DOCSLIB.ORG

Download Images,” Sigur Rós, Accessed June 13, 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Images,” Sigur Rós, Accessed June 13, 2015 Florida State University Libraries 2016 Listening for Locality: A Sense of Place in the Music of Sigur Rós, Dan Deacon, S# Percussion, and Nick Zammuto Matthew DelCiampo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LISTENING FOR LOCALITY: A SENSE OF PLACE IN THE MUSIC OF SIGUR RÓS, DAN DEACON, SŌ PERCUSSION, AND NICK ZAMMUTO By MATTHEW J. DELCIAMPO A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Matthew J. DelCiampo defended this dissertation on March 18, 2016. The members of the supervisory committee were: Denise Von Glahn Professor Directing Dissertation Chris Coutts University Representative Frank Gunderson Committee Member Margaret Jackson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am grateful to have many supportive mentors, colleagues, and friends, without whom this dissertation would not have been possible. I would first like to thank my advisor, Dr. Denise Von Glahn, for her constant dedication to both my work and my growth as a scholar. Her enthusiasm, intellectual guidance, and meticulous editing have shaped this document in innumerable ways. I could have not asked for a better mentor. It has been a pleasure to work with you. Thanks also goes to my dissertation committee, Dr. Frank Gunderson, Dr. Margaret Jackson, and Dr. Christopher Coutts whose suggestions and criticisms throughout the research and writing process expanded my theories and methodologies. I am grateful to each member of my committee for her or his attentiveness, dedication, and friendship. Additionally, I am fortunate to have been a part of the musicology area at Florida State University: a collegial group of scholars that have been welcoming and supportive. In particular I would like to thank Dr. Michael Bakan and Dr. Michael Broyles for their guidance and assistance both in and outside the classroom. This dissertation could not have been written without the graciousness of the musicians in this study. Thank you to Adam, Eric, Jason, Josh, Emily, Ain, Grey, Dan, and Nick for inviting me to attend your rehearsals, performances, and festivals, onto your tour bus, and into your home. Your generosity has been paramount. I am also grateful to Susan Busch and Drew Swinburne at Vanishing Point Management for their assistance, and I am especially appreciative of Yumi Tamashiro, who graciously arranged my accommodations on several research trips. The Carol F. and Richard P. Krebs Fellowship, the Curtis Mayes Fellowship, and the Osher Lifelong Learning Institute Scholarship supported this research. I am thankful to have had their financial support. In my position as a Research Sponsor for the Undergraduate Research Opportunity Program (UROP) at Florida State University I had the opportunity to work with several fantastic students. I am particularly indebted to the consummate and thorough work of Casie McCrea and Aleyna Brown. Their research shaped my thinking and expanded my bibliography. They both approached their work with high levels of professionalism and attention to detail. I am deeply grateful for my friends and colleagues. I want to thank the members of the Steve Holt! trivia team for being a constant source of companionship, laughter, and victory. I am iii forever indebted to Alexandria Carrico, Catherine Hall, Tristan Hall, Megan MacDonald, Nathan MacDonald, Heather Paudler, Tim Storhoff, Brian Wilcoxon, and Kimi Wilcoxon for their ever- present camaraderie, honest feedback on my work, and their incomprehensible ability to proofread an abstract at a moment’s notice. Seriously, y’all are the best. I am grateful to have worked with my friend and creative partner, Sarah Wilcoxon, and look forward to our future collaborations. My Florida State colleagues have been a wellspring of strength and inspiration. To Vanessa: thank you for your support, kindness, and friendship, I won’t forget it. Finally, my family has been essential to my success. To my sisters, Kate and Betsy: thanks for always being there, teaching me about art, and tolerating your big brother. Mom and Dad, you have always encouraged me to pursue my goals and provided me the opportunity to do so. Your hard work, compassion for others, and dedication to our family have supplied me a model for the rest of my life. I doubt I can thank you enough, but I’ll try. iv TABLE OF CONTENTS List of Figures................................................................................................................................ ix Abstract............................................................................................................................................x 1. INTRODUCTION ......................................................................................................................1 Purpose and Significance of this Study.......................................................................................1 Background .................................................................................................................................3 Musicians in this Study.............................................................................................................5 Sigur Rós.................................................................................................................................6 Dan Deacon.............................................................................................................................8 Sō