DOCSLIB.ORG

The Effect of a Tonic Drone Accompaniment on the Pitch Accuracy of Scales Played by Beginner Violin and Viola Students Disserta

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Effect of a Tonic Drone Accompaniment on the Pitch Accuracy of Scales Played by Beginner Violin and Viola Students Disserta The Effect of a Tonic Drone Accompaniment on the Pitch Accuracy of Scales Played by Beginner Violin and Viola Students Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Charles Clair Laux, Jr., B.M., M.M. Graduate Program in Music The Ohio State University 2015 Dissertation Committee: Dr. Robert Gillespie, Advisor Dr. Jan Edwards Prof. Mark Rudoff Copyright by Charles Clair Laux, Jr. 2015 Abstract The purpose of the study was to determine the effect of drone-based accompaniment on the development of pitch accuracy of C-major and D-major scales on beginning-level violin and viola students. Participants were 50 second-year, beginning- level violinists and violists from three middle schools in a large suburban school district in the Southeast. Six orchestra classes were randomly assigned to one of three groups; pitch matching (n=15), drone (n = 15), and pitch matching plus drone (n = 20). Groups differed only by the audio accompaniment used during testing and treatment. The audio accompaniments were made using synthesized square waves that provided pitch- matching, a tonic drone, or pitch matching with tonic drone accompaniment. This quantitative study used a quasi-experimental pre/posttest design. Each group practiced the D- and C-major scales with the accompaniment track over seven string class periods as part of their daily warm-up routine. Participants were tested performing the scales under accompanied and unaccompanied treatment conditions. Performed pitches, excluding open strings, were analyzed for cent deviation from equal temperament. The Intonia software program was the measurement tool. In addition to the cent deviations, directional cent deviation data was converted to absolute values and nonparametric sharp/flat values. Participants’ pitch adjustments were also tallied and analyzed. Results indicated no significant improvement in intonation in any of the three ii groups, and there was an inclination for students to perform flat across the study. It is important to note that pitch adjustments were more frequent, though not significant, in accompanied conditions across all groups in the pretest and significantly greater during accompanied conditions in the posttest. iii Dedication Dedicated to my loving family, Tricia, Charlie, and Anderson. iv Acknowledgments I would like to express appreciation to my advisor, Dr. Robert Gillespie, for his time and assistance with this project and for his inspiration, wisdom, and advice that have helped shape and guide me in my career as a string teacher. I owe you so much! In addition, I would like to thank the members of my committee, Dr. Jan Edwards, and Prof. Mark Rudoff for their time and interest in my project. In addition, I would like to thank Ms. Blair Williams, for assisting me with items while off campus. You are a lifesaver! Thank you to my many friends and colleagues who have also helped with my dissertation. Dr. Harry Price: You are not only a wonderful colleague and friend, but also a phenomenal researcher and thinker. I thank you for your friendship and always being there for me. To Dr. Patricia Flowers: You have been an inspiration beyond words and I will never forget our talks. Thank you for believing in me. Dr. Jeff Yunek: You are the best editor on the planet. I appreciate your attention to detail and value our friendship. Thank you to Dr. Michael Hopkins, University of Michigan, for introducing me to the world of SPSS and being such an inspiring string pedagogue and researcher. Thank you to all of the students, faculty, and staff at the Kennesaw State University School of Music. It has been an honor and pleasure to work with such fine musicians, scholars, and pedagogues. To Dr. Lewis VanBrackle, Kennesaw State v University, for the generosity of your time in assisting me on multiple occasions with statistics. I have learned so much from you. Go Owls! I would like to thank the students, parents, faculty, and administration of the schools and school district, as I would not have been able to complete this document without your time, energy, and willingness to help. I would like to send special thanks to Ms. Corie Benton, Ms. Ashley Culley, Ms. Tricia Laux, Mr. Jacob Bitinas, Mr. Paul O’Keefe, and Mr. Michael Tompkins for your pedagogical expertise and willingness to work with me on this project. Most importantly, I would like to thank my beautiful wife, Tricia, and wonderful sons Charles III and Anderson for your continued love, patience, and