<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[Ena Longares]]></title><description><![CDATA[Ena Longares]]></description><link>https://www.enalongares.com/blognothing</link><generator>RSS for Node</generator><lastBuildDate>Thu, 30 Apr 2026 14:10:23 GMT</lastBuildDate><atom:link href="https://www.enalongares.com/es/blog-feed.xml" rel="self" type="application/rss+xml"/><item><title><![CDATA[Reading ¨First Defeat¨ analysed from the emotional perspective.]]></title><description><![CDATA[Abstract This article proposes an interdisciplinary reading of First Defeat  (Nils Frahm) through four complementary theoretical frameworks: Ernst Kurth’s Musical Energetics , Bernd and Daniela Willimek’s Theory of Musical Equilibration , David Huron’s ITPRA Expectation Theory , and Tuomas Eerola’s dimensional and empirical models of musical emotion . The piece, characterized by its pulsating texture and harmonic economy, provides an ideal laboratory for studying the affective translation of...]]></description><link>https://www.enalongares.com/post/reading-first-defeat-analysed-from-the-emotional-perspective</link><guid isPermaLink="false">693a9efc1c4b299a0da0bd32</guid><category><![CDATA[Music and Emotions]]></category><pubDate>Thu, 11 Dec 2025 10:42:29 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_5422dedde9484a218f9e632f7ebce836~mv2.png/v1/fit/w_974,h_602,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[A Psychological and Emotional Analysis of Vladimir’s Blues – Max Richter]]></title><description><![CDATA[A Psychological and Emotional Analysis through the Theory of Musical Equilibration The first time I listened to Vladimir’s Blues , the emotion it carried hit me straight in the face — sudden, inevitable, impossible to shake off. Later, when I learned that Max Richter wrote it in response to the war in Iraq and the endless arguments surrounding that conflict, I understood its weight differently. The piece isn’t just beautiful; it feels perfect . But how does Richter build that atmosphere? What...]]></description><link>https://www.enalongares.com/post/a-psychological-and-emotional-analysis-of-vladimir-s-blues-max-richter</link><guid isPermaLink="false">69132005d588c50c0e62fed5</guid><category><![CDATA[Music and Emotions]]></category><pubDate>Tue, 11 Nov 2025 11:41:33 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_ae70fb9303a949e99358e0ac92696871~mv2.png/v1/fit/w_400,h_588,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[From Valence to Chaotic]]></title><description><![CDATA[Small musical piece created with AI that goes from a Valence texture to a chaotic mood.]]></description><link>https://www.enalongares.com/post/from-valence-to-chaotic</link><guid isPermaLink="false">6911cb4c44d4e00cba06ac28</guid><category><![CDATA[Music and AI]]></category><pubDate>Mon, 10 Nov 2025 11:27:02 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_c4ce7578d6c6478eac58174ba09251fa~mv2.jpg/v1/fit/w_853,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[Generative Piano Textures]]></title><description><![CDATA[Exploring how AI models can create evolving minimalist piano pieces inspired by silence, repetition, and gradual transformation. (Built with Magenta’s MusicVAE + Python MIDI)]]></description><link>https://www.enalongares.com/post/generative-piano-textures</link><guid isPermaLink="false">6911bf7344d4e00cba0694bb</guid><category><![CDATA[Music and AI]]></category><pubDate>Mon, 10 Nov 2025 10:35:47 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_2bcaea9c871f41eba81c3b564480586a~mv2.jpg/v1/fit/w_764,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[The Three Types of Musicians I’ve Encountered (and Why It Matters to Recognize Them)]]></title><description><![CDATA[In my experience as a musician, I’ve always wanted to talk about something that many professionals tend to avoid: we are not all the same type of musicians. What I find even more fascinating, through my own discoveries, is that despite our differences — genres, styles, schools — we often fall into three broad categories. This classification isn’t meant to label or limit anyone, but rather to highlight three distinct ways of understanding and organizing music that I’ve consistently observed in...]]