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Look up cacophony in Wiktionary, the free dictionary.

Look up euphony in Wiktionary, the free dictionary.

Phonaesthetics (from the Greek: φωνή, phōnē, "voice-sound"; and αἰσθητική, aisthētikē, "aesthetics") is the claim or study of inherent pleasantness or beauty (euphony) or unpleasantness (cacophony) of the sound of certain words and sentences. Poetry is considered euphonic, as is well-crafted literary prose. Important phonaesthetic devices of poetry are rhyme, assonance and alliteration. Closely related to euphony and cacophony is the concept of consonance and dissonance.

From this meaning should be distinguished the closely related but different concept of phonaesthesia, which does not refer directly to aesthetic attributes of sound, but to phonetic elements that are inherently associated with a semantic meaning. The term was introduced by J. R. Firth in 1930 "The phonæsthetic habits [...] are of general importance in speech." Firth defined a phonaestheme as "a phoneme or cluster of phonemes shared by a group of words which also have in common some element of meaning or function, though the words may be etymologically unrelated."

Sub-phonematic euphony[link]

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In most languages, phonetic combinations which are difficult to pronounce will be adapted to allow more flowing speech, for reasons of ease of pronunciation rather than aesthetics. These adaptations will be sub-phonematic at first, but over several generations will lead to phonematically relevant sound changes. Most of the euphony or mellifluous design of a formal language is pure coincidence, yet phonaesthetics relations with meaning can arise to frequent use and may even become cliché.

See also[link]

• sandhi ("euphonic" rules in Sanskrit grammar)
• vowel harmony
• assimilation (linguistics)
• dissimilation
• elision
• epenthesis
• affection (linguistics)
• i-mutation
• English and Welsh
• inherently funny word
• phonosemantics
• onomatopoeia
• Japanese sound symbolism
• glossolalia
• symphony
• harmony
• Vilayanur S. Ramachandran

References[link]

• Ross Smith, Inside Language - Linguistic and Aesthetic Theory in Tolkien, Walking Tree Publishers (2007), ISBN 978-3-905703-06-1.

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Jason Eli Becker (born July 22, 1969) is an American neo-classical metal guitarist and composer. At the age of 16, he became part of the Mike Varney-produced duo Cacophony with his friend Marty Friedman. They released Speed Metal Symphony in 1987 and Go Off! in 1988. Cacophony broke up in 1989 and Becker began doing solo work, having released his first album Perpetual Burn in 1988. He later joined David Lee Roth's band and recorded one album with him. However, Becker's success was hampered by his then-diagnosed amyotrophic lateral sclerosis (Lou Gehrig's Disease) and he was given three to five years to live. In 1996, Becker eventually lost the ability to speak and now communicates with his eyes via a system developed by his father. Despite his disability, he continues composing by using a computer and has since released Collection, a "best of" album of his favorite songs and three new songs.

Hometown, birth place, school and early years[link]

Becker was born and raised in the city, Richmond, California by his parents, Gary and Pat Becker. He was born on 23rd Street in Richmond Hospital in 1969. He graduated from Kennedy High School where he performed Yngwie Malmsteen's Black Star with his band at a talent show. [1] In high school, Becker met his friend Marty Friedman. He was exposed to the guitar at an early age because both his father and his uncle were guitar players. He absorbed all kinds of music from around the world, and melded different aspects of each style into his playing. He practiced to Bob Dylan, Eric Clapton, Jeff Beck, Eddie Van Halen, and many others. [2]

Cacophony and solo career[link]

Becker started out playing alongside Marty Friedman in the Mike Varney produced-duo, Cacophony. Together, they put out an album, and toured Japan and the U.S.. While they never went mainstream in the U.S., Europeans embraced their music and they sold out almost everywhere they went. [3] In 1989 Becker left to pursue a solo career, having released his first solo album titled 'Perpetual Burn' in 1988, and has since released Perspective and Collection, as well as two albums of demos, entitled 'The Raspberry Jams' and 'The Blackberry Jams'.

