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✦——— 𝙉𝙚𝙬 𝘿𝙖𝙣𝙘𝙚 𝘾𝙤𝙫𝙚𝙧 ———✦ Original Song（曲）: Want Some More By Finana Ryugu, Elira Pendora, Enna Alouette, Maria Marionette & Meloco Kyoran 🔗 ORIGINAL CHOREO FOR MY LATEST ORIGINAL SONG!!!! ^w^ Hope you like itttt #踊ってみた #shorts

Finana Ryugu 🐠 NIJISANJI EN

514,779 subscribers

47,993 просмотров • 5 месяцев назад •via X (Twitter)

Юмор Искусство Музыка #踊ってみた #shorts

Anya Rossi• Live Now

Private livecam show

Комментарии: 18

Фото профиля Marie 🍊 | Coloso

Marie 🍊 | Coloso5 месяцев назад

OHHHHHHHMYDGFOIOOOOOD THANK U FOR MY LIIIIIIIFEEEEEEEE

Фото профиля IronMonkey 🐠

IronMonkey 🐠5 месяцев назад

Girl Boss frfr 😌

Фото профиля rave 🐠❔

rave 🐠❔5 месяцев назад

@Faentra

Фото профиля Overseer Olive ❤️‍🩹🐰

Overseer Olive ❤️‍🩹🐰5 месяцев назад

Nicely made, Finana!

Фото профиля 🍞⟡ yulelle ♡

🍞⟡ yulelle ♡5 месяцев назад

IVE BEEN WAITING FOR THIS ONE OH MY GODDDD

Фото профиля Len (semi-IA for school)

Len (semi-IA for school)5 месяцев назад

I wanna see you 5 do this song in 3d 🥹

Фото профиля Croos 👍🪄👨‍💼🖥️📸

Croos 👍🪄👨‍💼🖥️📸5 месяцев назад

👋 that cute wave

Фото профиля Dezmon 🐠

Dezmon 🐠5 месяцев назад

Let's go!!! You did amazing Finana 👏👏

Фото профиля Ryesia 🐠

Ryesia 🐠5 месяцев назад

cuteeee! imagine the dance live one day 👀

Фото профиля Scraggy 💀👁️‍🗨️🎩💋💅

Scraggy 💀👁️‍🗨️🎩💋💅5 месяцев назад

MY FEESH IDOL BE IDOLING

Фото профиля Enzer Rael

Enzer Rael5 месяцев назад

I was just thinking about a dance short recently. And voilà.

Фото профиля renoelan ✰

renoelan ✰5 месяцев назад

YAS MOTHER

Фото профиля Renimy ⁷ || WAITLIST OPEN •❔🕊️ 🎫 👻✨

Renimy ⁷ || WAITLIST OPEN •❔🕊️ 🎫 👻✨5 месяцев назад

ON MY KNEEESSSSS

Фото профиля gummy bear

gummy bear5 месяцев назад

Official FEMME fancam letsgoo

Фото профиля Dii 💉

Dii 💉5 месяцев назад

a win for the women lovers today

Фото профиля runningaway

runningaway5 месяцев назад

YAYYYYY

Фото профиля 酒屋しもん_2434ENを見る用

酒屋しもん_2434ENを見る用5 месяцев назад

動画ありがとうー！踊ってるフィナーナ可愛いよ！

Фото профиля frizz フリズ 🌠 🔜 Cosmania

frizz フリズ 🌠 🔜 Cosmania5 месяцев назад

HOLD THE PHONE

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Jared Lucas

12,659 просмотров • 2 лет назад

I realized that I would probably get more interest in my AI music theory tool (mtdt) and corresponding agent skill library if I did impressive things with more mainstream/popular tunes rather than an obscure Irish folk song from the 18th century like in my quoted post. So this time, I took my 3 favorite tunes from Zelda: Ocarina of Time (i.e., Saria's Song, the Song of Storms, and Zelda's Lullaby) and had them reimagined by the AI agent using my system in the style of various famous classical composers: Schubert, Schumann, Rachmaninoff, and Liszt. I had GPT-6 Astra xhigh acting as the "controller" agent create the prompt and launch another instance of Codex (the "worker" agent) in a fresh workspace with all 322 skills loaded, and then monitor the process. I gave the controller agent only very high-level instructions about which songs from the Zelda game I wanted and which composers to use for which songs. I also told it stuff like: "For actually rendering the written music to audio, we should use the nice concert piano instrument with reverb that came from my jazz chords project originally (see /cass) and we should humanize the playing with a skill so it doesn't sound robotic in tempo and dynamics; it should sound like a professional pianist specializing in the music of the particular composer. And try to do a final critical pass over each piece with fresh eyes looking for any deficiencies and blunders... does it REALLY sound like that composer's work? Can you still hear the original song's essence in the new, reimagined version? Is it good? Does it follow the rules and structure of music theory well, through the lens of that particular composer? If not, then FIX or IMPROVE those things (instruct the other agent to do so using its skills and the mtdt tool!)" --- But then the controller agent was in charge and handled managing the worker agent (which did nearly all of the actual labor of making the tracks). It's a bit counterintuitive that this creator-critic split would work better (why not just go directly to the agent doing the work?), but I sort of stumbled on it by accident because I didn't want to mess with my default agent skills and only wanted the 322 music theory skills to be visible to the worker agent. That's why I originally had the controller agent launch the other agent: to specify that. But then I realized that it's very handy to have an independent agent handling the details for me. It's sort of like a rich English aristocrat in the 1700s having an awesome butler to handle the rest of the household staff. Just tell the butler what you want in a kind of abbreviated shorthand and he will turn around and give very detailed instructions, monitor everything, and do quality control for you so you don't have to get into the nitty-gritty details so much. It gives you another set of eyes, even if it's using the exact same underlying LLM, and there's something about the gestalt shift of being a critic versus a creator that leads to better objectivity and honesty and, ultimately, better-quality results. Anyway, the first results made me realize that it had taken my instructions about being able to hear the original song clearly in the reimagined version too literally, so I told the controller agent: "It too directly has the entire original melody within it unaltered, which is jarring and not like . It's also too long; they should be closer to 1.5 to 2 minutes each. We don't need to start from scratch, but make sure you address those issues." That's about the extent of my feedback and iteration here. And to be clear, the original versions were pretty nice, too. I'll have some other fun demos coming out soon as well. Anyway, attached here are results from 4 composers as animated scores. You can also get the PDF of the complete scores here: So do they actually sound like those composers wrote them? It's sort of an impossible task, in that the style of the original melodies is really nothing like the styles of those composers. But within those constraints, I think it did a respectable job. If you're a fan of that Zelda music and like classical music you will probably get a kick out of these. I'm positive that with more focused prompting and iteration I could get much better results from the system, but I sort of just wanted to see what it could do with minimal interventions. Curious to hear what people think.

