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    Astrud Gilberto: 6 Essential Songs

    The Brazilian singer radiated quiet poise and subtle undercurrents.Astrud Gilberto, who died on Monday at 83, brought the first, alluring taste of Brazilian bossa nova to countless listeners worldwide. Her collaborations — with Stan Getz, Gil Evans, Stanley Turrentine and others — also helped cement the connections of bossa nova and jazz.Her voice was disarmingly modest, sometimes hitting notes a little flat and often barely above a whisper; the effect was intimate and seemingly weightless. When she sang in English, her Brazilian accent gave her an endearing hint of awkwardness and approachability, even as her phrasing stayed supple, while the translated lyrics invited a wider audience to hear great Brazilian songwriters like Antonio Carlos Jobim. Her early recordings are her most radiant ones, steeped in the pensive, nostalgic longing that Brazilians call saudade.Here are six indelible Astrud Gilberto performances.Stan Getz featuring Astrud Gilberto: “The Girl From Ipanema” (1963)This was the bossa nova that seduced the world: a purposeful crossover collaboration by the American saxophonist Stan Getz, Jobim, Astrud Gilberto and her then-husband, the definitive bossa nova guitarist and singer João Gilberto. Its full version opened with João Gilberto singing the Portuguese lyrics, but the world-conquering single cuts quickly to Astrud Gilberto’s breathy voice in English, with Jobim on piano trickling just a few perfect notes to answer her.The New Stan Getz Quartet featuring Astrud Gilberto: “It Might as Well Be Spring” (1964)Gilberto doesn’t exactly sound “as jumpy as a puppet on a string” in this live performance of the Rodgers and Hammerstein standard with the Stan Getz Quartet. Instead, she’s poised and sure-footed, musing about the possibility of romance as Getz’s saxophone scurries and spirals around her.“Água de Beber” (1965)Jobim rejoined Gilberto as a collaborator on her luminous solo debut, “The Astrud Gilberto Album.” His voice shadows hers on their nonchalantly elegant version of his bossa nova standard “Água de Beber” (“Water to Drink”); as she sings about a love as essential as water, the song glows with mutual fondness.“The Shadow of Your Smile” (1965)A studio orchestra offers a hint of fanfare, then falls into an admiring hush behind Gilberto’s voice in this Oscar- and Grammy-winning song from the movie “The Sandpiper.” Written by Johnny Mandel and Paul Francis Webster, with strong bossa nova influences, the song’s arrangement ripples around Gilberto with little instrumental flourishes — strings, flutes, piano, vibraphone — but Gilberto’s voice maintains its serene wistfulness.“Berimbau” (1966)A berimbau, the one-stringed percussion instrument prized in Bahia, Brazil, twangs its way through this song by Baden Powell and Vinicius de Moraes. The brassy, slightly ominous arrangement by Gil Evans highlights the pinpoint syncopations of Gilberto’s vocal.“Maria Quiet” (1966)Gilberto sang most often about love as it arrives and disappears. But every so often she turned to other thoughts — like the feminist resentment in “Maria Quiet,” a brisk samba with lyrics (de Moraes translated by Norman Gimbel) about women’s endless work. Gilberto’s delivery is pointed, and quietly seething. More

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    Lincoln Center, Seeking New Audiences, Plans to Remake Its West Edge

