Musical Model, Dante-esque Form, Human Atrocity
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Structured like the "Divine Comedy," Jean-Luc Godard's new film is a journey through hell and purgatory in search of a paradise.
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Tycho:  With a couple days placed between this post and the release of the Bioshock demo, I feel far more comfortable discussing it.  You know what I do, now:  for example, you know that the Playable Intro as a storytelling mechanism has been refined to a ridiculous degree.  You've felt the jolt of voyeurism, peering into human lives via found audio.  And, perhaps most importantly, you know the dangers that plasmids pose to the young.
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âJerry Springer: The Operaâ uncovers something grand within the small, squalid lives it portrays.
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Put together the mixed and mashed art of Scott Pagano and the multifarious music of Jochem Paap  and you get something the likes of which youâve never experienced before.
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When Edward Dusinberre read Philip Rothâs novel âEverymanâ he was struck by what he perceived as its richly musical qualities.
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The composer and musician shares his stylish essentials.
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Usually it's the robots that oppress humans in the popular imagination. A Spanish art show turns the tables, producing fearful machines. By Daniel Terdiman.
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There aren't many  composers whose music is immediately identifiable after just a  couple of whistled notes. Such is the influence of Ennio  Morricone that all it takes is a bit of whistling to evoke the  Italian composer's masterful, genre-defying work on the  spaghetti westerns he scored for Sergio Leone -- films such as  1967's "A Fistful of Dollars," "For a Few Dollars More" and  "The Good, the Bad, and the Ugly."
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The quality of Martin  Short's musical revue is well encapsulated by what has become  his trademark pose. Hands on hips, staring off into the  distance, he embraces the adulation of his audience while at  the same time slyly mocking his need for it.
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Roll over Sid, and tell Joe Strummer the news: whereas the kind of British musicians who attracted words like &quot;alternative&quot; were once duty-bound to affect a mixture of rage, debauchery and indolence, their modern heirs are a terrifyingly well-adjusted
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Mal e i Primitive, New Trolls, Procol Harum e Creedence
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âA Musical Offering from Southeast Asia,â was produced by the VIM: TriBeCa concert series â a recent addition to this cityâs thriving contemporary-music scene â and the Argento New Music Project.
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Where âControlâ might have been literal-minded and sentimental, it is instead enigmatic and moving, much in the manner of Joy Divisionâs best songs.
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Films use artwork the way they have long used music: to set a mood.
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There is a rough science to choosing performance-enhancing music.
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Hero splashes love and death in ravishing colors
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A documentary and a fiction film about Joy Division return a mythic hero to life size.