I realized that I would probably get more interest in my AI music theory tool (mtdt) and corresponding agent skill library if I did impressive things with more mainstream/popular tunes rather than an obscure Irish folk song from the 18th century like in my quoted post. So this time, I took my 3 favorite tunes from Zelda: Ocarina of Time (i.e., Saria's Song, the Song of Storms, and Zelda's Lullaby) and had them reimagined by the AI agent using my system in the style of various famous classical composers: Schubert, Schumann, Rachmaninoff, and Liszt. I had GPT-6 Astra xhigh acting as the "controller" agent create the prompt and launch another instance of Codex (the "worker" agent) in a fresh workspace with all 322 skills loaded, and then monitor the process. I gave the controller agent only very high-level instructions about which songs from the Zelda game I wanted and which composers to use for which songs. I also told it stuff like: "For actually rendering the written music to audio, we should use the nice concert piano instrument with reverb that came from my jazz chords project originally (see /cass) and we should humanize the playing with a skill so it doesn't sound robotic in tempo and dynamics; it should sound like a professional pianist specializing in the music of the particular composer. And try to do a final critical pass over each piece with fresh eyes looking for any deficiencies and blunders... does it REALLY sound like that composer's work? Can you still hear the original song's essence in the new, reimagined version? Is it good? Does it follow the rules and structure of music theory well, through the lens of that particular composer? If not, then FIX or IMPROVE those things (instruct the other agent to do so using its skills and the mtdt tool!)" --- But then the controller agent was in charge and handled managing the worker agent (which did nearly all of the actual labor of making the tracks). It's a bit counterintuitive that this creator-critic split would work better (why not just go directly to the agent doing the work?), but I sort of stumbled on it by accident because I didn't want to mess with my default agent skills and only wanted the 322 music theory skills to be visible to the worker agent. That's why I originally had the controller agent launch the other agent: to specify that. But then I realized that it's very handy to have an independent agent handling the details for me. It's sort of like a rich English aristocrat in the 1700s having an awesome butler to handle the rest of the household staff. Just tell the butler what you want in a kind of abbreviated shorthand and he will turn around and give very detailed instructions, monitor everything, and do quality control for you so you don't have to get into the nitty-gritty details so much. It gives you another set of eyes, even if it's using the exact same underlying LLM, and there's something about the gestalt shift of being a critic versus a creator that leads to better objectivity and honesty and, ultimately, better-quality results. Anyway, the first results made me realize that it had taken my instructions about being able to hear the original song clearly in the reimagined version too literally, so I told the controller agent: "It too directly has the entire original melody within it unaltered, which is jarring and not like . It's also too long; they should be closer to 1.5 to 2 minutes each. We don't need to start from scratch, but make sure you address those issues." That's about the extent of my feedback and iteration here. And to be clear, the original versions were pretty nice, too. I'll have some other fun demos coming out soon as well. Anyway, attached here are results from 4 composers as animated scores. You can also get the PDF of the complete scores here: So do they actually sound like those composers wrote them? It's sort of an impossible task, in that the style of the original melodies is really nothing like the styles of those composers. But within those constraints, I think it did a respectable job. If you're a fan of that Zelda music and like classical music you will probably get a kick out of these. I'm positive that with more focused prompting and iteration I could get much better results from the system, but I sort of just wanted to see what it could do with minimal interventions. Curious to hear what people think.

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Origins of Money, It is a song by the English rock band Pink Floyd from their eighth studio album The Dark Side of the Moon (1973). Written by Roger Waters, it opened side two of the original album. Much of the song is written in an unusual time signature (7/4), Waters wrote the central riff on an acoustic guitar and chose the time signature as it suited the "bluesy feel" of the song. Waters wrote the lyrics to express irony and to critique the power of money and the capitalist system in general. "Money interested me enormously," Waters remarked on the twentieth anniversary of The Dark Side of the Moon. "I remember thinking, 'Well, this is it and I have to decide whether I'm really a socialist or not.' I'm still keen on a general welfare society, but I became a capitalist. You have to accept it. I remember coveting a Bentley like crazy. The only way to get something like that was through rock or the football pools. I very much wanted all that material stuff." In another interview, he said he was "Sure that the free market isn't the whole answer. My hope is that mankind will evolve into a more co-operative and less competitive beast.'' "Money" begins with a rhythmic sequence of sound effects heard throughout the first several bars. This was created by splicing together recordings that Waters had made of clinking coins, a ringing cash register, tearing paper, a clicking counting machine, and other items, to construct a seven-beat effects loop. The original loop was used during early live performances but had to be re-recorded onto multi-track tape for the album. It was later adapted to four tracks in order to create a "walk around the room" effect in the quadraphonic mix of The Dark Side of the Moon. Pink Floyd performing 'Money' all together for the last time in their career, live at the London Live 8 Concert. It was the quartet's first performance together in over 24 years.