    The center hopes a major renovation along Amsterdam Avenue will help shed its elitist image and forge closer ties with Black and Latino residents.Lincoln Center welcomes visitors at its main entrance facing Broadway with an elegant plaza, a majestic fountain and an array of travertine concert halls and theaters.But the view from the center’s western edge, along Amsterdam Avenue, is far less convivial: An imposing wall stretches across several blocks, giving the feel of a fortress.Now Lincoln Center, hoping to draw new audiences and promote closer ties with nearby public housing complexes, schools and community centers, is planning a major renovation of its western side, the organization’s leaders announced on Tuesday. The project will likely entail tearing down parts of the wall, building an outdoor stage and renovating Damrosch Park, at the corner of Amsterdam and West 62nd Street.“As welcoming as we are to the east, we should be to the west,” Henry Timms, the president and chief executive of Lincoln Center, said in an interview.The project is partly a response to Lincoln Center’s complicated history. A vibrant neighborhood known as San Juan Hill, home to many low-income Black and Latino residents, was razed to make way for the center’s construction in 1959.Jeenah Moon for The New York Times“It’s unclear in some places what might be behind these walls,” he added of the center’s west side. “The message is one of a different world, and I think that’s a mistake.”The renovation is the latest effort by Timms, whose tenure began in 2019, to shed Lincoln Center’s elitist image and to attract more diverse audiences, especially Black and Latino residents across the city. The center has in recent years worked to diversify its programming and expand access to its campus, including by experimenting with a choose-what-you-pay model for some events.The project is partly a response to Lincoln Center’s complicated history on the Upper West Side of Manhattan. A vibrant neighborhood known as San Juan Hill, which was home to many low-income Black and Latino residents, was razed to make way for the center’s construction, which began in 1959.Lincoln Center’s leaders, invoking that history, said that getting public input for the renovation, by organizing workshops, walking tours and surveys, would be crucial. The center is working with NADAAA, a Boston architecture firm, and Hester Street, a nonprofit that specializes in urban planning and community development.In a statement, Katherine G. Farley, the departing chair of Lincoln Center’s board, said: “This process will engage the community on envisioning how we can create a beautiful and architectural welcome to our neighbors to the west, assuring that the campus beckons to everyone to come enjoy our offerings.”Across the street is LaGuardia High School, known for its music and performing arts programs, as well as six high schools inside the Martin Luther King Jr. Educational Complex.Jeenah Moon for The New York TimesLincoln Center did not provide an estimated cost or timeline for the project. Timms said that it was a major effort that would help define the modern legacy of Lincoln Center and that it was a natural next step after the recent $550 million renovation of David Geffen Hall, the home of the New York Philharmonic, which was also aimed, in part, at deepening community ties and attracting new audiences.“This is a very significant priority of the institution,” he said. “If we can get the idea right, I’m confident that we can work hard and get the necessary resources to create something amazing for New York City.”The area surrounding the western campus includes the Amsterdam Houses, a public housing complex that first opened in 1947 for World War II veterans. Across the street is LaGuardia High School, known for its music and performing arts programs, and the Martin Luther King Jr. Educational Complex, which houses six high schools.Lincoln Center’s leaders said plans for the renovation would depend on public input, but they identified several broad aims. The area under exploration includes the stretch of Amsterdam Avenue from West 62nd to West 65th Street, as well as Damrosch Park and the northwest corner of campus, home to the New York Public Library for the Performing Arts.The area under exploration includes Amsterdam Avenue from West 62nd to West 65th Street, as well as Damrosch Park and the campus’s northwest corner, now home to the New York Public Library for the Performing Arts.Jeenah Moon for The New York TimesTimms said the spirit of the project was in line with the original mission of Lincoln Center: to make the arts accessible to all.“It’s not a new woke idea,” he said. “That was an idea at the founding — that the point of Lincoln Center was actually not to be exclusive, but to be inclusive.”Local officials praised the project, saying it was important for the city’s residents, especially those with a connection to the former San Juan Hill neighborhood, to be heard. Lincoln Center last year installed a mural on Amsterdam Avenue telling the story of the neighborhood, including its rich Afro-diasporic musical heritage.“Their stories and experiences are critical to establishing a strong foundation to a more inclusive future within the community spaces that serve this neighborhood,” Gale Brewer, a member of the New York City Council, said in a statement.Maria Guzman, a public housing resident who lives south of Lincoln Center, said she was hopeful the renovation would allow more low-income residents to experience the arts.“We used to call that wall the great divide because it felt like Lincoln Center just wanted to divide the neighborhood,” she said in an interview. “The fact that they’re finally — hopefully — tearing this wall out, I think it’s wonderful. And I think the community will welcome it.” More

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    7 New Songs You Should Hear Now