understanding over the years. You are everything to me. This Never Happened Before… I love you!! vi Vita 1992................................................................Mentor High School, Mentor, Ohio 1996................................................................B.M. Music Education, Ohio University 1996-2003 ......................................................Orchestra Director, Clark County School District, Las Vegas, Nevada 1996-2007 ......................................................Adjunct Faculty, College of Southern Nevada, North Las Vegas, Nevada 2001................................................................M.M. Music Education, University of Nevada, Las Vegas 2003-2007 ......................................................Orchestra Director, Orange County Public Schools, Orlando, Florida 2006-2008 ......................................................Adjunct Faculty, Valencia College, Orlando, Florida 2007-2008 ......................................................Graduate Teaching Associate, Department of Music, The Ohio State University 2008-2009 ......................................................Orchestra Director, New Albany-Plain Local Schools, New Albany, Ohio 2009-2012 ......................................................Orchestra Director, Hilliard City Schools, Hilliard, Ohio vii 2012-present ...................................................Assistant Professor of Music Education, Kennesaw State University, Kennesaw, Georgia Publications Laux, C. (2010). String Education Technology Blog. http://www.stringedtech.com Laux, C. (2008). Practical musician: Music & musicians - podcasting 101. Strings, 22(8), 26-28. Laux, C. (2007). "A Christmas Festival." Ed. Littrell, D, Racin, L. R & Allen, M. (2007). Teaching Music through Performance in Orchestra. Vol. 3. Chicago: GIA Publications, Inc. (343-347). Laux, C. (2007). "Finale, Symphony No. 2 in C." Ed. Littrell, D, Racin, L. R & Allen, M. Teaching Music through Performance in Orchestra. Vol. 3. Chicago: GIA Publications, Inc. (165-169). Fields of Study Major Field: Music Minor: Educational Technology viii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments ............................................................................................................... v Vita ................................................................................................................................... vii List of Tables ..................................................................................................................... xi List of Figures .................................................................................................................. xiii Chapter 1: Introduction ....................................................................................................... 1 Chapter 2: Review of Related Literature .......................................................................... 16 Chapter 3: Research Design and Methodology ................................................................ 47 Chapter 4: Results ............................................................................................................. 66 Chapter 5: Summary, Conclusions, Recommendations, and Implications ....................... 99 Bibliography .................................................................................................................. 124 Appendix A: Questionnaire ........................................................................................... 145 Appendix B: Assent Form ............................................................................................. 147 Appendix C: Permission Form ...................................................................................... 151 ix Appendix D: Scale Sheet Music for Violin and Viola ................................................... 155 Appendix E: Lesson Script for Classroom Teachers ..................................................... 158 Appendix F: Directions for Research Assistants ........................................................... 165 Appendix G: Institutional Review Board Approval Letter ............................................. 169 Appendix H: Raw Cent deviation Scores for Each Participant ...................................... 171 x List of Tables Table 3.1: Participants by group and site .......................................................................... 49 Table 3.2: The combinations of scale delivery during testing .......................................... 54 Table 4.1: Participants by group ....................................................................................... 69 Table 4.2: Shapiro-Wilk Test of normality ......................................................................
