News | April 11, 2019

Philippa Jones – Suspended

In 2009, Philippa Jones started her St. John’s based visual arts professional practice, after having completed a Bachelor of Fine Art as well as a Masters in Arts focused on Interactive Art and Design from the University College Falmouth. Her work has been included in a group exhibition at The Rooms called New Romantics, a solo exhibition called MIRIAD

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News | April 5, 2019

Electronic music helps repel mosquitos study says

Mosquito season is fast approaching, but instead of reaching for the insect repellent sprays and lotions, Canadians may one day crank up some electronic music. For a new study, researchers in Asia subjected the mosquito that causes yellow fever to music by dubstep artist Skrillex — in particular the track Scary Monsters And Nice Sprites, which they … Continued

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News | March 4, 2019

Writing lullabies in a Newfoundland women’s prison

Though founded in a New York City laundromat, the International Lullaby Project has spread worldwide via Carnegie Hall to bring hope and connections in places like refugee camps, neonatal units, drop-in centres and prisons.

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News | February 4, 2019

Mount Pearl native Bekah Simms gains Juno nod

Bekah Simms watched the live Juno Award nomination announcements this week on a whim and was shocked to hear her name among the nominees. The 28-year-old Mount Pearl native’s classical composition “Granitic” is one of the five pieces nominated for classical composition of the year.

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News | January 17, 2019

10 Reasons Why You Should Support Your Local Music Scene

Is there a name for the feeling you get when you hear a favorite song for the first time? Seriously, I’d love to know. It’s one of my favorite feelings-getting lost in the notes, not knowing what comes next, but feeling the song pull on you, and work its way through you and back out, leaving a bit of itself there, forever. It may sound flowery, but I don’t care. I love the way that feels. 

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News | January 16, 2019

The Price, Cost and Value of Digital Music

Less and less, you dole out a buck per cut, $10 per album; more and more, you access a streaming service for a nominal few each month. Or just play music for free and let ads assail you.

The streaming model’s hardly sustainable for pop acts whose tracks are digitally spun thousands of times a month. For jazz players and those who’ve come to be called “creative musicians,” the economics are even more disastrous.

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