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Classic Albums: the Berlin/Germany Edition
Course Title Classic Albums: The Berlin/Germany Edition Course Number REMU-UT 9817 D01 Spring 2019 Syllabus last updated on: 23-Dec-2018 Lecturer Contact Information Course Details Wednesdays, 6:15pm to 7:30pm (14 weeks) Location NYU Berlin Academic Center, Room BLAC 101 Prerequisites No pre-requisites Units earned 2 credits Course Description A classic album is one that has been deemed by many —or even just a select influential few — as a standard bearer within or without its genre. In this class—a companion to the Classic Albums class offered in New York—we will look and listen at a selection of classic albums recorded in Berlin, or recorded in Germany more broadly, and how the city/country shaped them – from David Bowie's famous Berlin trilogy from 1977 – 79 to Ricardo Villalobos' minimal house masterpiece Alcachofa. We will deconstruct the music and production of these albums, putting them in full social and political context and exploring the range of reasons why they have garnered classic status. Artists, producers and engineers involved in the making of these albums will be invited to discuss their seminal works with the students. Along the way we will also consider the history of German electronic music. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s as well as the arrival of Techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall in 1989, up to the present. -
FUTURE SOUNDS Wie Ein Paar Krautrocker Die Popwelt Revolutionierten
FVTVRE SOVNDS Wie ein paar »Krautrocker« Christoph Dallach die Popwelt revolutionierten Suhrkamp SV Christoph Dallach FUTURE SOUNDS Wie ein paar Krautrocker die Popwelt revolutionierten Suhrkamp Für Maria (MoisE) Erste Auflage 2021 suhrkamp taschenbuch 4598 Originalausgabe © Suhrkamp Verlag Berlin 2021 Suhrkamp Taschenbuch Verlag Alle Rechte vorbehalten, insbesondere das der Übersetzung, des öffentlichen Vortrags sowie der Übertragung durch Rundfunk und Fernsehen, auch einzelner Teile. Kein Teil des Werkes darf in irgendeiner Form (durch Fotografie, Mikrofilm oder andere Verfahren) ohne schriftliche Genehmigung des Verlages reproduziert oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden. Umschlaggestaltung : Büro Dirk Rudolph Druck : C.H.Beck, Nördlingen Printed in Germany ISBN 978-3-518-46598-1 Inhalt Vorwort von Christoph Dallach 7 Kraut 11 DIE FÜNFZIGER Nachkriegsjugend 21 Jazz 50 DIE SECHZIGER Beat 71 Haare 86 WGs 94 1968 103 Neuanfang 127 Drogen 143 Zodiak 153 Kluster 163 DIE SIEBZIGER Kessler 173 Tangerine Dream 187 Kommerz 211 Moog 215 Amon Düül 225 A. R & Machines 244 Eigenpfade 252 Weltenbummler 271 Faust 280 Austausch 314 Can 320 Plank 367 Kraftwerk 376 Neu ! 384 Forst 393 Ausland 404 Staatsfeinde 413 Rolf-Ulrich Kaiser 427 Deutsch 464 Ende 469 Heute 472 Für immer (always) 478 Biografische Notizen 493 Bildnachweise 511 Danksagung 512 Vorwort von Christoph Dallach Meine erste Krautrockplatte gewann ich in einem Preisaus- schreiben. Die Aufgabe bestand darin, innerhalb eines knap- pen Zeitfensters irgendwo anzurufen. Ich kam sofort durch. Vielleicht hatte ich Glück, vielleicht war ich aber auch der einzige Anrufer. Egal, eine Woche darauf war die Platte da : »Movies« von Holger Czukay, mit krakeliger Kugelschreiber- Signatur vom Künstler höchstpersönlich. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
Urban Change Cultural Makers and Spaces in the Ruhr Region
PART 2 URBAN CHANGE CULTURAL MAKERS AND SPACES IN THE RUHR REGION 3 | CONTENT URBAN CHANGE CULTURAL MAKERS AND SPACES IN THE RUHR REGION CONTENT 5 | PREFACE 6 | INTRODUCTION 9 | CULTURAL MAKERS IN THE RUHR REGION 38 | CREATIVE.QUARTERS Ruhr – THE PROGRAMME 39 | CULTURAL PLACEMAKING IN THE RUHR REGION 72 | IMPRINT 4 | PREFACE 5 | PREFACE PREFACE Dear Sir or Madam, Dear readers of this brochure, Individuals and institutions from Cultural and Creative Sectors are driving urban, Much has happened since the project started in 2012: The Creative.Quarters cultural and economic change – in the Ruhr region as well as in Europe. This is Ruhr are well on their way to