Rock'n Roll of All

29,484 просмотров • 11 месяцев назад

🪷楽曲配信ご開帳🪷 やぁ❗️檀家のみんな❗️ お待たせしました‼️ ✨ナンマイダー新曲✨ 🎵『仏の顔も三度まで』🎵 作詞・作曲／オリエンタル納言原作／西川真周本日より―― 各種音楽配信サービスにて楽曲配信ご開帳ーーーッ‼️🎉🪷 一度、二度なら慈悲のうち⁉️ 三度目だって、まずは合掌🙏🏼 #仏造人間ナンマイダーらしい仏教ワードと昭和特撮魂が詰まった一曲を、ぜひたくさん聴いてください🎵 そして今回、『仏の顔も三度まで』の楽曲配信によって得られる収益は、令和8年熊本地震で被災された方々への義援金として、全額寄付する予定です。音楽を聴くことが、ほんの少しでも誰かの力になりますように。一日も早い復旧・復興を願うとともに、被災された皆さまが穏やかな日常を取り戻せることを心よりお祈り申し上げます。毎日聴いて、みんなで #ナン活しよう🙏🏼🪷 🎵楽曲配信はこちらから👇 各種音楽配信サービスでお聴きいただけます🙏🏼🪷 🙏🏼皆、合掌🙏🏼 🪷MUSIC RELEASE CELEBRATION🪷 Hey, Danka friends! The wait is finally over!! ✨ ✨A brand-new song from Nanmaider✨ 🎵 “THREE STRIKES FOR BUDDHA” 🎵 Lyrics & Music: Oriental Nagan Original Creator: Mashu Nishikawa Starting today— 🎉 NOW AVAILABLE on major music streaming platforms!! 🪷 Once, twice—compassion may prevail⁉️ But even the third time, let’s start with Gassho 🙏🏼 Packed with Buddhist-inspired words and the spirit of classic Showa-era tokusatsu, just like #NanmaiderTheCyborgBuddha— We hope you’ll give it plenty of listens! 🎵 And this time, there is another important purpose behind the release. All proceeds from the streaming of “Even Buddha Gets Angry After Three Times” are planned to be donated as relief funds for those affected by the 2026 Kumamoto Earthquake. We hope that simply listening to this song can, in some small way, help someone in need. We sincerely pray for the earliest possible recovery and reconstruction, and for everyone affected by the disaster to regain peaceful days as soon as possible. Listen every day, and let’s all enjoy #NanKatsu together! 🙏🏼🪷 🎵 Listen to “THREE STRIKES FOR BUDDHA” here👇 Available now on major music streaming services worldwide 🙏🏼🪷 🙏🏼 Gassho 🙏🏼

架空昭和史作家西川真周

37,512 просмотров • 1 месяц назад

【SHINJIRO ATAE & Stephanie Topalian「Arcade」(Duncan Laurence cover)】本日11/26 與真司郎35歳になりました！！こうやって長い間たくさんの人に応援していただき本当に嬉しいです。 34歳は色んな新しいことに挑戦して、人生がものすごく大きく変わりました。精神的に辛い期間も正直あったけど、たくさんの人達に支えられて、ここまでやってこれました！！本当に本当にありがとうございます。これからも與真司郎らしく、色んなことに挑戦していきたいと思っています。変わらず応援してもらえるような人間に成長していきたいと思います。これからもみんなよろしくね！！そして、カバーの3曲目はDuncan Laurenceの「Arcade」。この曲はTikTokなどで凄く流行った曲で、僕も自然と耳に残っていて、印象的な曲でした。カバーソングをやることになり、なんの曲をやるかを考えていた時に、ふとこの曲が思い浮かびました。女性アーティストとのデュエットはテルマとやる以来ですが、今回はまた違う雰囲気に出来ればと、大好きなアーティストであり、僕のボーカルコーチとしても長年お世話になっているStephanie Topalianとコラボさせていただきました。ぜひ楽しんでください！！ It is 11/26 in Japan now, I just turned 35 years old! I'm really happy to have been supported by so many people after all of these years. At the age of 34, I tried out many things and my life changed tremendously this year. To be honest, there were some mentally tough times, but I was able to make it this far with the support of so many people! I’m truly grateful for all of my fans, friends, family, and staff. Moving forward, I would like to continue to try out various things in my own way. I’m hoping to grow as a person and continue to be a positive influence on peoples lives!! The third song I decided to cover is "Arcade" by Duncan Laurence. This song was very popular on social media. I naturally started listening to it and it left a lasting impression on me. When I was thinking about what song I should cover, this song immediately came to mind. This is the first time I've done a duet with a female artist since my duet with Thelma, but I wanted to create a different vibe this time around. For this duet, I collaborated with Stephanie Topalian. She is one of my favorite artists and has been my vocal coach for many years. Please enjoy! Thanks for... ・Music Producer: Stephanie Topalian Arranger: Nobuhiro Takamoto ・Movie Photography Director: Kintaro Producer: Nyonyo(accel inc.) Production Manager: Satton(accel inc.) Production: accel inc. Director: Tatsuaki ・Hair & Makeup. Hair & Makeup: Maki Sato ・Stylist Stylist: SUGI（FINEST） Assistant Stylist: Shiori Nagayam（FINEST） Assistant: Sayaka Suzuki ・Special thanks Duncan Laurence #與真司郎 #SHINJIROATAE