Load more

Recommended publications
  • MUSIC in the (Deaf) BRAIN Musical Ear Training with Cochlear Implants
    MUSIC IN THE (deaf) BRAIN Musical ear training with cochlear implants by Bjørn Petersen Musical training and testing ( Figures 3 & 4). Rhythm and pitch discrimination also showed a difference in favor of the music group, though smaller. “What would you do if I sang out of tune, Sixteen newly operated adult CI users (21-73 years) matched We observed a progress but no difference in the ability to would you stand up and walk out on me?” in two groups, took part in this longitudinal study. Shortly discriminate melodies and vocal emotions. Ringo Starr in “With a little help from my friends” after switch-on of the CI the eight subjects in the music (Lennon & McCartney 1967). group began weekly one-to-one musical ear training lessons, that contained a variety of musical activities and listening Electronic ears exercises. For home practice, we provided specially adapted audio-visual training material. The remaining eight subjects A Cochlear Implant (CI) is a neural prosthesis that helps acted as controls, and did not receive any musical training. deaf people to hear. A surgically inserted electrode in the cochlea stimulates the neurons, whereby the auditory nerve To detect the progress in discrimination of pitch, rhythm Figure 2 Figure 5 is activated. This way sound signals reach the brain’s auditory and timbre we created a battery of music tests (Figure 1). Speech perception scores Two single subject cases of neurological and behavioral plasticity as system, in many cases allowing recipients to converse on the documented in PET scans and behavioral tests done at 0, 3 and 6 months Perception of speech and prosody was measured with the after switch-on of the CI sound processor.
    [Show full text]
  • TOPIC 1.3: Sound
    TOPIC 1.3: Sound Students will be able to: S3P-1-17 Investigate to analyze and explain how sounds are produced, transmitted, and detected, using examples from nature and technology. Examples: production of sound by a vibrating object, drums, guitar strings, cricket, hummingbird, dolphin, piezocrystal, speakers… S3P-1-18 Use the decision-making process to analyze an issue related to noise in the environment. Examples: sonic boom, traffic noise, concert halls, loudspeakers, leaf blowers… S3P-1-19 Design, construct (or assemble), test, and demonstrate a technological device to produce, transmit, and/or control sound waves for a useful purpose. Examples: sound barrier or protective headphones to reduce the effects of noise, electromagnetic speakers, echo chamber, microphone, musical instruments, guitar pickup, electronic tuner, sonar detector, anechoic chamber, communication devices… S3P-1-20 Describe and explain in qualitative terms what happens when sound waves interact (interfere) with one another. Include: production of beats S3P-1-21 Experiment to analyze the principle of resonance and identify the conditions required for resonance to occur. Include: open- and closed-column resonant lengths S3P-1-22 Experiment to calculate the speed of sound in air. S3P-1-23 Compare the speed of sound in different media, and explain how the type of media and temperature affect the speed of sound. S3P-1-24 Explain the Doppler effect, and predict in qualitative terms the frequency change that will occur for a stationary and a moving observer. S3P-1-25 Define the decibel scale qualitatively, and give examples of sounds at various levels. S3P-1-26 Describe the diverse applications of sound waves in medical devices, and evaluate the contribution to our health and safety of sound-wave- based technologies.
    [Show full text]
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • Fully Automated Guitar Tuner
    Fully Automated Guitar Tuner ECE 445 Final Report Benjamin Wang, Brandon Ramos, Cooper Ge Team 71 TA: Vassily Petrov 5/8/20 1 Abstract The problem we chose to address is that tuning guitars is a time consuming and undesirable task for guitar players of all levels. When tuning by ear, it is extremely hard to find the right pitch. The original solution was similar to current commercial tuners; it told you the closest approximate pitch and graphically indicated how sharp or flat you were. Our new solution is an all-in-one tuning solution with minimal user input. Rather than just displaying the input graphically, our device will automatically handle both strumming and tuning to mechanically tune the guitar. The main improvement is convenience for the user. 2 Table of Contents Abstract 1 Table of Contents 2 1 Second Project Motivation 3 1.1 Problem Statement 3 1.2 Solution 3 1.3 High-Level Requirements 3 1.4 Visual Aid 4 1.5 Block Diagram 4 2. Second Project Implementation 6 2.1 Physical Design 6 2.1.1 Physical Design Implementation 6 2.1.2 Physical Design Implementation Analysis 7 2.2 Algorithm 8 2.2.1 Background 8 2.2.2 Algorithm Summary 9 2.2.3 Testing Results 11 Figure 2.2.3.1 Testing Results 1 11 2.2.4 Algorithm Improvements 11 Figure 2.2.4.1 Testing Results 2 12 2.3 Control Logic 12 Figure 2.3.2 Control Logic Pseudocode 13 2.4 Microcontroller 13 2.5 Audio System 14 2.5.1 Audio System Implementation 14 2.5.2 Audio System Implementation Analysis 14 2.6 Bill of Materials and Cost 15 3 Second Project Conclusions 17 3.1 Implementation Summary 17 3.1.1 Algorithm Implementation 17 3.2 Unknowns, Uncertainties and Testing Needed 18 3.3 Safety and Ethics 18 3.4 Project Improvements 19 4 Progress made on First Project 20 5 References 21 3 1 Second Project Motivation 1.1 Problem Statement It’s an unfortunate fact of life that guitars fall out of tune over time.