Amyotrophic Lateral Sclerosis[link]

At the age of 20, he joined David Lee Roth's band, replacing Steve Vai, who went on to join Whitesnake. While recording the A Little Ain't Enough album in 1989 and managed to win the coveted Best New Guitarist award from Guitar Magazine in the process. [4] Preparing for the subsequent tour, Becker began to feel what he called a "lazy limp" on his left leg. He was soon diagnosed with Amyotrophic Lateral Sclerosis (ALS; Lou Gehrig's Disease) and given three to five years to live. He could barely finish the recording, using low-gauge (thin) guitar strings and other techniques, which would make it easier to play with his weakening hands. Although he managed to finish the album, which was released in 1991, he did not join the supporting tour due to his inability to perform on stage; former Lizzy Borden guitarist Joe Holmes took Becker's place on tour.

Due to his illness, he eventually lost the ability to speak and now communicates with his eyes via a system developed by his father. Although his ALS gradually robbed him of his ability to play guitar, to walk, and eventually even to speak, he still remains mentally sharp and, with the aid of a computer, continues composing. In the back of the Perspective CD case, Becker states "I have Amyotrophic Lateral Sclerosis. It has crippled my body and speech, but not my mind." His medical condition has remained stable since 1997. In 2003, Becker posted on his website that he was feeling better and had gained some weight, while the folder for his 2008 album Collection also mentions an upcoming book.

Perspective and the Berry Jams[link]

In 1996, Becker released an album entitled Perspective, an instrumental album composed by him (with the exception of Bob Dylan's song "Meet Me in the Morning"). The writing of the music had been started before ALS completely crippled his abilities. By using guitar, and, later, when he was unable to use both hands, a keyboard, he continued to compose while his disease worsened. However, when Becker could no longer physically play even a keyboard, his friend and music producer Mike Bemesderfer helped him with a music-composing computer program which could read the movements of his head and eyes, enabling Becker to continue to compose after he lost control of the rest of his body.

Several years later, Becker released Raspberry Jams (1999) and Blackberry Jams (2003); the first contained various unreleased demo-tracks, and the latter contained demo-tracks and alternate versions of songs that were later reworked and published into other albums.

Two tribute albums to Jason Becker have been issued. Respectively entitled Warmth in the Wilderness I and Warmth in the Wilderness II, they feature guitarists such as Steve Vai, Paul Gilbert, Marty Friedman, Joe Becker, Rusty Cooley, and Mattias Eklundh. The album profits were sent to Becker to help him with his medical finances.

Collection[link]

On November 4, 2008, Shrapnel Records released a new Jason Becker album entitled Collection. The album includes three new songs in addition to some older recordings (some never before released) and features Marty Friedman, Greg Howe, Joe Satriani, Michael Lee Firkins, Steve Vai, and Steve Hunter.

Track listing:

1. Rain
2. River of Longing
3. Images
4. Opus Pocus
5. Higher
6. It's Showtime!
7. Altitudes
8. End of the Beginning
9. River of Longing (Reprise)
10. Meet Me in the Morning
11. Air
12. Electric Prayer for Peace
13. Mandy's Throbbing Little Heart

Enhanced CD features:

1. End of the Beginning Demos (5 Tracks)
2. Go Off! Intro
3. Noodling For Rob and Tony

Style[link]

Considered a virtuoso guitarist and one of the top players of his time, Jason Becker studied the works of violinist Niccolò Paganini and was a playing partner with Marty Friedman. He later arranged Paganini's 5th Caprice, performing it during an instructional guitar video. Becker's compositions often include high speed scalar and arpeggio passages, both of which are trademarks of his 'shred' style of guitar playing. Often incorporating advanced techniques such as sweep picking, alternate picking, artificial harmonic accenting, and tapping; He was among the leaders of the field during the technical 'shred' guitar and Neo-Classical Metal trend of the mid to late eighties and is still respected and honored by his musician peers today. The song Serrana appearing in the album Perspective, is an example of his sweep-picking skills. [5] He demonstrated the arpeggio sequence during a clinic at the Atlanta Institute of Music. A video of this performance first appeared on his Hot Licks guitar instructional video.^[2]

Equipment[link]

Becker's first guitar was a Franciscan acoustic. Prior to joining Cacophony in 1987, Becker worked his way through the Franciscan, a Takamine acoustic, a Fender Musicmaster, and finally, a black Fender Stratocaster with a DiMarzio Steve Morse humbucker in the bridge (seen in the Black Star video, circa 1986).

In the early days of Cacophony, Becker used, and was endorsed by, Hurricane Guitars. The first Cacophony album was recorded with a white Hurricane EX Series model (apparently a Limited Edition) with a maple neck/rosewood fretboard, 22 frets, and an HSS pickup setup. For Perpetual Burn he used another Hurricane EX Series model, this one in blue, with unknown model DiMarzio pickups, maple neck with maple fretboard and 24 frets.