></description><link>https://www.enalongares.com/post/the-three-types-of-musicians-i-ve-encountered-and-why-it-matters-to-recognize-them</link><guid isPermaLink="false">68ee456f030f1a2d1c04620b</guid><category><![CDATA[Thoughts]]></category><pubDate>Tue, 14 Oct 2025 12:43:48 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_bdc0eeecf4df4ed4b53c44bedf9794ca~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[Why you should be concerned about your inner voice while practicing?]]></title><description><![CDATA[One of the most admirable qualities of great performers (and sometimes teachers) is how kindly they treat themselves. For some reason, we often program ourselves to be kinder to others than to ourselves. Musicians who struggle to reach their goals often hide a tyrannical inner world filled with procrastination and self-criticism. The Harmful Cycle: The process can be simple but destructive: Create unrealistic expectations for myself. The tasks feel overwhelming but you try to deal with the...]]></description><link>https://www.enalongares.com/post/why-you-should-be-concerned-about-your-inner-voice-while-practicing</link><guid isPermaLink="false">68ee44184c2ac2d4dba2e7d8</guid><category><![CDATA[Thoughts]]></category><pubDate>Tue, 14 Oct 2025 12:38:05 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_5b47ca34fb81474e86b56aebfbfb9a98~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[Unveiling the Origins of "Feeling Good"]]></title><description><![CDATA[The timeless anthem, "Feeling Good," has captivated global audiences for decades. In this post I would like to get deeper into the mystery behind its origins, exploring its roots in the musical "The Roar of the Greasepaint." and the political and social reivindications that are behind the song. The song was crafted in 1960s for a musical called " The Roar of the GreasePaint". This song was originally associated with a character named "Negro." (...) The character is placed strategically in a...]]></description><link>https://www.enalongares.com/post/unveiling-the-origins-of-feeling-good</link><guid isPermaLink="false">65acbb7f92aeb7720feda2a6</guid><category><![CDATA[Music Theory]]></category><pubDate>Tue, 14 Oct 2025 12:27:53 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_79bc08a8df2d48f0b67f8932512a8dde~mv2.jpg/v1/fit/w_640,h_640,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[Emotioncal analysis of Prelude Op. 28 no. 1 Chopin]]></title><description><![CDATA[Frédéric Chopin – Prelude Op. 28 No. 1 in C Major Harmonic and Structural Elements Chopin’s Prelude No. 1 in C major  opens the Op. 28  cycle like a flash of light — brief, direct, and full of motion. In less than a minute, he sketches an entire emotional arc, built on a pattern of rising arpeggiated triplets  in the right hand that float above a steadily ascending bass line . The result is an unbroken current of sound, a feeling of continuous propulsion that never truly pauses for breath. At...]]></description><link>https://www.enalongares.com/post/emotioncal-analysis-of-prelude-op-28-no-1-chopin</link><guid isPermaLink="false">6913215cafb3ca6264f9c81b</guid><category><![CDATA[Music and Emotions]]></category><category><![CDATA[Music Theory]]></category><pubDate>Tue, 07 Oct 2025 10:46:42 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_db0a66f584a54dd4bd79b77a9690c8c7~mv2.png/v1/fit/w_502,h_688,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[Emotional and psychological analysis of Doria by Olafur Arnalds.]]></title><description><![CDATA[Ólafur Arnalds – “Doria” (2016) A Psychological and Emotional Analysis through the Theory of Musical Equilibration Since I first came across the psychological studies on music and emotion by Bernd and Daniela Willimek, I haven’t been able to stop analysing how certain pieces communicate emotion so precisely. Their theory feels, to me, like an opening into a hidden world — the unconscious world that music seems to inhabit so naturally. That world, abstract and poetic, has always fascinated me:...]]