【SHINJIRO ATAE & Stephanie Topalian「Arcade」(Duncan Laurence cover)】本日11/26 與真司郎35歳になりました！！こうやって長い間たくさんの人に応援していただき本当に嬉しいです。 34歳は色んな新しいことに挑戦して、人生がものすごく大きく変わりました。精神的に辛い期間も正直あったけど、たくさんの人達に支えられて、ここまでやってこれました！！本当に本当にありがとうございます。これからも與真司郎らしく、色んなことに挑戦していきたいと思っています。変わらず応援してもらえるような人間に成長していきたいと思います。これからもみんなよろしくね！！そして、カバーの3曲目はDuncan Laurenceの「Arcade」。この曲はTikTokなどで凄く流行った曲で、僕も自然と耳に残っていて、印象的な曲でした。カバーソングをやることになり、なんの曲をやるかを考えていた時に、ふとこの曲が思い浮かびました。女性アーティストとのデュエットはテルマとやる以来ですが、今回はまた違う雰囲気に出来ればと、大好きなアーティストであり、僕のボーカルコーチとしても長年お世話になっているStephanie Topalianとコラボさせていただきました。ぜひ楽しんでください！！ It is 11/26 in Japan now, I just turned 35 years old! I'm really happy to have been supported by so many people after all of these years. At the age of 34, I tried out many things and my life changed tremendously this year. To be honest, there were some mentally tough times, but I was able to make it this far with the support of so many people! I’m truly grateful for all of my fans, friends, family, and staff. Moving forward, I would like to continue to try out various things in my own way. I’m hoping to grow as a person and continue to be a positive influence on peoples lives!! The third song I decided to cover is "Arcade" by Duncan Laurence. This song was very popular on social media. I naturally started listening to it and it left a lasting impression on me. When I was thinking about what song I should cover, this song immediately came to mind. This is the first time I've done a duet with a female artist since my duet with Thelma, but I wanted to create a different vibe this time around. For this duet, I collaborated with Stephanie Topalian. She is one of my favorite artists and has been my vocal coach for many years. Please enjoy! Thanks for... ・Music Producer: Stephanie Topalian Arranger: Nobuhiro Takamoto ・Movie Photography Director: Kintaro Producer: Nyonyo(accel inc.) Production Manager: Satton(accel inc.) Production: accel inc. Director: Tatsuaki ・Hair & Makeup. Hair & Makeup: Maki Sato ・Stylist Stylist: SUGI（FINEST） Assistant Stylist: Shiori Nagayam（FINEST） Assistant: Sayaka Suzuki ・Special thanks Duncan Laurence #與真司郎 #SHINJIROATAE

SHINJIRO 與真司郎

256,375 просмотров • 2 лет назад

Maria, Still Moving Like She Doesn’t Care Watching Debbie Harry perform “Maria” in 1999 is interesting for a reason that has little to do with nostalgia. She was 53 at the time, and Blondie had already been through the rise, disappearance, and return that most bands never experience even once. Yet there is nothing in the performance that feels like an artist trying to prove she still belongs onstage. Harry simply walks into the song and inhabits it. The blonde hair, the loose movement, the cool expression, the effortless way she delivers the lines—none of it feels like an attempt to recreate her younger self. It feels like she has carried that attitude with her all along. That matters because “Maria” is a song built around a very youthful kind of fascination. It describes the person who barely seems to notice the effect she has on everyone around her, the kind of attraction that feels stronger precisely because it cannot be controlled. There is something almost mischievous about the way the song turns “Ave Maria” into a pop hook. The woman being described becomes part fantasy, part obsession, part unreachable figure. It is not deep in the conventional sense, but it understands something very real about desire: sometimes the less available someone seems, the more space they occupy in your imagination. Harry was no longer young when she sang it in 1999, and that changes the way the song lands without changing what it means. Her voice carries more texture than it did decades earlier. It is slightly lower, more lived-in, and less concerned with sounding pristine. Instead of making the song feel dated, that gives it a quality the original could not have had. She is no longer singing about attraction from the perspective of someone who is still discovering it. She sounds like someone who has already experienced enough of life to understand how irrational it can be and still finds it worth singing about. That is probably the most appealing thing about the performance. Harry never seems embarrassed by the youthful energy of “Maria.” She does not soften it because she is older. She does not turn it into a self-conscious celebration of being young at heart. She simply allows the song to remain exactly what it is. The guitars still have their sharpness, the rhythm still pushes forward, and the chorus still has that immediate lift. But now all of that energy is carried by a voice with history behind it. The contrast gives the song more depth rather than less. There is also something refreshing in what Harry does not do. She does not make aging the subject of the performance. There is no visible struggle against time and no attempt to convince the audience that nothing has changed. Something has changed. She has changed. The voice has changed. The world around Blondie has changed. But none of that means the emotions inside an old song have to be retired along with the decade that produced it. That is where the performance becomes more than a comeback moment. It quietly rejects the idea that certain emotions belong to certain ages. Attraction does not disappear because someone gets older. Curiosity does not disappear. The pleasure of being desired, the fascination with someone mysterious, even the foolishness of wanting what may never be yours—none of these feelings have an expiration date. What changes is the person experiencing them, and sometimes that experience makes the emotion more interesting. Almost everyone has had a “Maria” at some point. Maybe it was a person who barely noticed you. Maybe it was someone you knew you should not want. Maybe it was simply an image of someone you could never quite reach. The details are different, but the feeling is familiar: that strange mixture of attraction and distance that makes a person seem larger in your imagination than they could ever be in real life. That is why Harry's 1999 performance still feels alive. It is not a museum piece and it is not a demonstration that she could still “do it.” It is simply an experienced artist standing inside a song that still has something to say, without apologizing for the fact that she understands its desire as well as she ever did. The calendar moved forward. Her voice changed. Blondie changed. But “Maria” did not need to become younger to remain convincing. And Debbie Harry did not need to become younger to make it believable. She just had to sing it like she meant it.