become a strong regional cultural, urban and eco- proven not only by the investment of 6 billion Euros from the European Regional nomic brand. Additionally, the programme is gaining more and more attention on Development Fund (ERDF) that went into culture projects between 2007 and a European level. The Creative.Quarters Ruhr have become a model for a new, 2013. The Ruhr region, too, exhibits experience and visible proof of structural culturally carried and integrative urban development in Europe. In 2015, one of change brought about through culture and creativity. the projects supported by the Creative.Quarters Ruhr was even invited to make a presentation at the European Parliament in Brussels. The second volume of this brochure depicts the Creative.Quarters Ruhr as a building block within the overall strategy for cultural and economic change in the Therefore, this second volume of the brochure “Urban Change – Cultural makers Ruhr region as deployed by the european centre for creative economy (ecce). -
Autumn 2017 Hello
Autumn 2017 Hello We are pleased to announce Black Dog Publishing’s Autumn 2017 catalogue, which includes an exciting range of new titles, as well as recent bestsellers and our renowned backlist. New titles for the autumn season include Bish Bosch, the first scholarly analysis of Scott Walker’s work published with the musician’s permission; Becoming Animal, a study of existential human experience through art; and folly, a beautiful publication of British artist Phyllida Barlow’s work for the upcoming British Pavilion at the 57th Venice Biennale. Celebrating 150 years of Canada, we are excited to introduce The Faraway Nearby, which offers stunning documentation and a unique view into Canadian history through photographs published in The New York Times. Alongside this, Kent Monkman: Shame and Prejudice, A Story of Resilience, our second publication with the artist, documents an extensive collection of his paintings, drawings and sculptural work, which offer the audience an acute and scathing commentary on Canada’s chequered history. We are also pleased to announce the reprinting of Wreckers of Civilisation, the iconic book that explored the history of the British musical and visual arts group Throbbing Gristle. Finally, this season’s catalogue presents two fascinating titles that are of great importance for America, and that have gained the support of the acclaimed, far-reaching and ambitious Pacific Standard Time: LA/LA initiative from Getty, which explores Latin American and Latino art. The first, How to Read El Pato Pascual, is a thrilling investigation into Walt Disney’s influence on Latin American popular culture and visual art, and intends to show how culture is created through a sequence of exchanges, responses and (mis)appropriations. -
Until the End of the World Music Credits
(Below are the credits for the music in the English version, followed by the credits, in German, for the extended restored version): English-language music credits: Musical Score Graeme Revell Musical Score Graeme Revell Solo Cello and Additional Improvisation David Darling Music Supervision Gary Goetzman and Sharon Boyle Picture and Music Editor Peter Przygodda MUSIC Music Coordinators Barklie K. Griggs Jennifer Quinn-Richardson Dana K. Sano Music Recording and Mixing Studios Tritonus Studios, Berlin Music Editor (Synch) Dick Bernstein (Offbeat Systems) Music Mixing Engineer Gareth Jones 2nd Sound Engineer Gerd Krüger Assistant Maro Birkner Additional Music Recordings Hansa Tonstudios, Berlin MUSIC TITLES IN ORDER OF APPEARANCE: "GALKAN" Appears on "Les Aborigènes, Chants et Danses de l'Australie du Nord" Phonogramme ARN 64056 Courtesy of Arion "SAX & VIOLINS" Performed by Talking Heads Lyrics and Music by David Byrne Music by Chris Frantz, Jerry Harrison, Tina Weymouth Producer Steve Lillywhite and Talking Heads Mixed by Kevin Killen Publisher Bleu Disque Music Co. Inc./ Index Music admin. by WB Music Corp./ASCAP Courtesy of Warner Bros. Records Inc./Sire Records Company/FLY Talking Heads Appear Courtesy of EMI Records Ltd. "SUMMER KISSES, WINTER TEARS" Performed by Elvis Presley Writers Jack Lloyd, Ben Weissman, Fred Wise Publisher WB Music Corp./Erica Music/ ASCAP Courtesy of RCA Records Label of BMG Music "MOVE WITH ME" Performed by Neneh Cherry Writers Neneh Cherry/Cameron Mcvey Producer Booga Bear/Jonny Dollar Publisher Virgin Music Ltd/Copyright Control/ BMI/PRS Courtesy of Circa Records, Ltd. "IT TAKES TIME" Performed by Patti Smith and Fred Smith Writers Fred Smith and Patti Smith Producer Fred Smith Publisher Druse Music Inc/Stratium Music, Inc./ASCAP Courtesy of Arista Records, Inc. -