></description><link>https://www.enalongares.com/post/emotional-and-psychological-analysis-of-doria-by-olafur-arnalds</link><guid isPermaLink="false">6912dec34d01cb460b63a6d8</guid><category><![CDATA[Music and Emotions]]></category><pubDate>Wed, 10 Sep 2025 06:07:40 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_cbd09da6e90c4b299bc83e637301fd31~mv2.png/v1/fit/w_886,h_852,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[La desaparición de Ena Marley]]></title><description><![CDATA[Durante muchos años he estado utilizando el nombre de ¨Ena Marley¨ para subir mis canciones de cantautora en internet y dar conciertos....]]></description><link>https://www.enalongares.com/es/post/la-desaparici%C3%B3n-de-ena-marley</link><guid isPermaLink="false">66c6420ea6919f9e85c98c15</guid><pubDate>Wed, 21 Aug 2024 20:27:12 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_afa916838d9545c6bac1d8155609ff88~mv2.jpg/v1/fit/w_728,h_728,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[What makes Nina Simone above Good and Devil]]></title><description><![CDATA[When you search for the greatest jazz singers/artists of the last century you usually find Nina Simone among them, ..but as a professional musician is inevitable to not listen to her sometimes unpleasant tone, how “out of pitch she is in some moments”, or how her voice usually cracks between registers. Impressively, her register is extremely limited (she keeps around one octave for melodies between the 3 and 4 octave), which makes her usually transpose her main songs in only four key...]]></description><link>https://www.enalongares.com/post/nina-simone-the-musician-above-good-and-devil</link><guid isPermaLink="false">657bf92c720188b0c2619825</guid><category><![CDATA[Thoughts]]></category><pubDate>Thu, 21 Dec 2023 15:20:57 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_81abe193406c41fd82968876e34e8837~mv2.jpeg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[Has music a date of expire?]]></title><description><![CDATA[Does music has a expiry date? Why some music seems never out of fashion but another one can only endure for a season?]]></description><link>https://www.enalongares.com/post/has-music-a-date-of-expire</link><guid isPermaLink="false">657322360def3ad1b0d35707</guid><category><![CDATA[Thoughts]]></category><pubDate>Fri, 08 Dec 2023 15:21:11 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_ffeec6e972564cc1852a8bdb856def5b~mv2.jpg/v1/fit/w_1000,h_511,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[The Harmony of Yann Tiersen ]]></title><description><![CDATA[Did you notice how the music of Yann Tiersen evokes calmness in his harmonic chord progressions, but it doesn't follow any clear ¨ harmonic functional ¨ rule? If we focus exclusively on the harmony, there is something that really might catch your attention. All the arrangements  have in the start, a  repetitive "vamp of chords" ,  which sounds smooth and stable - but at the same time has something special on it, doesn't seem to follow the usual harmonic functions. There are steady, colourful...]]></description><link>https://www.enalongares.com/post/the-harmony-of-yann-tiersen</link><guid isPermaLink="false">6553a665a7a6949847f2e493</guid><category><![CDATA[Music Theory]]></category><pubDate>Tue, 14 Nov 2023 18:17:54 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_89d73c7ca5ac4375878d3c86e3244b3d~mv2.jpg/v1/fit/w_800,h_531,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item><item><title><![CDATA[The Music theory Secrets behind Nils Frahm]]></title><description><![CDATA[How Nils Frahm and J. S  Bach are very good friends. When we listen to certain music by Nils Frahm, it is inevitable to think about Western classical music. He, among other contemporary composers, has recovered the term “neo-classical music” as a tag for playlists and instrumental music. However, in the academic environment, it was reserved for certain specific composers from 1917 and 1930. So, how did they recover this label, and is this the correct designation for this style of music? Well,...]]></description><link>https://www.enalongares.com/post/template-product-review</link><guid isPermaLink="false">654dfc189fa87d905625b155</guid><category><![CDATA[Music Theory]]></category><pubDate>Fri, 10 Nov 2023 09:56:15 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/988d1a_393a01f099e243a4813f5b714fb632bf~mv2.jpg/v1/fit/w_1000,h_712,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Almudena Longares</dc:creator></item></channel></rss>