    Listen to Jorja Smith, Silvana Estrada, Miya Folick and more recent highlights.Jorja Smith has carved out a lane slightly below the mainstream with her moody, sophisticated R&B and pop.Liz Johnson ArturDear listeners,There’s “weekly,” “biweekly,” even “triweekly” — but is there a word for something that happens once every four weeks?I’m talking about a word more precise than “monthly.” Quadriweekly? Bi-fortnightly? Whatever it is, that is how frequently I’ve been sending out these dispatches of new music culled from the best of our weekly Playlists.And since another two fortnights hath passed since I last sent one, the time has come again for me to tell you about some more songs you should hear right now. Yes, this very instant!As usual, it’s an eclectic selection, mixing perhaps a few familiar names with some new ones. It’s somewhat varied in language and geography, too: two songs in Spanish (gracias a Silvana Estrada and Lido Pimienta), two from across the pond (courtesy of Blur and Anohni and the Johnsons), and at least one from each country in North America, plus a Moose and a cockroach. Just trust me on that.Listen along on Spotify as you read.1. Anohni and the Johnsons: “It Must Change”Though the heart-wrenching vocalist Anohni has released powerful solo music in the past decade — most notably the political and poetic electronic album “Hopelessness” in 2016 — her new single “It Must Change” is the first time since 2010 that she has released music with her backing band the Johnsons. That doesn’t mean it’s a retread, though. Soulful, slinky and thematically subversive, “It Must Change” is at once a demand for respect — “The way you talk to me, it must change,” Anohni sings — and a call to accept the constant fluidity of all things. (Listen on YouTube)2. Silvana Estrada: “Milagro y Desastre”I always appreciate Jon Pareles keeping an ear out for new artists from a vast variety of cultures and musical traditions. I have him to thank for introducing me to the Mexican singer-songwriter Silvana Estrada, who won best new artist at last year’s Latin Grammys. Usually known for her sparse, guitar-driven folk songs, “Milagro y Desastre” — miracle and disaster — is something new for Estrada: a song composed largely with looped, layered fragments of her own voice. (See also: her recent, charming cover of Suzanne Vega’s “Tom’s Diner.”) The cooed, percussive notes that provide the song’s rhythmic backbone remind me a bit of Laurie Anderson’s “O Superman,” but Estrada’s impassioned singing and distinct ear for melody ultimately take “Milagro y Desastre” somewhere unique. (Listen on YouTube)3. Rob Moose featuring Phoebe Bridgers: “Wasted”What a name: Rob Moose. A prolific string player and arranger for artists like Bon Iver, Brittany Howard and, yes, Phoebe Bridgers, Mr. Moose will, on Aug. 11, release the EP “Inflorescence.” It features guest vocals from all those aforementioned artists, but so far my favorite track is his collaboration with Bridgers, the moody, nocturnal “Wasted.” Though Bridgers has been playing a version of it live for years, Moose’s contributions kick it up a notch — his anxiously plucked notes and graceful crescendos give her existential dread an almost cinematic sweep. (Listen on YouTube)4. Blur: “The Narcissist”Regular Amplifier readers will know about this one already — in its honor, I composed an entire newsletter featuring some of my favorite Blur songs. The British band’s first new single in eight years is, I think, eminently enjoyable; the push and pull between Damon Albarn’s downcast deadpan and Graham Coxon’s cheery backing vocals is classic Blur. (Listen on YouTube)5. Miya Folick, “Cockroach”I’ve been really digging the Los Angeles singer-songwriter Miya Folick’s recently released sophomore album, “Roach.” “Cockroach” is one of its more subdued songs, but it still showcases Folick’s off-kilter edge and her penchant for surprising, emotionally loaded turns of phrase. Though comparing oneself to a cockroach is usually an expression of self-loathing, here Folick employs it as a symbol of grimy resilience: “You can’t kill me.” (Listen on YouTube)6. Jorja Smith, “Little Things”Like many people, I first became aware of the British vocalist Jorja Smith in 2017, when she appeared on Drake’s mixtape “More Life” (“Get It Together” very much still goes). Since then, she’s carved out a lane slightly below the mainstream releasing moody, sophisticated R&B and pop. “Little Things,” which will appear on her upcoming album “Falling or Flying,” is a relatively carefree and kinetic track for Smith — conjuring a sweaty summer night on the dance floor — but that jazzy piano riff adds a signature touch of elegance. (Listen on YouTube)7. Lido Pimienta, “Ein Sof, Infinito”The visionary Colombian-Canadian musician Lido Pimienta wrote this song for “Ein Sof,” a brightly hued short film by the director Orly Anan. Atop a playful though gradually transcendent arrangement of pizzicato strings and soaring synthesizers, Pimienta repeatedly sings with all her heart “cuando sueño contigo” (“when I dream of you”) — a welcome invitation into her vivid imagination. (Listen on YouTube)Quadrilaterally yours,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“7 New Songs You Should Hear Now” track listTrack 1: Anohni and the Johnsons, “It Must Change”Track 2: Silvana Estrada, “Milagro y Desastre”Track 3: Rob Moose featuring Phoebe Bridgers, “Wasted”Track 4: Blur, “The Narcissist”Track 5: Miya Folick, “Cockroach”Track 6: Jorja Smith, “Little Things”Track 7: Lido Pimienta, “Ein Sof, Infinito”Bonus tracks: Your Pride songsHappy L.G.B.T.Q.+ Pride Month, everyone! Later this month, well be publishing a special Pride installment of The Amplifier featuring some of your stories and song suggestions. So, tell me: Was there a certain song that first gave you the courage to come out? Or is there a particular track that, to you, embodies the spirit of Pride? Share your answers here, and you just might be featured in an upcoming newsletter. More

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    The New York Philharmonic’s Season of Mixed Boons