Percussion..........................................................................................................................9 Nick Zammuto ......................................................................................................................10 Environmental Music and Placial Music ................................................................................11 Theoretical Stance: Sense of Place ...........................................................................................14 Overview of Resources.............................................................................................................18 Musical Senses of Place..........................................................................................................19 Music and Place ...................................................................................................................20 Ecomusicology.....................................................................................................................22 Popular Music and Place......................................................................................................24 Methodology............................................................................................................................26 Chapter Synopses.....................................................................................................................27 2. PLACE PERSPECTIVES.........................................................................................................29 Introduction...............................................................................................................................29 Thinking about Place: Philosophy, Geography, and Anthropology .........................................31 Assembling Place......................................................................................................................39 Landscape, Place, and Genius Loci...........................................................................................40 The Absence of Place?: Place and Mobilities...........................................................................41 Conclusion: Placing Local-Global Thought .............................................................................45 3. SIGUR RÓS AS THE SOUND OF UR-PLACE......................................................................50 Introduction...............................................................................................................................50 Sound and Space .......................................................................................................................52 Sound and Place........................................................................................................................55 Sound and Imagination .............................................................................................................57 Sound and Representation.........................................................................................................59 Sound and Planet Earth ............................................................................................................64 Sound and Myth........................................................................................................................67 Sigur Rós, Planet Earth, and The Sound of Ur-Place ..............................................................69 Conclusion: Senses of Space and Place ....................................................................................71 Dan Deacon, Sō Percussion, and Nick Zammuto .....................................................................72 v 4. DAN DEACON’S ELECTRONIC AMERICAN LANDSCAPE............................................73
Load more

Recommended publications
  • The Loneliest Road
    THE BOOKS Sunday, May 3, 2009 Presented by The Empty Bottle with the MCA mcachicago.org THE EmptY BottLE WITH THE MCA PResents THE BooKS All photos of The Books courtesy of the artists Original music composed by Nick Zammuto and Paul de Jong Performed by Nick Zammuto and Paul de Jong For more information about The Empty Bottle and a schedule of upcoming events, visit emptybottle.com. ARTISTS UP CLOSE 5 To increase appreciation of The Books, the MCA, and Third Coast International Audio Festival organized this additional opportunity earlier today for audience mem- bers to engage with the artists. Sunday, May 3, 4–6 pm cast Third Coast Festival Listening Room Karen Lee as Candy Mintz The Loneliest Road Thom Whaley as Terry Trenton Written and directed by Gregory Whitehead Je= Kent as the Post-Mortem Narrator Original music by The Books Cynthia Atwood as Una Jon Swan as Ted Stebbins This 90-minute audio drama, produced by sound Daniel Klein as Stu Berkowitz artist and storyteller Gregory Whitehead with The Gregory Whitehead as Oswald Norris Books, is best experienced as a pirate radio broad- Anne Undeland as Ava Ravenella cast from the obstructed heartland of the American Dream. Haunted by dead poets, Marilyn Monroe, Original music composed by Paul de Jong and and an angel’s solemn whisper, the drama unfolds Nick Zammuto, and performed by Paul de Jong, through layers of Whitehead’s signature humor, Nick Zammuto, Anne Doerner, and sonic playfulness, and astute observations about Gregory Whitehead human triumph and folly. The Loneliest Road was originally commissioned for BBC Radio 3 and won the Sony Gold Award for Radio Drama in 2004.
    [Show full text]
  • 2018 BAM Next Wave Festival #Bamnextwave
    2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts.