    [Show full text]
  • Drone Music from Wikipedia, the Free Encyclopedia
    Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice,
    [Show full text]
  • REFERENCES Abrams, M. (2001). the Biology Of… Perfect Pitch: Name That Tone
    REFERENCES Abrams, M. (2001). The biology of… perfect pitch: Name that tone. Can your child learn some of Mozart’s magic? Discover, December, 22 (12), <wysiwyg://9/http://ww w.discover.com/dec-01/ featbiology.html>. ABRSM. Scales, Arpeggios, and Broken Chord: Piano, Grade 3. London: The Associated Board of the Royal Schools of Music Publishing Ltd., 3. Agay, D. Denes Agay’s Learning to Play Piano, Book 1: Primer (New Revised Edition with Colour Guide). New York: Yorktown Music Press, Inc., 5 & 7. Alcott, M. (1997). An Introduction to Children with Special Education Needs. Scotland: Holder & Stoughton Educational. American Standards Association (1960). Acoustical Terminology SI, 1-1960. New York: American Standards Association. Andrews, F. M. and Deih, N. C. (1967). Development of a Technique for Identifying Elementary School Children’s Musical Concepts. US Office of Education Project 5-0233, Washington, D.C. Anastasi, A. and Levee, R. F. (1960). Intellectual deficit and musical talent: A case report. American Journal of Mental Deficiency. 64 (4), 695-703. Annett, J. (1989). Skills. In A. M. Colman and J. G. Beaumont (Eds.), Psychology Survey. London: Routledge. Atkinson, R. C. and Shiffrin, R. M. (1977). Human Memory: A proposed system and its control process. In G. H. Bower (Ed.), Human Memory: Basic Process. New York: Academic Press. Attneave, F. and Olson, R. K. (1971) Pitch as a medium: A new approach to psycholophysical scaling. American Journal of Psychology, 84, 147-166. Bachem, A. (1937). Various types of absolute pitch. Journal of the Acoustical Society of America, 9, 146-151. Bachem, A. (1940). The genesis of absolute pitch.