    The orchestra’s renovated hall and Gustavo Dudamel, its next leader, have kept ticket sales robust, but cool acoustics curb the music’s impact.David Geffen Hall, the New York Philharmonic’s gut-renovated home at Lincoln Center, isn’t perfect.The decorating tends cheesy and clashing — even if seating that wraps around the stage has done wonders for intimacy. And the sound, for all its improvements on the old acoustics, leans coolly antiseptic.But for the orchestra, which ends its first season in what is essentially a new hall this weekend, Geffen has been a kind of talisman.Last fall, when performing arts groups around the country were blindsided by theaters half-full (and worse), the excitement of the hall’s reopening insulated the Philharmonic from a similar fate. Sales have been robust all season.In February, another talisman appeared: the star conductor Gustavo Dudamel, who was named the orchestra’s next music director. Though Dudamel won’t raise his baton at Geffen next season — and though classical music’s bizarrely stretched planning cycles mean he won’t officially start until 2026 — there was already a clear sense of his power as an audience draw in his three sold-out concerts in May.Dudamel is probably the only figure capable of putting such an exclamation point on the unveiling of the hall, a $550 million project. And an exclamation point on the season, as he conducted Mahler’s Ninth Symphony — an extreme and emotional, expansive yet focused piece particularly treasured by this orchestra, which its composer conducted for a brief but memorable stint just before his death in 1911.Gustavo Dudamel, who will succeed van Zweden as music director, conducted Mahler’s Ninth Symphony in May.James Estrin/The New York TimesI attended all three performances, trying to get the fullest possible sense of what might come from the relationship of this maestro to this orchestra and this space. The message was mixed.The first performance, a Friday evening, sounded fine, the players poised. But poise is hardly the takeaway you want from Mahler’s harrowing Ninth; there was nothing intense or uncomfortable about this interpretation, nothing personal or inexorable.The first movement progressed with bland serenity. The middle movements danced pleasantly, without a hint of the manic. The Adagio finale, its own epic journey of agony and relief, was mild-mannered. The third performance, a Sunday matinee, was much the same.But the middle go, on Saturday night, offered a glimpse of a more vital alchemy. The quality of the playing remained high — and was now infused with some of Dudamel’s oft-mentioned but not always apparent vibrancy.Those inner movements had taken on menacing bite, whipping between contrasting sections; the Adagio was a deeper evocation of stillness and fragility. This was not profound or moving Mahler, but it had a spark.At these concerts, as throughout the season, there was a sense that Geffen Hall, rather than bringing together this mass of instruments in a blooming blend, was etching the sound, hard, in the air.While orchestras take a good, long time to fully adjust to new homes, after a full season it can be said: Geffen’s acoustics seem lucid and balanced, but also stiff and stark, the sonic equivalent of the blond-wood auditorium’s cold, harsh lighting, which makes you squint a bit as you enter and floods the stage during performances.These qualities make it better suited to certain repertoire — Romantic sumptuousness is particularly hard to come by — and the Philharmonic is going to have to work hard to build the richness of its sound if the hall isn’t going to help.Susanna Mälkki conducting Claire Chase (on flute) and Esperanza Spalding (singing, on bass) in Felipe Lara’s Double Concerto.Chris LeeWhat also isn’t going to help, unfortunately, is the Philharmonic’s current music director, Jaap van Zweden, who has seemed an overshadowed guest at his own party since Geffen’s reopening and Dudamel’s appointment. Van Zweden, who finishes his short tenure next season, has a tough, blunt style — a “Pines of Rome” of bludgeoning volume in October, a sludgy “Turangalîla-Symphonie” in March — that emphasizes the hall’s acoustic shortcomings rather than relieving them.The concerts at which those shortcomings were least noticeable were, by and large, led by guests. The conductor Hannu Lintu made his Philharmonic debut in November with a cogent, precise program of Stravinsky, Bartok (the rarely played Concerto for Two Pianos and Percussion), Kaija Saariaho and Sibelius. At the end of that month, the hall’s acoustics were actually a boon, helping cut the fat in what could have been an overly indulgent program of French works, led by Stéphane Denève with a kaleidoscopic sleekness well suited to the space.Esa-Pekka Salonen conducted a raucous rendition of Beethoven’s Seventh Symphony in February, a week before Thomas Adès’s superb 2008 piano concerto “In Seven Days” — which should be a repertory staple — returned to the Philharmonic for the first time in 12 years. Felipe Lara’s Double Concerto, an exuberant showcase for Claire Chase (on a battery of flutes) and Esperanza Spalding (singing and playing double bass), had a sensational New York premiere in March under Susanna Mälkki.Last month, a blistering program of Prokofiev’s Third Symphony and Rachmaninoff’s Third Piano Concerto, with the dazzling, preternaturally mature 19-year-old Yunchan Lim as soloist, was as much a showcase for the gifted conductor James Gaffigan as it was for Lim. When will Gaffigan get an American orchestra?The conductor James Gaffigan and the teenage pianist Yunchan Lim joined for Rachmaninoff’s Third Concerto in May.Chris LeeBut there was no more poignant and musically stimulating spectacle this season than the return to the podium in February of Herbert Blomstedt, who, at 95, guided with utter control Ingvar Lidholm’s sternly elegant “Poesis,” a work whose premiere Blomstedt presided over in 1963.Back in those days, the Philharmonic’s then-new hall was already being criticized for its acoustics. For decades there didn’t seem to be the will to fix it, and the current leaders of the orchestra and Lincoln Center deserve great praise for finally bringing the project over the finish line.The public areas are roomier now, and capacity has been cut; you still wait for the bathroom at intermission, but not nearly as long as you used to. In quiet, glistening music, like some of John Adams’s “My Father Knew Charles Ives” in October, Geffen offers a transparent sonic window.But in concertos by composers as varied as Mozart, Rachmaninoff and Prokofiev, whether for violinist or pianist, the soloists recede a bit too thoroughly into the orchestral textures. At top volume and density, there’s blare where there should be grandeur. And when real warmth is needed, as in the symphonies of Mahler or Florence Price, there’s the small but important lack of bloom and build, of resonance.The audiences and excitement are there in the hall. But the full impact of the music isn’t. More

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    What Are Your Pride Songs?