For the 2nd Cacophony album, Becker switched over to Carvin gear, utilizing 2 DC Series models, one in a trans blue finish with flamed maple top, and another one in a solid burgundy finish (This is the guitar seen in the famous "Yo Yo" video from the 1989 Japan tour with Cacophony). Both have double cutaway bodies, Kahler locking tremolo systems, 6 in line machine heads and 2 Carvin humbucker pickups. He used these up until he was diagnosed with ALS in 1989.

During the sessions for A Little Ain't Enough, Becker used various Carvin, Ibanez, ESP and Valley Arts guitars, as well as a Les Paul on some tracks and a Gibson acoustic for select things. From 1989-1991, Becker used various guitars, most notably a Peavey custom model with the numbered fretboard markers. There are a few of these around. Also used were an Ibanez Custom Shop guitar (probably based on an RG), a custom from Performance Guitars, a couple of various unknown Strat style guitars and a black Hurricane EX Series with 3 single coil pickups.

As of very recently, Becker has allowed Paradise Guitars USA to release a Jason Becker signature guitar. It is similar in appearance to the numbered Peavey but with a different headstock shape.

Becker used various types of amplifiers in his music. Before joining Cacophony, he used a small Peavey practice amp (Most likely a Studio Pro or perhaps a Bandit) with the older style Peavey vertical silver stripes on the grille cloth.

For the first Cacophony album, Becker used an ADAMP1 preamp. Perpetual Burn was a borrowed '70s Marshall half stack and a BOSS Super Overdrive and Cacophony second album was a Carvin X100B stack.

For the David Lee Roth album A Little Ain't Enough, Becker used "eight different Marshall amps." He also used the SX300H head at some point during that era. After Cacophony Becker used various amps, including a "Fender M80", an unknown Marshall amp, an ADA Preamp and possibly the aforementioned Peavey combo.

Becker typically used Dean Markley and SIT strings [6]

Paradise Guitar[link]

In 2008 Paradise Guitars worked with Becker to design a Jason Becker signature guitar. The design is based on the Peavey with colored number fret inlays. Features include an alder body, maple neck with steel 2-way truss rod, maple 16" radius fingerboard, 24 jumbo thin frets with colored number fret marker inlays, black Floyd Rose Pro Style floating Tremolo with Floyd Rose Tremolo stop, Sperzel red satin tuners, 14 degree tilt-back headstock with black Paradise logo and matching tremolo and electronics plates. The pickups are DiMarzio pickups; a P.A.F. Pro-Custom in the neck colored yellow and red, a DP116 HS-2 in the middle colored green, and a Tone Zone-Custom in the bridge colored pink and blue. These colored pickups complement the colored inlays and seem to give the guitar a rainbow effect. There is also a red 5-way switch and purple 1-11 volume knob.^[3]

Documentary film[link]

On March 3, 2012, a documentary film Jason Becker: Not Dead Yet premiered in cinemas across the world. The film includes interviews with Becker, his family and friends, and the various world-class musicians he has worked with.^[4]. The film won two awards at the 2012 Cinequest Film Festival in San Jose, CA : Audience Award for Best Documentary and Special Jury Prize for Documentary.

New album[link]

On August 20, 2010, Becker declared that he is considering releasing an album of music he recorded when he was in his teenage years.^[5]

Clinics[link]

Atlanta Institute of Music

• Year: 1989
• Gear: Carvin DC127, Marshall Amp, Alesis quadraverb

Japan Clinic

• Year: 1989
• Gear: Carvin DC127

Discography[link]

Cacophony

• Speed Metal Symphony (1987)
• Go Off! (1988)

Marty Friedman

• Dragon's Kiss (1988)

Solo

• Perpetual Burn (1988)
• Perspective (1995)
• The Raspberry Jams (1999)
• The Blackberry Jams (2003)
• Collection (2008)

David Lee Roth

• A Little Ain't Enough (1991)

Joe Becker

• Short Stories (2005)

Other works

• Richie Kotzen (1989, producer)

Instructional

• Hot Licks - The Legendary Guitar of Jason Becker

References[link]

External links[link]

• Jason Becker's official website
• Becker's MySpace page
• Documentary film website
• http://abclocal.go.com/kgo/story?section=news/assignment_7&id=6528617
• News report