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An Annotated Bibliography of Current Research in the Field of the Medical Problems of Trumpet Playing
AN ANNOTATED BIBLIOGRAPHY OF CURRENT RESEARCH IN THE FIELD OF THE MEDICAL PROBLEMS OF TRUMPET PLAYING D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School at The Ohio State University By Mark Alan Wade, B.M., M.M. ***** The Ohio State University 2008 Document Committee: Professor Timothy Leasure, Adviser Approved by Professor Alan Green Dr. Russel Mikkelson ________________________ Adviser Graduate Program in Music ABSTRACT The very nature of the lifestyle of professional trumpet players is conducive to the occasional medical problem. The life-hours of diligent practice and performance that make a performer capable of musical expression on the trumpet also can cause a host of overuse and repetitive stress ailments. Other medical problems can arise through no fault of the performer or lack of technique, such as the brain disease Task-Specific Focal Dystonia. Ailments like these fall into several large categories and have been individually researched by medical professionals. Articles concerning this narrow field of research are typically published in their respective medical journals, such as the Journal of Applied Physiology . Articles whose research is pertinent to trumpet or horn, the most similar brass instruments with regard to pitch range, resistance and the intrathoracic pressures generated, are often then presented in the instruments’ respective journals, ITG Journal and The Horn Call. Most articles about the medical problems affecting trumpet players are not published in scholarly music journals such as these, rather, are found in health science publications. Herein lies the problem for both musician and doctor; the wealth of new information is not effectively available for dissemination across fields. -
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Od
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Odden Ohio State University Ohio Colleges of Medicine This is a pre-copyedited, author-produced version of an article accepted for publication in Social Forces following peer review. The version of record is available online at: https://doi.org/10.1093/sf/sox055. *Please direct all correspondence to Ryan Light, [email protected]. The authors thank James Moody, Jill Ann Harrison, Matthew Norton, Brandon Stewart, Achim Edelmann, Clare Rosenfeld Evans, Jordan Besek, and Brian Ott for their helpful comments on earlier drafts of this paper. Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science Abstract The proliferation of cultural objects, such as music, books, film and websites, has created a new problem: How do consumers determine the value of cultural objects in an age of information glut? Crowd-sourcing – paralleling word-of-mouth recommendations – has taken center stage, yet expert opinion has also assumed renewed importance. Prior work on the valuation of artworks and other cultural artifacts identifies ways critics establish and maintain classificatory boundaries, such as genre. We extend this research by offering a theoretical approach emphasizing the dynamics of critics’ valuation and classification. Empirically, this analysis turns to Pitchfork.com, an influential music review website, to examine the relationship between classification and valuation. Using topic models of fourteen years of Pitchfork.com album reviews (n=14,495), we model the dynamics of valuation through genre and additional factors predictive of positive reviews and cultural consecration. We use gold record awards to study the relationship between valuation processes and commercial outcomes. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Nightlight: Tradition and Change in a Local Music Scene
NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene. -
Recent Report on AI Music
thereport ISSUE 425 | 25 NOVEMBER 2019 AIs on the prize What will AI-generated music and machine-learning tools for creators really mean for our industry? 1 ISSUE 425 25.11.19 AI REPORT ive years ago, music:)ally encountered “There is a growing realisation that our first startup creating music with one: this is inevitable. Two: that this can artificial-intelligence (AI) technology, be used positively. And three: that if this is when British firm Jukedeck won a inevitable, and if it can be used positively, Fpitch contest at the Le Web conference in then there’s almost an onus on potential Paris. partners to lean in and get involved, so that Drawing on decades of academic they have a seat at the table, and influence research into both machine-intelligence on where this goes,” says Drew Silverstein, and musicology, the company’s aims were CEO of Amper Music. initially modest: to help people create music “If I were a larger business focused on for use in YouTube videos and other digital- content creation – musical or non-musical media projects. – I would have at the top of my priority list Since then, Jukedeck has been joined ‘How do we engage with AI music?’ You can by a host of other startups exploring the partner, build, buy or do nothing. But the role that AI might play in music creation, worst thing you can do is to do nothing.” from fully ‘AI-created’ music to tools for One important point, before you read this human artists driven by machine-learning report: music-creation is just one aspect of and neural networks. -
Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay
Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music. -
The Mars Volta and the Symbolic Boundaries of Progressive Rock
GENRE AND/AS DISTINCTION: THE MARS VOLTA AND THE SYMBOLIC BOUNDARIES OF PROGRESSIVE ROCK R. Justin Frankeny A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in Musicology in the School of Music. Chapel Hill 2020 Approved by: Aaron Harcus Michael A. Figueroa David F. Garcia © 2020 R. Justin Frankeny ALL RIGHTS RESERVED ii ABSTRACT R. Justin Frankeny: Genre and/as Distinction: The Mars Volta and the Symbolic Boundaries of Progressive Rock (Under the direction of Dr. Aaron Harcus) In the early 2000’s, The Mars Volta’s popularity among prog(ressive) rock fandom was, in many ways, a conundrum. Unlike 1970s prog rock that drew heavily on Western classical music, TMV members Omar Rodriguez-Lopez and Cedric Bixler-Zavala routinely insisted on the integral importance of salsa music to their style and asserted an ambivalent relationship to classic prog rock. This thesis builds on existing scholarship on cultural omnivorousness to assert that an increase in omnivorous musical tastes since prog rock’s inception in the 1970s not only explains The Mars Volta’s affiliation with the genre in the early 2000s, but also explains their mixed reception within a divided prog rock fanbase. Contrary to existing scholarship that suggests that the omnivore had largely supplanted the highbrow snob, this study suggests that the snob persisted in the prog rock fanbase during progressive rock’s resurgence (ca. 1997-2012), as distinguished by their assertion of the superiority of prog rock through discourses of musical complexity adapted from classical music. -
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
The Sampler As Compositional Tool and Recording Dislocation
Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i2.3en Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation Paul Harkins Edinburgh Napier University University of Edinburgh [email protected] [email protected] Abstract Brian Eno describes the recording studio as a compositional tool that has enabled composers to enjoy a more direct relationship with sound. This article will explore the use of the digital sampler as one of the studio tools that forms part of this creative process and focuses on interviews with a group of Edinburgh musicians called Found who successfully combine the writing of pop songs with the sampling of found sounds. The core song-writing partnership share an art school background and I was keen to discover if they use the sampler and other tools to sculpt sound in a similar way to how they draw or paint. Much of the academic literature on digital sampling within popular music studies has been skewed towards its disruptive consequences for copyright law and, while legal and moral questions are still relevant, I am keen to concentrate on the processes of music making and the aesthetic choices made by composers and producers in the studio. Recent ethnographic work by Joseph Schloss has centred on these questions in relation to hip-hop and it is important to examine and understand how the sampler continues to be used by musicians and producers in a variety of genres. Keywords: art; digital sampling; hip-hop; pop; recording studio; technology. -
Composing with the Tape Recorder
Composing with the tape recorder A case study of My Life in the Bush of Ghosts by Brian Eno & David Byrne Music and Sound Design Electronics Composing with the tape recorder A case study of My Life in the Bush of Ghosts by Brian Eno & David Byrne Johanna Åström Composing with the tape recorder Johanna Åström 2020-03-28 MID SWEDEN UNIVERSITY Examiner: Brian Johnston, [email protected] Supervisor: Clara Jalmar, [email protected] Author: Johanna Åström, [email protected] Degree programme: Music and Sound Design, 120 credits Main field of study: Electronics Semester, year: HT, 2019 ii Composing with the tape recorder Johanna Åström 2020-03-28 Abstract Keywords: tape recorder, music production, composing, sampling, Brian Eno, David Byrne, My Life in the Bush of Ghosts This work describes the utilisation of the tape recorder as an instrument, the methods derived by musique concrète and the evolution of these practices. This leads on to its application that opened different creativity streams to many genres of music that we listen to today. This dissertation dives in the further to talk about to the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne its cult status, revolutionary production and opens doors to discussing cultural appropriation and copyright infringement. iii Composing with the tape recorder Johanna Åström 2020-03-28 Foreword In research for my upcoming album, I recently came across the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne. I was struck and fasci- nated by the albums culturally interesting features and began to read into the background of its production and upswing. -
Brian Eno • • • His Music and the Vertical Color of Sound
BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in