Maria, Still Moving Like She Doesn’t Care Watching Debbie Harry perform “Maria” in 1999 is interesting for a reason that has little to do with nostalgia. She was 53 at the time, and Blondie had already been through the rise, disappearance, and return that most bands never experience even once. Yet there is nothing in the performance that feels like an artist trying to prove she still belongs onstage. Harry simply walks into the song and inhabits it. The blonde hair, the loose movement, the cool expression, the effortless way she delivers the lines—none of it feels like an attempt to recreate her younger self. It feels like she has carried that attitude with her all along. That matters because “Maria” is a song built around a very youthful kind of fascination. It describes the person who barely seems to notice the effect she has on everyone around her, the kind of attraction that feels stronger precisely because it cannot be controlled. There is something almost mischievous about the way the song turns “Ave Maria” into a pop hook. The woman being described becomes part fantasy, part obsession, part unreachable figure. It is not deep in the conventional sense, but it understands something very real about desire: sometimes the less available someone seems, the more space they occupy in your imagination. Harry was no longer young when she sang it in 1999, and that changes the way the song lands without changing what it means. Her voice carries more texture than it did decades earlier. It is slightly lower, more lived-in, and less concerned with sounding pristine. Instead of making the song feel dated, that gives it a quality the original could not have had. She is no longer singing about attraction from the perspective of someone who is still discovering it. She sounds like someone who has already experienced enough of life to understand how irrational it can be and still finds it worth singing about. That is probably the most appealing thing about the performance. Harry never seems embarrassed by the youthful energy of “Maria.” She does not soften it because she is older. She does not turn it into a self-conscious celebration of being young at heart. She simply allows the song to remain exactly what it is. The guitars still have their sharpness, the rhythm still pushes forward, and the chorus still has that immediate lift. But now all of that energy is carried by a voice with history behind it. The contrast gives the song more depth rather than less. There is also something refreshing in what Harry does not do. She does not make aging the subject of the performance. There is no visible struggle against time and no attempt to convince the audience that nothing has changed. Something has changed. She has changed. The voice has changed. The world around Blondie has changed. But none of that means the emotions inside an old song have to be retired along with the decade that produced it. That is where the performance becomes more than a comeback moment. It quietly rejects the idea that certain emotions belong to certain ages. Attraction does not disappear because someone gets older. Curiosity does not disappear. The pleasure of being desired, the fascination with someone mysterious, even the foolishness of wanting what may never be yours—none of these feelings have an expiration date. What changes is the person experiencing them, and sometimes that experience makes the emotion more interesting. Almost everyone has had a “Maria” at some point. Maybe it was a person who barely noticed you. Maybe it was someone you knew you should not want. Maybe it was simply an image of someone you could never quite reach. The details are different, but the feeling is familiar: that strange mixture of attraction and distance that makes a person seem larger in your imagination than they could ever be in real life. That is why Harry's 1999 performance still feels alive. It is not a museum piece and it is not a demonstration that she could still “do it.” It is simply an experienced artist standing inside a song that still has something to say, without apologizing for the fact that she understands its desire as well as she ever did. The calendar moved forward. Her voice changed. Blondie changed. But “Maria” did not need to become younger to remain convincing. And Debbie Harry did not need to become younger to make it believable. She just had to sing it like she meant it.

Emotion & Music

18,063 просмотров • 1 месяц назад

This is a better and more challenging demonstration of my AI music theory cli tool and skills library. I told the agent only that I wanted to take the traditional Irish song, Clare's Dragoons, and to create a piano rendition of the main verse and chorus followed by a series of variations in the style of Mozart's famous "Twinkle Star Variations" (K. 265/300e), and that it should spawn Codex with the skills and prompt it to do that for me and to invoke any relevant skills in the system. This was in Codex with GPT-6 Astra xhigh and with the workspace loaded up with just the 320 skills that are part of the music AI skills library, and with the mtdt (music_theory_data_tool) cli tool available for use by the agent. The agent was able to find suitable sheet music for the Clare's Dragoons song and then used mtdt to convert that into its internal representation form, which makes it easy for the agent to work on the music and to convert it to any other desired format (like a PDF engraving, midi files, etc). It then researched the Twinkle Star variations and used various skills to compose and review and refine the variations. Why do I think this task is more demanding than writing a fugue in the style of Bach? Well, for one, it's a lot more structured, so you have much less flexibility and room for "artistic license." Ultimately, you have to render the original tune accurately, and then the variations have to sound similar enough to the original tune while introducing various creative musical manipulations to be interesting. It's pretty challenging to balance those two priorities: it's easy to lose the thread of the original tune, and easy to overcompensate for that and end up with something that only slightly tweaks one or two aspects of the original. Now, this is obviously not at the level of Mozart, but I think it's not that bad and will likely get much better over the next year as I improve the skills and tool and especially as models get better and more multimodal, so they can "listen" to the results in addition to reading the score. I'll provide the full prompt that the "controller" agent wrote for the agent that actually created the variations in a reply to this post. You can also see in the screenshots in this post the massive number of intermediate working files and artifacts created during the process, which gives a ton of visibility into how the agent did its work and reached its decisions. Not a black box! And I can assure you that I didn't mess with anything at all: this entire process was automated from start to finish and you're seeing the exact end product the agent produced without any revisions or feedback coming from me or any other human (the controller agent did ask for some revisions from the worker agent, which you can see in the final pic in this post). I'm trying to think of some other fun demonstrations. Maybe taking famous video game music (Mario 2? Ocarina of Time?) and making a version in the style of Schumann or Rachmaninoff. I'm open to suggestions!