    We’re asking readers about the songs that first gave them the courage to come out or that still inspire them to live their truth.June is L.G.B.T.Q.+ Pride month — and what’s a Pride celebration without the music?Later this month, The Times will be publishing a special Pride installment of The Amplifier newsletter featuring some of your stories and song suggestions.We’re asking readers: Was there a certain song that first gave you the courage to come out? Why did the song animate you? Or, is there a particular song that, to you, embodies the spirit of Pride? What is it about the song that speaks to you?To participate, you can fill out the form below. We may feature your response in an upcoming newsletter.Your Pride songs More

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    For Some, Blackpink’s Jennie Is the Only Reason to Watch ”The Idol”

    Fans of the K-pop group are tuning in to the new HBO series to marvel at the global pop star in her acting debut.Before airing on HBO, the drama “The Idol” dominated headlines and social media for its controversies: At the Cannes Film Festival, where the first two episodes premiered, the series was widely panned for its graphic sexual content; it was rewritten and reshot after Sam Levinson, the creator of the series “Euphoria,” replaced Amy Seimetz as its director; and in March, Rolling Stone published an article detailing a troubled production.But after its first episode was released on Sunday, a pop songstress took center stage. Not the main character Jocelyn, the show’s aspiring idol played by Lily-Rose Depp, but Dyanne, one of Jocelyn’s backup dancers portrayed by Jennie Kim, better known as Jennie of the K-pop girl group Blackpink.Blackpink — which consists of Jennie, Jisoo, Lisa and Rosé — has become one of the most globally recognized K-pop acts in recent years. Though Jennie isn’t the only member of the group to try her hand at acting, she may have its most high-profile role.On the internet, clips abound praising Jennie in her acting debut. In one widely circulated scene, Dyanne, eyes half-lidded, lips parted and hair perfectly tousled, shows Jocelyn how to do the choreography for her new single.The K-pop idol — clad in a loose, slightly ripped midriff, a black sports bra and high-waisted booty shorts — struts, poses, grinds, pops, locks and drops. Later, Jocelyn can be seen watching and wiping her tears over her failure to embody Dyanne’s indomitable stage presence.That star quality wasn’t lost on fans of the singer and viewers of the show either.“Jennie’s acting was very good for what her character was,” said Greta Dobson, a 27-year-old student in Brooklyn who considers herself a “blink,” what Blackpink fans affectionately call themselves. “It seems like it almost felt natural for her since she always has to do this for dance rehearsals. It must have been so meta for her.”“Jennie’s acting was very good for what her character was,” said Greta Dobson, a student in Brooklyn who considers herself a “blink,” what Blackpink fans affectionately call themselves.Eddy Chen/HBOSearch “The Idol” on TikTok or Twitter, and the number of posts critiquing the show is likely to match those commending Jennie’s performance.Within hours after the series premiere was released, a TikTok account (@d4jenn) posted seven “fancam” videos of nearly all the scenes where Jennie was featured in the show’s pilot. (Each clip has garnered thousands of views.)Anisa, 18, of Seattle, who runs the account and declined to give her last name, was one of many viewers who tuned into “The Idol” to watch her favorite K-pop star. She said had it not been for Jennie, she never would have watched the show.“I would completely stop watching it,” she said. “And end my subscription with HBO Max.”Though fans like Anisa were proud of Jennie’s acting debut, many hope the show’s first season, which consists of six episodes, will provide her with more screen time. “The show producers could’ve done a little more, even if she was a side character,” Ko Im, 37, a managing producer in Seattle, said in a message on Twitter. “They barely gave her lines she could really own.”She added, “We need to see that main character energy she already has.”Ms. Dobson, however, already speculates that Jennie may play a bigger role in the series.“Are they going to utilize Jennie’s dancing and singing background in the show? Is she going to take Jocelyn’s role?” she said. “I guess we’ll just have to watch to find out.” More

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    Birds Sing, but Are They Making Music? What Scientists Say.