    [Show full text]
  • Week 1 MUS302 Eamusic Intro-2017
    MUS302 ELECTROACOUSTIC COMPOSITION AND SOUND DESIGN TECHNOLOGIES Week 1––Introduction…electronic music, sound in music and thinking in sound Dr Brian Bridges [email protected] www.brianbridges.net Introduction: about this module... Exploring sound-shaping with technology Exploring how this creates new possibilities in sound and music Thinking about these possibilities, listening to examples and reading about composers/musicians/artists, their ideas and their work We’re going to start by looking at some early examples as prototypes of different directions that electronic music would later take Why do this module? of interest in expanding your vocabulary of sounds so that you can develop ideas for music production of interest in expanding your ideas (and listening skills) in relation to sound design techniques and technologies of interest for creating innovative and novel music compositions Practical matters We will introduce a number of new sound design tools: SPEAR for spectral processing, SoundMagic Spectral plugins (also for spectral processing) and granulation When composing, editing, you may use whichever DAW/audio editor you are comfortable with, alongside these tools We will cover some technical bases and technical theories but this is primarily a class for creative exploration Notes/slides/assignment briefs will be emailed to you in the first instance CT students: notes will be updated on RT every couple of weeks (but will be in your email inbox weekly) Q1. is electronic music any different from other types of music? Q1. is
    [Show full text]
  • Pedagogical Practices Related to the Ability to Discern and Correct
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Pedagogical Practices Related to the Ability to Discern and Correct Intonation Errors: An Evaluation of Current Practices, Expectations, and a Model for Instruction Ryan Vincent Scherber Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PEDAGOGICAL PRACTICES RELATED TO THE ABILITY TO DISCERN AND CORRECT INTONATION ERRORS: AN EVALUATION OF CURRENT PRACTICES, EXPECTATIONS, AND A MODEL FOR INSTRUCTION By RYAN VINCENT SCHERBER A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2014 Ryan V. Scherber defended this dissertation on June 18, 2014. The members of the supervisory committee were: William Fredrickson Professor Directing Dissertation Alexander Jimenez University Representative John Geringer Committee Member Patrick Dunnigan Committee Member Clifford Madsen 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 For Mary Scherber, a selfless individual to whom I owe much. iii ACKNOWLEDGEMENTS The completion of this journey would not have been possible without the care and support of my family, mentors, colleagues, and friends. Your support and encouragement have proven invaluable throughout this process and I feel privileged to have earned your kindness and assistance. To Dr. William Fredrickson, I extend my deepest and most sincere gratitude. You have been a remarkable inspiration during my time at FSU and I will be eternally thankful for the opportunity to have worked closely with you.
    [Show full text]
  • Hammered Dulcimer Owners Guide.Indd
    H D O’ G Dusty Strings Company Founded in 1978, Dusty Strings is a company of dedicated instrument build- ers whose love of wood, fi ne craftsmanship, and music results in some of the fi nest hammered dulcimers and harps available. We invite you to write or call us any time with questions you may have, or simply to let us know about yourself and your dulcimer. We hope your Dusty Strings hammered dulcimer will provide you with many years of musical enjoyment. © 1998 Dusty Strings 3450 16th Ave. W. • Seattle, WA 98119 • (866) 634-1656 www.dustystrings.com Contents Introduction and History .......................................................................................1 Anatomy of the Hammered Dulcimer ....................................................................2 Maintenance and Care of Your Dulcimer ............................................................... 2 String Maintenance .........................................................................................2 String Types .................................................................................................... 3 Replacing Broken Strings ................................................................................ 3 Restringing the Whole Dulcimer..................................................................... 4 String Buzzes ...................................................................................................4 Finish ..............................................................................................................5 General
    [Show full text]
  • 1 Basic Tuning for the Autoharp Introduction Setting the Foundation
    Basic Tuning for the Autoharp There are many options in tuning, especially for an autoharp. The more experienced player has learned that there are different tuning possibilities in addition to what is referred to as "standard" tuning. However, the beginner should understand and employ the basics, especially when expecting to play with other instruments in a jam. It is simply not true that all other instruments use purely "standard" tuning, but in a group situation, virtually all players depend upon various devices which provide or measure a standard reference pitch. The autoharper's life is easiest when owning and using an electronic tuner. However, there are more traditional methods for obtaining satisfactory results, in the absence of an electronic tuner and special expertise. A pitch pipe, tuning fork, or other instrument already "in tune" are useful references to obtain the foundation pitch(s) for autoharp tuning. In this attempt to provide a method for tuning we will provide two approaches. The first will be a basic guide to using an electronic tuner. The second will be a method for tuning by ear with a reference pitch. Introduction The typical autoharp has 36 or 37 strings with a pitch range of 3 octaves plus a fifth interval. For example, the standard chromatic autoharp starts on F for the lowest note and ranges to C at the highest note. The "middle" octave is the principal melody octave around which most arrangements are built. This octave should be tuned first as the "foundation" for all other octaves. The middle octave begins at 2-3 strings above the corner at the tuning pin end, where the strings become progressively shorter.