    [Show full text]
  • Volcanic Action and the Geosocial in Sigur Rós's “Brennisteinn”
    Journal of Aesthetics & Culture ISSN: (Print) 2000-4214 (Online) Journal homepage: https://www.tandfonline.com/loi/zjac20 Musical aesthetics below ground: volcanic action and the geosocial in Sigur Rós’s “Brennisteinn” Tore Størvold To cite this article: Tore Størvold (2020) Musical aesthetics below ground: volcanic action and the geosocial in Sigur Rós’s “Brennisteinn”, Journal of Aesthetics & Culture, 12:1, 1761060, DOI: 10.1080/20004214.2020.1761060 To link to this article: https://doi.org/10.1080/20004214.2020.1761060 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 04 May 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=zjac20 JOURNAL OF AESTHETICS & CULTURE 2020, VOL. 12, 1761060 https://doi.org/10.1080/20004214.2020.1761060 Musical aesthetics below ground: volcanic action and the geosocial in Sigur Rós’s “Brennisteinn” Tore Størvold Department of Musicology, University of Oslo, Oslo, Norway ABSTRACT KEYWORDS This article presents a musicological and ecocritical close reading of the song “Brennisteinn” Sigur Rós; anthropocene; (“sulphur” or, literally, “burning rock”) by the acclaimed post-rock band Sigur Rós. The song— ecomusicology; ecocriticism; and its accompanying music video—features musical, lyrical, and audiovisual means of popular music; Iceland registering the turbulence of living in volcanic landscapes. My analysis of Sigur Rós’s music opens up a window into an Icelandic cultural history of inhabiting a risky Earth, a condition captured by anthropologist Gísli Pálsson’s concept of geosociality, which emerged from his ethnography in communities living with volcanoes.
    [Show full text]
  • MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
    MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division
    [Show full text]
  • Amiina Puzzle Mp3, Flac, Wma
    amiina Puzzle mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Puzzle Country: Iceland Released: 2010 Style: Post Rock, Experimental MP3 version RAR size: 1913 mb FLAC version RAR size: 1146 mb WMA version RAR size: 1116 mb Rating: 4.1 Votes: 195 Other Formats: RA WAV DMF AU MP2 AHX APE Tracklist Hide Credits Ásinn 1 5:31 Bass – Kjartan Sveinsson 2 Over And Again 3:39 What Are We Waiting For? 3 Bass – Kjartan SveinssonCello – Kristín LárusdóttirDouble Bass – Borgar MagnasonViola – 5:26 Guðrún Hrund HarðardóttirViolin – Bjarni Frímann Bjarnason, Ingrid Karlsdóttir 4 Púsl 6:13 In The Sun 5 4:16 Double Bass – Borgar Magnason 6 Mambó 4:56 Sicsak 7 Bass – Kjartan SveinssonCello – Kristín LárusdóttirDouble Bass – Borgar MagnasonViola – 6:51 Guðrún Hrund HarðardóttirViolin – Bjarni Frímann Bjarnason, Ingrid Karlsdóttir Thoka 8 Vocals [Additional] – Bryndís Nielsen, Inga Harðardóttir, Jóhann Ágúst Jóhannsson, Kjartan 3:55 Sveinsson, Sigtryggur Baldursson* Companies, etc. Recorded At – Sundlaugin Studio Recorded At – Grundarstíg Recorded At – Brekkustíg Recorded At – Granda Mixed At – Sundlaugin Studio Mastered At – Sterling Sound Credits Layout, Design – Sólrún Sumarliðadóttir Mastered By – Greg Calbi Mixed By – Birgir Jón Birgisson, amiina Music By, Performer – amiina Photography By [Photographs] – Lilja Birgisdóttir Notes Recorded in Sundlaugin, Grundarstíg, Brekkustíg, Granda and JL. Mixed in Sundlaugin Studio. Mastered at Sterling Sound, NYC. Digipak packaging The catalog# only appears on the CD matrix and sticker Track 4 was called "Þristurinn", track 7 "Tvisturinn" on their self-released record "Re Minore" Barcode and Other Identifiers Matrix / Runout: AMIINA5 *040415 Barcode (on sticker): 5 690351 110722 Other versions Category Artist Title (Format) Label Category Country Year Sound Of A shake 011, Puzzle (LP, shake 011, Amiina Handshake, Sound Of Germany 2011 SHAKE 011 Album) SHAKE 011 A Handshake Puzzle (CD, amiina5 amiina Amínamúsík Ehf.