This is a better and more challenging demonstration of my AI music theory cli tool and skills library. I told the agent only that I wanted to take the traditional Irish song, Clare's Dragoons, and to create a piano rendition of the main verse and chorus followed by a series of variations in the style of Mozart's famous "Twinkle Star Variations" (K. 265/300e), and that it should spawn Codex with the skills and prompt it to do that for me and to invoke any relevant skills in the system. This was in Codex with GPT-6 Astra xhigh and with the workspace loaded up with just the 320 skills that are part of the music AI skills library, and with the mtdt (music_theory_data_tool) cli tool available for use by the agent. The agent was able to find suitable sheet music for the Clare's Dragoons song and then used mtdt to convert that into its internal representation form, which makes it easy for the agent to work on the music and to convert it to any other desired format (like a PDF engraving, midi files, etc). It then researched the Twinkle Star variations and used various skills to compose and review and refine the variations. Why do I think this task is more demanding than writing a fugue in the style of Bach? Well, for one, it's a lot more structured, so you have much less flexibility and room for "artistic license." Ultimately, you have to render the original tune accurately, and then the variations have to sound similar enough to the original tune while introducing various creative musical manipulations to be interesting. It's pretty challenging to balance those two priorities: it's easy to lose the thread of the original tune, and easy to overcompensate for that and end up with something that only slightly tweaks one or two aspects of the original. Now, this is obviously not at the level of Mozart, but I think it's not that bad and will likely get much better over the next year as I improve the skills and tool and especially as models get better and more multimodal, so they can "listen" to the results in addition to reading the score. I'll provide the full prompt that the "controller" agent wrote for the agent that actually created the variations in a reply to this post. You can also see in the screenshots in this post the massive number of intermediate working files and artifacts created during the process, which gives a ton of visibility into how the agent did its work and reached its decisions. Not a black box! And I can assure you that I didn't mess with anything at all: this entire process was automated from start to finish and you're seeing the exact end product the agent produced without any revisions or feedback coming from me or any other human (the controller agent did ask for some revisions from the worker agent, which you can see in the final pic in this post). I'm trying to think of some other fun demonstrations. Maybe taking famous video game music (Mario 2? Ocarina of Time?) and making a version in the style of Schumann or Rachmaninoff. I'm open to suggestions!

Jeffrey Emanuel

12,829 просмотров • 1 месяц назад

Normally I would post a picture, but I was in the free part for the first time as fes, so I can post a video 🥹 普通は写真あげたりするのに今回のはフェスで初めてのチラ見せパートだったから動画見せられるんだ🥹 Thoughts below 感想読んで欲しいにゃ👇️ So crazy that it's already over for me, but it was amazing... im glad i chose EGO for this! I danced and sang powerfully!!! I had so much fun 😭 キアラのステージはもう終わっただなんて信じられないなー！ EGOに決めてよかったなぁとおもう。歌も踊りも出来るだけパワフルにがんばりました！楽しかった😭 I hope people liked hearing EGO, perhaps even for the first time, maybe they'd wanna check out the MV too because of this 🫣 初めてこの曲聴いた人もいるかなとおもうので気に入ってたらこのきっかけでMVも見てもらえるかな🫣 I was unsure if people would chant along, because it's an english song, but many of you helped share it beforehand, and perhaps it was easy to learn quickly, so the chants were HUGE 😭 I can't believe it. It makes me feel so giddy... thank you for your passion. 英語の曲だから、あまりコールしてもらえないかもなーと思ってたけど皆に拡散してもらってたり、まあ覚えやすいというのもあったかな？！それで思ってたより結局すごい大きなコールしていただけて幸福にあふれました😭情熱をありがとう。 My unit and MC part was both wirh laplus, so we spent a lot of time together and she praised me a lot .. I love her even more than before and I won't give her away anymore ok!!! My child!! MCとユニットもラプちゃんと一緒で、いっぱい時間過ごせたしいっぱい誉めてもらえたしラプちゃんさらに好きになっちゃったよぉ…もうこの養子は渡せられないよ！！ Anyway, today was so much joy. My fifth fes in total. There was some nostalgia for me too. People who aren't here anymore, and people who weren't here before. But hololive continues to do their best. I continue to do my best. とにかく今日は幸せでした。 5回目のフェス、懐かしさもありました。いない人と、増えた人といたりでもホロライブはがんばり続ける私もがんばり続ける And I'll see you in Los Angeles for Drawn to Dawn. Streaming tickets still available 🎟 hehe そしてキアラはまた皆さんに会いたいよ。今日のキアラが好きだったならば、今月末のデュオライブを是非、日本からでも視聴してください。配信チケットありますから！🎟️(*´∀`)♪ｴﾍﾍ