    When a bird sings, you may think you’re hearing music. But are the melodies it’s making really music? Or is what we’re hearing merely a string of lilting calls that appeals to the human ear?Birdsong has inspired musicians from Bob Marley to Mozart and perhaps as far back as the first hunter-gatherers who banged out a beat. And a growing body of research is showing that the affinity human musicians feel toward birdsong has a strong scientific basis. Scientists are understanding more about avian species’ ability to learn, interpret and produce songs much like our own.Just like humans, birds learn songs from each other and practice to perfect them. And just as human speech is distinct from human music, bird calls, which serve as warnings and other forms of direct communication, differ from birdsong.While researchers are still debating the functions of birdsong, studies show that it is structurally similar to our own tunes. So, are birds making music? That depends on what you mean.“I’m not sure we can or want to define music,” said Ofer Tchernichovski, a zoologist and psychologist at the City University of New York who studies birdsong.Where you draw the line between music and mere noise is arbitrary, said Emily Doolittle, a zoomusicologist and composer at the Royal Conservatoire of Scotland. The difference between a human baby’s babbling versus a toddler’s humming might seem more distinct than that of a hatchling’s cry for food and a maturing bird’s practicing of a melody, she added.Wherever we draw the line, birdsong and human song share striking similarities.How birds build songsExisting research points to one main conclusion: Birdsong is structured like human music. Songbirds change their tempo (speed), pitch (how high or low they sing) and timbre (tone) to sing tunes that resemble our own melodies.The Tempo of BirdsongA northern mockingbird stretches its tempo. Recording by David Rothenberg.The Pitch of BirdsongA northern mockingbird adjusting its pitch from one phrase to the next. Recording by David Rothenberg.The Timbre of BirdsongA northern mockingbird shifting its tonal quality across phrases. Recording by David Rothenberg.Other features, like cadence and tension, are also used in both birdsong and human music, said Tina Roeske, a behavioral neurobiologist who specializes in birdsong. Just as the familiar tune “In the Hall of the Mountain King” gradually builds speed “accelerando,” as the compositional notation is known, some birdsong does too, like that of the nightingale.While earlier studies focused on syntax, or how notes were ordered, newer research is integrating rhythm, too, by analyzing how notes are timed. In human music, rhythm is often thought of as a constant beat, like the one that opens “We Will Rock You” by Queen. But in birdsong, rhythm refers to patterns of notes, regardless of whether they are repeated.To humans, birdsong may appear to have “a random structure,” Dr. Roeske said. Because of the speed at which birds sing — up to four times as fast as most human music — that rhythm is “hard for us to grasp and appreciate,” she added.Dr. Roeske and her co-author Dr. Tchernichovski researched birds’ musical structure and found that birdsong rhythms fell into three general categories. The first is isochronous, in which intervals between notes are equidistant.Isochronous RhythmA thrush nightingale sings with equidistant intervals between notes. Recording by Tina Roeske.Alternating, in which a note is longer than the previous one.Alternating RhythmA thrush nightingale alternates its notes. Recording by Tina Roeske.And ornament, an exaggerated form of the alternating pattern.Ornament RhythmA thrush nightingale exaggerates its alternating rhythm. Recording by Tina Roeske.Human music contains these rhythmic patterns, too.In their 2020 study, Dr. Roeske and Dr. Tchernikovski compared recordings of thrush nightingales across Europe with examples from musical genres all over the world, including Western classical piano, Persian drumming and Tunisian stambeli. They found that birdsong and global music forms had the same types of timing components, integer ratios, which form the foundation of most melodies.In music, these ratios are the amount of time between notes. A 1-to-1 ratio means notes are evenly spaced, like in “Twinkle, Twinkle, Little Star,” but a 1-to-2 ratio means the time from one note to the next is uneven, like in “Itsy Bitsy Spider,” Dr. Roeske explained.When they charted integer ratios from birdsong and human music, the plots all produced a similar shape resembling a long-stemmed flower. This indicates that some birds build songs using patterns similar to those found in human music.Other researchers are gaining insights by focusing on birdsong rhythm.“We found that rhythm and syntax have a relationship that nobody has really thought about before,” said Jeffrey Xing, a graduate student in psychology at the University of California, San Diego, and an author of a September 2022 paper analyzing the song structure of the Australian pied butcherbird.Pied butcherbirds “seem to prefer some song rhythms over others,” such as isochronous rhythm, Mr. Xing said. In some ways, these rhythmic patterns follow rules like forms of poetry that have strict meter. A good example is a sonnet.“It’s a very rigid rhythmic structure that you have to follow, and somehow the syntax of the words you use has to conform to that,” he said.Human brains and bird brainsHollis Taylor has dedicated her life’s work as a violinist and ornithologist to the pied butcherbird, a species she deems a fellow musician.Ms. Taylor, who analyzed the bird’s rhythmic structures with Mr. Xing, records the birds’ songs in Australian deserts and savannas in the middle of the night. Then, she transcribes their notes into musical notation.