    [Show full text]
  • Hipster Black Metal?
    Hipster Black Metal? Deafheaven’s Sunbather and the Evolution of an (Un) popular Genre Paola Ferrero A couple of months ago a guy walks into a bar in Brooklyn and strikes up a conversation with the bartenders about heavy metal. The guy happens to mention that Deafheaven, an up-and-coming American black metal (BM) band, is going to perform at Saint Vitus, the local metal concert venue, in a couple of weeks. The bartenders immediately become confrontational, denying Deafheaven the BM ‘label of authenticity’: the band, according to them, plays ‘hipster metal’ and their singer, George Clarke, clearly sports a hipster hairstyle. Good thing they probably did not know who they were talking to: the ‘guy’ in our story is, in fact, Jonah Bayer, a contributor to Noisey, the music magazine of Vice, considered to be one of the bastions of hipster online culture. The product of that conversation, a piece entitled ‘Why are black metal fans such elitist assholes?’ was almost certainly intended as a humorous nod to the ongoing debate, generated mainly by music webzines and their readers, over Deafheaven’s inclusion in the BM canon. The article features a promo picture of the band, two young, clean- shaven guys, wearing indistinct clothing, with short haircuts and mild, neutral facial expressions, their faces made to look like they were ironically wearing black and white make up, the typical ‘corpse-paint’ of traditional, early BM. It certainly did not help that Bayer also included a picture of Inquisition, a historical BM band from Colombia formed in the early 1990s, and ridiculed their corpse-paint and black cloaks attire with the following caption: ‘Here’s what you’re defending, black metal purists.
    [Show full text]
  • 14-06 Newsflash June
    DRONE RECORDS NEWSFLASH JUNE 2014 Dear Droners, here's the 4th update for this year, June 2014 * label news: * OUT SOON, PRE ORDER NOW! : THOMAS DIMUZIO - AMID ZERO ECHO double-10" / gatefold cover (Substantia Innominata SUB-20) € 20.00* * * the jubilee-release in our 10"-series, the very first double-10" with gatefold-cover artwork by MARS WELLINK !! Four intense, dense drone pieces based on electric guitar sounds by this US underground legend from San Francisco, releasing experimental drones & post industrial noises since the late 80's - & also working as a well known mastering engineer and sound designer (GENCH STUDIOS); lim. 500, clear vinyl SPECIAL OFFER, ONLY VALID JUNE 2014 : A homage to one of the greatest 'power-droners' and creators of intoxicating streams amorph acoustic energy: ALL CD items by DANIEL MENCHE you can find in the database on www.dronerecords.de have a 30% discount (prices are not changed in the database, just order with note 'discount'!), old price: € 13:00 => new price: € 9.10 !! HIGHLIGHTS & MAIN RELEASES in this update: we are very happy to finally offer the great INVENTIONEN VII collection (DVD & doCD) from Edition RZ, which serves also a stunning introduction into contemporary 'new' acousmatic & electro-acoustic music, a collectors vinyl item by AF URSIN ("De Overkant"), a wonderful AIDAN BAKER CD with 'glacial' transcendental dream drones, and there are new albums by FENNESZ, SWANS, DANIEL MENCHE (with W.F.COLLINS) on lim. LP, CINDYTALK, ELIANE RADIGUE (unreleased work from 1970 spread on two LPs), COH, CLOCK DVA (unique USB stick release), ATRIUM CARCERI (masterful cinematic dark ambient), ARTIFICIAL MEMORY TRACE (incredible environmental sounds on Unfathomless), ILLUSION OF SAFETY (also lim.
    [Show full text]