Normally I would post a picture, but I was in the free part for the first time as fes, so I can post a video 🥹 普通は写真あげたりするのに今回のはフェスで初めてのチラ見せパートだったから動画見せられるんだ🥹 Thoughts below 感想読んで欲しいにゃ👇️ So crazy that it's already over for me, but it was amazing... im glad i chose EGO for this! I danced and sang powerfully!!! I had so much fun 😭 キアラのステージはもう終わっただなんて信じられないなー！ EGOに決めてよかったなぁとおもう。歌も踊りも出来るだけパワフルにがんばりました！楽しかった😭 I hope people liked hearing EGO, perhaps even for the first time, maybe they'd wanna check out the MV too because of this 🫣 初めてこの曲聴いた人もいるかなとおもうので気に入ってたらこのきっかけでMVも見てもらえるかな🫣 I was unsure if people would chant along, because it's an english song, but many of you helped share it beforehand, and perhaps it was easy to learn quickly, so the chants were HUGE 😭 I can't believe it. It makes me feel so giddy... thank you for your passion. 英語の曲だから、あまりコールしてもらえないかもなーと思ってたけど皆に拡散してもらってたり、まあ覚えやすいというのもあったかな？！それで思ってたより結局すごい大きなコールしていただけて幸福にあふれました😭情熱をありがとう。 My unit and MC part was both wirh laplus, so we spent a lot of time together and she praised me a lot .. I love her even more than before and I won't give her away anymore ok!!! My child!! MCとユニットもラプちゃんと一緒で、いっぱい時間過ごせたしいっぱい誉めてもらえたしラプちゃんさらに好きになっちゃったよぉ…もうこの養子は渡せられないよ！！ Anyway, today was so much joy. My fifth fes in total. There was some nostalgia for me too. People who aren't here anymore, and people who weren't here before. But hololive continues to do their best. I continue to do my best. とにかく今日は幸せでした。 5回目のフェス、懐かしさもありました。いない人と、増えた人といたりでもホロライブはがんばり続ける私もがんばり続ける And I'll see you in Los Angeles for Drawn to Dawn. Streaming tickets still available 🎟 hehe そしてキアラはまた皆さんに会いたいよ。今日のキアラが好きだったならば、今月末のデュオライブを是非、日本からでも視聴してください。配信チケットありますから！🎟️(*´∀`)♪ｴﾍﾍ

Takanashi Kiara - hololive

857,122 просмотров • 7 месяцев назад

Namjoon about Into The Sun💜 🐨: Into the Sun 🐨: This is the final track. The song was already good on its own, but during the concerts… that’s where it truly revealed its value. 🐨: Even today, just a few hours ago during “Into the Sun,” I felt so many different emotions all at once. I think a truly great song is one that can give you that kind of layered mix of feelings; joy, sadness, longing, gratitude, everything at the same time. 🐨: There are seven of us walking toward the sunset, toward the fading sun. But that “sun” is really the ocean of ARMY Bombs, fifty, sixty thousand fans. And during that moment, the lights shine toward the audience too, so you can actually see everyone’s faces one by one so clearly. 🐨: The slogans people hold up, the atmosphere… honestly, this is one of the moments I look forward to the most during a concert. 🐨: Taehyung worked really well with the other producers on this track, and from the very beginning we all said, “This song is too good. It absolutely has to be on the album.” 🐨: And Jin’s voice on this song is incredibly beautiful too. 🐨: For this track, I decided I wanted to write entirely in Korean. After working on RPWP and going through my solo projects, I had moved away from my older style. I stopped trying to write in overly literary or poetic ways, stopped painting elaborate images with words. But with this song, I wanted to return to that original side of myself. So I wrote lines about: “the hour when dogs and wolves can no longer be distinguished,” “the beasts’ compass breaking,” “human escape,” “rebelling in front of noise and regret,” “wanting to return to the home where you wait for me,” “the grass growing there, the stars fading,” “suffering inside the fire but still wanting to return,” “wanting to go back to a night where the moon never rises.” 🐨: To me, this song is a really good example of what this album became: it’s more polished and modern, but it still carries the emotional flavor that has always been uniquely ours. 🐨: And the hook; “Follow into the sun is something anyone can sing along to instantly. Just like “You call, I run.” I think it’s the perfect song to close the album. Honestly… I don’t think there’s anything I’d want to criticize about it.

Namjoon about Into The Sun💜 🐨: Into the Sun 🐨: This is the final track. The song was already good on its own, but during the concerts… that’s where it truly revealed its value. 🐨: Even today, just a few hours ago during “Into the Sun,” I felt so many different emotions all at once. I think a truly great song is one that can give you that kind of layered mix of feelings; joy, sadness, longing, gratitude, everything at the same time. 🐨: There are seven of us walking toward the sunset, toward the fading sun. But that “sun” is really the ocean of ARMY Bombs, fifty, sixty thousand fans. And during that moment, the lights shine toward the audience too, so you can actually see everyone’s faces one by one so clearly. 🐨: The slogans people hold up, the atmosphere… honestly, this is one of the moments I look forward to the most during a concert. 🐨: Taehyung worked really well with the other producers on this track, and from the very beginning we all said, “This song is too good. It absolutely has to be on the album.” 🐨: And Jin’s voice on this song is incredibly beautiful too. 🐨: For this track, I decided I wanted to write entirely in Korean. After working on RPWP and going through my solo projects, I had moved away from my older style. I stopped trying to write in overly literary or poetic ways, stopped painting elaborate images with words. But with this song, I wanted to return to that original side of myself. So I wrote lines about: “the hour when dogs and wolves can no longer be distinguished,” “the beasts’ compass breaking,” “human escape,” “rebelling in front of noise and regret,” “wanting to return to the home where you wait for me,” “the grass growing there, the stars fading,” “suffering inside the fire but still wanting to return,” “wanting to go back to a night where the moon never rises.” 🐨: To me, this song is a really good example of what this album became: it’s more polished and modern, but it still carries the emotional flavor that has always been uniquely ours. 🐨: And the hook; “Follow into the sun is something anyone can sing along to instantly. Just like “You call, I run.” I think it’s the perfect song to close the album. Honestly… I don’t think there’s anything I’d want to criticize about it.