“The musician in me recognizes the musician in them,” Ms. Taylor said.Pied Butcherbird DuetsThree examples of pied butcherbirds singing duets. Recording by Hollis Taylor.She has observed what appear to be warm-up sessions, rehearsals and singing contests. Other than humans, there’s only a “small club” of species with an observed capacity to learn songs and vocal patterns, Ms. Taylor said, including songbirds, parrots, hummingbirds, bats, elephants and some marine mammals.Ms. Taylor has performed her birdsong-like compositions with orchestras around the world. She draws inspiration from the French composer Olivier Messiaen, who also transcribed birdsong into musical notation.Musicians’ fascination with birdsong has deep roots. Mozart, historians recount, kept a European starling in his Vienna apartment for three years. In a letter to his father, Mozart remarked at the “lovely” and precise way in which the starling learned and repeated one of his concertos.Fiona CarswellWhile there is no concrete evidence that Mozart’s starling influenced his compositions, the idea that birds affect the work of composers endures.The French composer François-Bernard Mâche, a founder of zoomusicology, speculates that birds may have influenced Igor Stravinsky’s compositions during summertime stays in what is now Ukraine. According to Dr. Doolittle’s research, the song patterns of Eurasian blackbirds found in that region resemble Stravinsky’s compositional style.Neuroscience research points to the idea that this affinity between birds and humans is not so unusual. In terms of musical ability, we are more like birds than we are like our primate cousins or other mammals, said Johan Bolhuis, a zoologist who specializes in the cognitive neurobiology of birds and humans.Our brains and songbirds’ brains have a similar way of learning musicality. But the brains of monkeys and non-songbirds, like gulls, are organized in a different way, Dr. Bolhuis said. It could be a sign of shared creative abilities: Like humans, some songbird species seem to improvise based on the song patterns they have learned.For example, both humans and birds can produce smash hits that evoke feelings in their listeners, the psychologist Dr. Tchernichovski explained.“When you hear music, what do you feel? Well, it depends on the music,” he said.For instance, listening to a funeral march might make you sad even if you’re vacationing on the beach, and a romantic song might fill you with love even if you’re working on your taxes. Birdsong can affect the behavior of other birds by luring in a mate or scaring off an unwanted foe, similar to how we might turn up the volume when we hear our favorite song or skip to the next track if the vibe is off.“This is the magic in music,” Dr. Tchernichovski said. “Bird songs seem to have some of this magic, too.”But there’s no evidence that their songs have meaning, Dr. Bolhuis said.“In the mind of the great composers, they actually meant something” with music, he said. “It’s not so much the case in birdsong.”Also, birds have a limited repertoire, whereas with only a limited number of items, the human mind “can be infinitely creative,” Dr. Bolhuis said.Researchers agree, however, that birdsong can communicate identity. “They can recognize individuals just the way you and I can recognize each other by our voices,” said Mike Webster, director of the Macaulay Library at the Cornell Lab of Ornithology.When birds from a certain area hear a familiar bird singing, he explained, it’s no big deal. But if the same bird moves to a new area, the birds there “go bananas” in a territorial uproar. In this sense, singing is like a way for birds to identify themselves — but there may be more to it than that.Why do birds sing?While scientists have studied birdsong for decades, they know little about why and how birds select specific tunes and what counts as deliberate communication versus meaningless song.Through brain-imaging studies, neuroscientists have found that the human brain responds to music most strongly along a particular neural circuit that is activated when a person listens to a song perceived as pleasant. Studies have shown that birdsong elicits the same response in female birds, possibly as an evolutionary mechanism for mate attraction. But scientists still wonder whether birds sing for entertainment in addition to mating.“What’s going on in the bird’s head when it’s singing? Is it happy?” Dr. Webster said. Humans often sing when they are emotional — happy and heartbroken alike — but scientists do not know if birds have such an emotional range.Dr. Webster, who studies bird behavior and communication, added another unknown: If birdsong’s main purpose in some species is for males to attract females, then why do some females also sing? “Female song actually arose very early in songbird evolution,” he said. “In species where females don’t sing, it’s because they’ve lost the ability to sing rather than it being gained.” This indicates that it may have once been evolutionarily beneficial for females to sing — and scientists can’t say why.There are other mysteries. Ornithologists have observed “bird chatter” in parrots, when two birds appear to be whispering to each other. There are also nonvocal sounds, Dr. Webster said: Some birds snap their wings, some drum on trees and others rub their feathers together as if playing the violin. The purpose of these sounds — whether communicative, musical or both — sits on the next frontier of ornithology research.“We’ve just scratched the surface,” Dr. Webster said. “Birds are constantly making sound, and I think most of the time we don’t really know why, and we don’t really know what they’re saying to each other.” More

