel Leiris
To bring together the naked, scandalous world of the bird fallen from the nest and the magical world in which adventures in language take place. (Michel Leiris)
Animals, muteness, deleuze
Julien Bruneau: Recently I got to read about the etymology of the French word “mot” (= word) Interestingly enough, this term that is now understood to be the basic component of verbal language’s articulation has its origin in the Latin mutus, literally : “who can only produce the sound mu“. The latter stands for “sound, noise produced by the voice without meaning”. Mutus had first been used about animals, then for humans. It is linked to the Latin word that gave “mouche” (French for fly) from the idea of buzzing, and beside leading thus to mot (word), it leads to muet (mute) Meaningless noise, animality and muteness, a surprising terrain for “mot” to be originated from. As if before to find a place at the center of language where it is now settled it had to travel all the way from the remotest regions. For Deleuze, litterature’s function is to travel the other way. To visit the limits of language, to head towards its outer territory ( see the last part of “a for animal” from the abecedarium at 18’44” ) So voices that are resonating outside of language could nevertheless be heard within language. Becoming animal, becoming silence, becoming music are the three examples he gives of the unsettling potentialities literature could enact. A list of three that matches well, even if not perfectly the list written by the word “mot” throughout its history. Traveling away from the center, or towards it, in either way, periphery is the passage area, a place for trade, negotiation and porosity. We are venturing into the zone of indistinct borders where articulated meaning extracts itself from its milieu : noise. A never achieved work, a Sisyphean one, absurdly and necessarily reiterated time and again.
language of birds
and another passage from Alchemy and Alchemists. Now i remember Brook made a piece based on the text that is mentioned here. 1979 : La Conférence des oiseaux (The Conference of the Birds) after Farid al-Din Attar, Festival d’Avignon, Théâtre des Bouffes du Nord BROOK
The Language of the Birds Zie ook: http://lesondelame.e-monsite.com/pages/la-langue-des-oiseaux.html
Mala Kline: “Alchemists were masters of wordplay. Many alchemical texts claim that they are ‘hiding a secret openly’, meaning that initiates will understand them, and that everyone else will see complete gibberish. (Gibberish, incidentally, is alchemical in origin: it was coined to describe the apparent incomprehensibility of the writings ascribed to Jabir, or Geber, as he was known in Latin.) In addition to the symbolic characters from alchemical art, such as the Green Lion and the Ouroborous, the texts frequently employ riddles, puns, and assonance.They even go to the extent of stating the exact opposite of what they are intended to convey.This wordplay is known as the Language of the Birds, or the Green Language.The great Persian poet Farid ud-din Attar’s twelfth century work The Conference of the Birds is one of the earliest works to ‘openly conceal’; he states that his work is intended to show the path of spiritual development through the journey of a group of birds to find the palace of the Simurgh, or Lord of Creation. Each bird has various skills. The Hoopoe has knowledge of Good and Evil, while the Wagtail has ‘knowledge of God and the secrets of creation’. Fulcanelli points out that before language and literacy came to use the written word so heavily, all discourse would largely be spoken, which would further illustrate the need for adepts to recognize each other through the use of coded or assonant words. This slang has always been despised (as the first matter is said to be), and is seen as ignoble, but it is in fact the reverse. Such wordplay, Fulcanelli argues, should guide us towards the truth, and not leave us imprisoned in mental labyrinths of our own making.’
Beaver and language
Grey Owl compared the sounds of beavers to that of human speech. listen to this sample: http://www.wildlifeofct.com/websitesounds/american_beaver_lang_elliott.mp3
talking dogs
I love you
Husky arguing
wailing boxer
border collie
t50:00
Blackbird by the Beatles
“Blackbird”
Blackbird singing in the dead of night Take these broken wings and learn to fly All your life You were only waiting for this moment to arise.
Blackbird singing in the dead of night Take these sunken eyes and learn to see All your life You were only waiting for this moment to be free.
Blackbird fly Blackbird fly Into the light of the dark black night.
Blackbird fly Blackbird fly Into the light of the dark black night.
Blackbird singing in the dead of night Take these broken wings and learn to fly All your life You were only waiting for this moment to arise You were only waiting for this moment to arise You were only waiting for this moment to arise.
BOB MARLEY THREE LITTLE BIRDS
“Rise up this mornin’, Smiled with the risin’ sun, Three little birds Pitch by my doorstep Singin’ sweet songs Of melodies pure and true, Sayin’, (“This is my message to you-ou-ou:”)
Singin’: “Don’t worry ‘bout a thing, ‘Cause every little thing gonna be all right.” Singin’: “Don’t worry (don’t worry) ‘bout a thing, ‘Cause every little thing gonna be all right!”“
CARTOON EFFECTS IN MUSIC
SPIKE JONES
Flight of the tumblebee (Willem Tell adaptation)
Cocktail for two