    [Show full text]
  • The Law of Black Mirror - Syllabus
    City University of New York (CUNY) CUNY Academic Works Open Educational Resources Baruch College 2020 The Law of Black Mirror - Syllabus Yafit Lev-Aretz CUNY Bernard M Baruch College Nizan Packin CUNY Bernard M Baruch College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_oers/27 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Law of Black Mirror: Privacy, Online Social Profiling and the Law Spring 2020 Zicklin School of Business Baruch College Professor Nizan Geslevich Packin Department: Law Email: [email protected] Phone: 646-312-3593 Office: Room B9-208, Vertical Campus Professor Yafit Lev-Aretz Department: Law Email: [email protected] Phone: 646-312-3606 Office: Room B9-219, Vertical Campus Course Description: Using episodes from the show Black Mirror as a study tool - a show that features tales that explore techno-paranoia - the course analyzes legal and policy considerations of futuristic or hypothetical case studies. The case studies tap into the collective unease about the modern world and bring up a variety of fascinating key philosophical, legal, and economic- based questions. Learning goals for the course include: ł Students will use primary sources to analyze contemporary legal and policy issues arising from emerging technologies. ł Students will engage critically and constructively in key policy debates that shape the future of the technology, through in-class discussions, presentations, and colloquia.
    [Show full text]
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • The Sound of Ruins: Sigur Rós' Heima and the Post
    CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima.
    [Show full text]
  • “Punk Rock Is My Religion”
    “Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area.
    [Show full text]
  • Stan Magazynu Caĺ†Oĺıäƒ Lp Cd Sacd Akcesoria.Xls
    CENA WYKONAWCA/TYTUŁ BRUTTO NOŚNIK DOSTAWCA ALLMAN BROTHERS BAND - AT FILLMORE EAST 159,99 SACD BERTUS ALLMAN BROTHERS BAND - AT FILLMORE EAST (NUMBERED 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - BROTHERS AND SISTERS (NUMBE 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - EAT A PEACH (NUMBERED LIMIT 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - IDLEWILD SOUTH (GOLD CD) 129,99 CD GOLD MOBILE FIDELITY ALLMAN BROTHERS BAND - THE ALLMAN BROTHERS BAND (N 149,99 SACD MOBILE FIDELITY ASIA - ASIA 179,99 SACD BERTUS BAND - STAGE FRIGHT (HYBRID SACD) 89,99 SACD MOBILE FIDELITY BAND, THE - MUSIC FROM BIG PINK (NUMBERED LIMITED 89,99 SACD MOBILE FIDELITY BAND, THE - THE LAST WALTZ (NUMBERED LIMITED EDITI 179,99 2 SACD MOBILE FIDELITY BASIE, COUNT - LIVE AT THE SANDS: BEFORE FRANK (N 149,99 SACD MOBILE FIDELITY BIBB, ERIC - BLUES, BALLADS & WORK SONGS 89,99 SACD OPUS 3 BIBB, ERIC - JUST LIKE LOVE 89,99 SACD OPUS 3 BIBB, ERIC - RAINBOW PEOPLE 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - GOOD STUFF 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - SPIRIT & THE BLUES 89,99 SACD OPUS 3 BLIND FAITH - BLIND FAITH 159,99 SACD BERTUS BOTTLENECK, JOHN - ALL AROUND MAN 89,99 SACD OPUS 3 CAMEL - RAIN DANCES 139,99 SHMCD BERTUS CAMEL - SNOW GOOSE 99,99 SHMCD BERTUS CARAVAN - IN THE LAND OF GREY AND PINK 159,99 SACD BERTUS CARS - HEARTBEAT CITY (NUMBERED LIMITED EDITION HY 149,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS AFTER HOURS (NUMBERED LI 99,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS OF RAY CHARLES (NUMBERED 129,99 SACD MOBILE FIDELITY
    [Show full text]