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    Jenny Lewis Keeps Finding the Magic

    Jenny Lewis didn’t mean to wind up with the marimba.But for the last year, a vintage percussion instrument has occupied pride of place in the singer-songwriter’s forest green home studio. She inherited it from her godfather, Jerry Cohen, a music editor for TV and movies and an amateur musician, who died suddenly last spring. He was a surrogate dad to her, the kind who surreptitiously bought Hanukkah presents when money was tight in her household, and introduced her to jazz records when she was 10. She was the only person in the room with him when he passed away.“He was my mentor and my best friend and the most Jewish of all people in my life,” she said. “Jerry would want me to get lessons on the marimba.”Lewis, the 47-year-old indie artist whose country-rock troubadour style and evocative lyricism has earned her comparisons to songwriting greats from Nashville’s Music Row to Laurel Canyon, has suffered a lot of loss lately. Her mother’s death, in 2017, was the backdrop for her last album, “On the Line,” in 2019. Now, after losing Cohen and another mentor, the album designer and her “rock ’n’ roll dad” Gary Burden, there is “Joy’All,” an album out June 9 that grapples with aging, life cycles and romantic (im)possibility and yet somehow feels vivacious.Lewis inherited the marimba from her godfather, Jerry Cohen, a music editor for TV and movies and amateur musician, who died suddenly last spring.Ariel Fisher for The New York Times“My 40s are kicking my ass,” she sings on the third track over peppy acoustic guitars, “and handing them to me in a margarita glass.” The song is called “Puppy and a Truck,” her latest — and perhaps most lasting — prescription for happiness; she scored them both. “Having survived this moment, I felt like it was important to project something joyful,” she said.The dog, Bobby Rhubarb, a shiny black cockapoo, greeted me with a waist-high leap when I visited Lewis recently at her home at the end of a wildflower-lined canyon road in the San Fernando Valley. The house is called Mint Chip — there’s an ice cream cone etched in stained glass by the garage — and Lewis acquired it after promising to maintain the whimsical touches that the Disney animator who built it in the 1950s installed. It attracts the fantastical too: during the pandemic, Lewis said, she discovered a baby squirrel had been sneaking in and hiding acorns under her pillow.There is more than a little magic to her life. It’s in the way Lewis amplifies the space around her (she decked out that truck, a Chevy Colorado, with ersatz Gucci seat covers) and even the way she made it out of a career as a child actor to succeed in another artistic universe.“She’s a unicorn,” said Soleil Moon Frye, her fellow child star (“Punky Brewster”) and a friend for decades. Even as a preteen, Lewis had musical skills, said Moon Frye, who documented their Hollywood crew’s adolescence in home movies, released as the 2021 documentary “Kid 90.” “We would memorize these hip-hop songs — she was always so good at rapping.”Though she’s pegged as a country-tinged folk rock songwriter, Lewis’s keystone is still hip-hop, reggae, soul and funk — “finding the story in rap-style verses and picking up an acoustic guitar, and kind of marrying the two worlds,” she said. A printout of the Wikipedia entry for “3 Feet High and Rising,” the landmark album by De La Soul, rested on the music stand in her studio; she was paging through it to understand all the samples they had used.Though she’s pegged as a country-tinged folk rock songwriter, her references for “Joy’All” included Tracy Chapman, Portishead and Frank Ocean.Ariel Fisher for The New York TimesHer references for “Joy’All” included Tracy Chapman, whose conversational delivery she admires, Portishead and Frank Ocean. About half of the tracks for the LP were created over two years in Los Angeles. The rest she made in Nashville, where she has also had a home since 2017. It’s her fifth studio album as a solo artist — she started out in popular indie bands, Rilo Kiley and the Postal Service — and her first release on Blue Note Records, the storied jazz label. (After her own tour, she’ll be joining the Postal Service on the road this fall.)Dave Cobb, the Nashville producer (Brandi Carlile, John Prine, Chris Stapleton) who worked on the album, was awe-struck by her ease and perennial good moods. “If you don’t like Jenny Lewis, you don’t like people,” he said. Their sessions, tracking instruments like pedal steel and Mellotron, along with birdsong from Lewis’s Nashville backyard, flowed easily. “To say she led is absolute, because we all played to her,” he said, adding: “Everything she writes about is true. She literally showed up every day with the puppy and her truck.”She has the openness of someone who has spent a lifetime cheerfully talking about herself, and the staggeringly eccentric stories of a showbiz veteran. Sitting on the midnight blue couch in her minimalist living room, Lewis, in a sweatshirt, sunset-hued corduroys and a single gold hoop earring inscribed with her last name, touched on being Jewish; the spiritual guru Ram Dass; the female Elvis impersonator who was her childhood babysitter; the time her mother convinced Lucille Ball to have a sitcom wrap party in their ramshackle house (“Lucy walks in, and she goes, ‘What a dump!’”); and the swap meet in Atlanta where she buys knockoff Gucci socks by the armful. “I would never buy a real Gucci sock — that’s so silly,” she said.Telling stories about Cohen, she cried. When she was a child, he took her to his job on the Universal Studios lot and let her draw and animate her own movies using giant old film machines. Being with him when he died “was probably like the most important moment of my whole life,” she said.Lewis’s parents, itinerant lounge musicians, split when she was a toddler. Her acting career in the ’80s changed the family’s fortunes, for a time, but her mother’s drug addiction and instability outpaced her sitcom earnings. She was estranged from her parents for decades, then reconciled with each late in their lives. Her father’s bass harmonica sits on a stand on her mantel.“On my dad’s deathbed, he basically was like, ‘learn musical theory,’” she said. “So there has been this pressure, from my people, to do better and learn more.”Jess Wolfe, one half of the duo Lucius, befriended Lewis and sings backup on “Joy’All.” “I really understand the need for trying to lift yourself up through your art and hoping that it can do the same for other people — she did that, in her cool, effortless Jenny Lewis kind of way,” Wolfe said.“She’s always had to figure it out and take care of herself,” she added. “She is incredibly resourceful and incredibly clever about how to do something, effectively, efficiently and affordably. Truly, I’m always blown away by her in that sense — I will always feel creative when I’m around her.”“Everything she writes about is true. She literally showed up every day with the puppy and her truck,” the producer Dave Cobb said.Ariel Fisher for The New York TimesAt age 40, after Lewis separated from her longtime partner, the musician Johnathan Rice, she moved to New York for the first time, realizing a teenage ambition. She lived in her pal Annie Clark’s (St. Vincent) apartment for two years, starting the side project NAF there with some friends. Then came Nashville, where she learned how to two-step at a honky-tonk across from the Ryman Auditorium.In a rehearsal at a space covered in red velvet in Nashville last week, which she shared over a video call, Lewis directed her all-female backing band (she seeks out women for the stage and, for this outing, even has a female tour manager — a relative rarity in the industry, and a first for her). “You guys just pedal on that, and let me do my thing,” she said, as they prepared to sing “Acid Tongue,” the title track off her 2008 solo debut. “Let’s get those ‘oohs,’” she instructed. The harmonies rolled in. “Well done,” she told them. “It’s just feeling confident.”Back in L.A., Lewis had confided that aging as an unfiltered, undoctored music star isn’t easy. “I see myself and I don’t always love it,” she said. “But I’m trying to embrace being a woman in her 40s, and all that has to offer.”She is contentedly single now, though trying out a dating app, and itching to write about it — even, she admitted, enjoying that more.“My life is outrageous,” she said, although her songwriting is not straight autobiography. “But if I’m being honest, I’m in every single line.” More