bangtan⁷ | ⊙⊝⊜

20,561 просмотров • 4 месяцев назад

Cher Didn’t Need Auto-Tune to Prove What “Believe” Had Already Changed “Believe” has a funny history. In 1998, Cher walked into the future almost by accident. The strange, robotic vocal effect on the record was so unfamiliar that it became part of the song’s identity. It wasn't just a production trick. It became the sound of a new era of pop. Twenty-six years later, at the Rock & Roll Hall of Fame, Dua Lipa stood onstage and sang the song again. Without that trick. That is what caught my attention. Dua takes the opening herself. The song sounds cleaner, warmer, more like a straight vocal performance than the record people grew up with. Then Cher appears for the bridge, and suddenly the performance stops being a young singer covering an older star. It becomes something else. You can hear the distance between them, but you don't hear a fight for ownership. Dua doesn't try to impersonate Cher. That's important. Her voice sits differently — lower, smoother, more contemporary — so the first part almost feels like someone opening a door into a song she knows belongs to another generation. Then Cher walks through it. And now the same lyric has a different history behind it. “Believe” was already a song about surviving the end of a relationship. In 1998, its futuristic production made that survival sound almost defiant: I'm hurt, but I'm moving forward. In 2024, Cher is singing those words after a career that has survived fashion changes, musical fashions, film careers, television, reinvention and decades in which plenty of artists who were enormous for five years simply disappeared. So when she sings the chorus now, I don't hear the question in quite the same way. I hear evidence. She really did survive. There is also something beautifully backwards about the whole thing. Dua Lipa belongs to the generation that inherited the pop world Cher helped reshape. Cher is standing beside her, singing a song whose production once sounded impossibly modern. And the younger artist isn't introducing Cher to the future. She's introducing the future to Cher. That's why the performance works better than a conventional tribute would have. A tribute can turn an artist into a museum piece. This doesn't. Cher is not being presented as someone whose best work happened a long time ago. She is being placed inside the song again, next to an artist who grew up in a musical world that Cher helped make possible. Even the missing Auto-Tune feels appropriate. The original record needed technology to make people hear something new. Cher doesn't need it anymore. The song has already done its job. The machine became ordinary. The woman who used it became the landmark. And perhaps that is the most satisfying part of watching Cher sing “Believe” in 2024. Dua Lipa can sing the song beautifully. But when Cher arrives, you suddenly remember something that has nothing to do with vocal technique. **Some artists don't need to sound like the future. They become part of the reason the future sounds the way it does.**

Cher Didn’t Need Auto-Tune to Prove What “Believe” Had Already Changed “Believe” has a funny history. In 1998, Cher walked into the future almost by accident. The strange, robotic vocal effect on the record was so unfamiliar that it became part of the song’s identity. It wasn't just a production trick. It became the sound of a new era of pop. Twenty-six years later, at the Rock & Roll Hall of Fame, Dua Lipa stood onstage and sang the song again. Without that trick. That is what caught my attention. Dua takes the opening herself. The song sounds cleaner, warmer, more like a straight vocal performance than the record people grew up with. Then Cher appears for the bridge, and suddenly the performance stops being a young singer covering an older star. It becomes something else. You can hear the distance between them, but you don't hear a fight for ownership. Dua doesn't try to impersonate Cher. That's important. Her voice sits differently — lower, smoother, more contemporary — so the first part almost feels like someone opening a door into a song she knows belongs to another generation. Then Cher walks through it. And now the same lyric has a different history behind it. “Believe” was already a song about surviving the end of a relationship. In 1998, its futuristic production made that survival sound almost defiant: I'm hurt, but I'm moving forward. In 2024, Cher is singing those words after a career that has survived fashion changes, musical fashions, film careers, television, reinvention and decades in which plenty of artists who were enormous for five years simply disappeared. So when she sings the chorus now, I don't hear the question in quite the same way. I hear evidence. She really did survive. There is also something beautifully backwards about the whole thing. Dua Lipa belongs to the generation that inherited the pop world Cher helped reshape. Cher is standing beside her, singing a song whose production once sounded impossibly modern. And the younger artist isn't introducing Cher to the future. She's introducing the future to Cher. That's why the performance works better than a conventional tribute would have. A tribute can turn an artist into a museum piece. This doesn't. Cher is not being presented as someone whose best work happened a long time ago. She is being placed inside the song again, next to an artist who grew up in a musical world that Cher helped make possible. Even the missing Auto-Tune feels appropriate. The original record needed technology to make people hear something new. Cher doesn't need it anymore. The song has already done its job. The machine became ordinary. The woman who used it became the landmark. And perhaps that is the most satisfying part of watching Cher sing “Believe” in 2024. Dua Lipa can sing the song beautifully. But when Cher arrives, you suddenly remember something that has nothing to do with vocal technique. Some artists don't need to sound like the future. They become part of the reason the future sounds the way it does.

Emotion & Music

39,593 просмотров • 1 месяц назад