  • Contents Welome 2 Conference Programme 4 Abstracts 24 Panels
    17th Biennial Conference of IASPM | Bridge Over Troubled Waters: Challenging Orthodoxies | Gijón 2013 Contents Welome 2 Conference programme 4 Abstracts 24 Panels 133 iaspm2013.espora.es 1 17th Biennial Conference of IASPM | Bridge Over Troubled Waters: Challenging Orthodoxies | Gijón 2013 Dear IASPM Conference Delegates, Welcome to Gijón, and to the 17th biennial IASPM Conference “Bridge over Troubled Waters”, a conference with participants from all over the world with the aim of bridging a gap between disciplines, perspectives and cultural contexts. We have received more than 500 submissions, of which some 300 made it to the programme, together with four outstanding keynote speakers. This Conference consolidates the increasing participation of Spanish delegates in previous conferences since the creation of the Spanish branch of IASPM in 1999, and reinforces the presence of Popular Music Studies at the Spanish universities and research groups. The University of Oviedo is one of the pioneer institutions in the Study of Popular Music in Spain; since the late nineties, this field of study is constantly growing due to the efforts of scholars and students that approach this repertoire from an interdisciplinary perspective. As for the place that hosts the conference, Gijón is an industrial city with an important music scene. I wouldn´t call it the Spanish Liverpool, but some critics called it the Spanish Seattle because it was an important place for the development of “noise music” in Spain during the 1990s. The venue, Laboral, is an exponent of the architecture of the dictatorship. Finished in 1956, it was conceived as a school for war orphans to learn a trade and in 2007 it was remodeled to become a “city for culture”.
    [Show full text]
  • My Voice Is My Weapon: Music, Nationalism, and the Poetics Of
    MY VOICE IS MY WEAPON MY VOICE IS MY WEAPON Music, Nationalism, and the Poetics of Palestinian Resistance David A. McDonald Duke University Press ✹ Durham and London ✹ 2013 © 2013 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Cover by Heather Hensley. Interior by Courtney Leigh Baker Typeset in Minion Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data McDonald, David A., 1976– My voice is my weapon : music, nationalism, and the poetics of Palestinian resistance / David A. McDonald. pages cm Includes bibliographical references and index. isbn 978-0-8223-5468-0 (cloth : alk. paper) isbn 978-0-8223-5479-6 (pbk. : alk. paper) 1. Palestinian Arabs—Music—History and criticism. 2. Music—Political aspects—Israel. 3. Music—Political aspects—Gaza Strip. 4. Music—Political aspects—West Bank. i. Title. ml3754.5.m33 2013 780.89′9274—dc23 2013012813 For Seamus Patrick McDonald Illustrations viii Note on Transliterations xi Note on Accessing Performance Videos xiii Acknowledgments xvii introduction ✹ 1 chapter 1. Nationalism, Belonging, and the Performativity of Resistance ✹ 17 chapter 2. Poets, Singers, and Songs ✹ 34 Voices in the Resistance Movement (1917–1967) chapter 3. Al- Naksa and the Emergence of Political Song (1967–1987) ✹ 78 chapter 4. The First Intifada and the Generation of Stones (1987–2000) ✹ 116 chapter 5. Revivals and New Arrivals ✹ 144 The al- Aqsa Intifada (2000–2010) CONTENTS chapter 6. “My Songs Can Reach the Whole Nation” ✹ 163 Baladna and Protest Song in Jordan chapter 7. Imprisonment and Exile ✹ 199 Negotiating Power and Resistance in Palestinian Protest Song chapter 8.
    [Show full text]