Radiohead Paranoid Android Reaction
Radiohead paranoid android reaction Continue 1997 studio album RadioheadOK ComputerStudio album RadioheadReleased21 May 1997 (1997-05-21)Recorded4 September 1995 (Lucky) July 1996 - March 1997StudioCanned Applause Didcot, EnglandSt Catherine Court, Bath, EnglandGenreAlternative rockart rockprogressive rockLength53:21LabelParlophoneCapitolProducerNigel GodrichRadiohead chronology The Bends (1995) OK Computer (1995) OK Computer (1995)1997) No Surprises/Running from Demons (1997) Radiohead Studio Album Timeline The Bends (1995) OK Computer (1997) Kid A (2997) 000) Singles with OK Computer Paranoid Android Released: May 26, 1997 Karma Police Released: August 25, 1997 Lucky Released: December 1997 No Surprises Released: 12 January 1998 OK Computer is the third studio album by English rock band Radiohead, released on May 21, 1997 on the subsidiaries of EMIlo Parphone Records and Capitol Records. Radiohead members independently released the album with Nigel Godrich, an arrangement they used for their subsequent albums. In addition to the song Lucky, recorded in 1995, Radiohead recorded OK Computer in Oxfordshire and Bath between 1996 and early 1997, mainly in the historic St Catherine's Court mansion. The band distanced themselves from the guitar, lyrically introspective style of their previous album The Bends. THE abstract texts of OK Computer, densely layered sound and eclectic influences laid the groundwork for Radiohead's later, more experimental works. The album depicts a world fraught with unbridled consumerism, social exclusion, emotional isolation and political malaise; as such, OK Computer is said to have a prophetic understanding of the mood of 21st century life. Unconventional production methods on the album include natural reverb through recording on the stairs, and the lack of audio separation, allowing the instruments not to reconnect separately. -
Holger Czukay, Köln Juni 2004
Interview mit Holger Czukay, Köln Juni 2004 ?: Herr Czukay, sie haben schon Ende der 60er Jahre mit Tonband-Loops gearbeitet. Sind Loops für Sie ein relevantes, musikalisches Thema? Holger Czukay: Ja, ganz klar. Wie auch zum Beispiel die Remixe sind die Loops eine Kunstform, die an die Zeit und an die technische Entwicklung gebunden ist. Mit Can haben wir das recht früh angefangen. Weil die Digitaltechnik nicht entwickelt worden war, haben wir Loops mit Analogtechnik, also mit dem Tonband, gemacht. Wir mussten das machen, weil wir als Instrumentalisten nicht gut genug waren. Wir mussten massive Korrekturen anbringen, und mit den Korrekturen fängt eigentlich alles an. Die Aufnahme war eigentlich kein Problem, aber da waren so und soviel Fehler drin, weil wir alles andere als perfekt waren. Wir hätten eine Talentprobe gar nicht bestanden. Was uns groß gemacht hat, war unsere Vision: erstens mit kleinsten Einheiten, also Loops, die Grundlage für unsere Musik zu schaffen. Und zweitens, dass selbst unsere allerersten Aufnahmen, die wir eingespielt haben, alles beinhalten sollte, ohne etwas auszusagen. Das ist ein ganz wichtiges Argument, denn wenn Sie alles beeinhalten und nichts aussagen, dann sind sie cool. Die Musik, die sich daraus entwickelte, muss in dem, was wir das Grundband genannt haben, enthalten sein. ?: Warum soll man als Musiker nichts aussagen? Czukay: Wenn Sie etwas aussagen, dann nehmen Sie sich ja alles weg. Dann fangen sie an, zu interpretieren, und Interpretation ist das letzte, was wir wollen... ?: Das erinnert an bestimmte Aussagen von Künstlern der Minimal Art, zum Beispiel Donald Judd, der in Zusammenhang mit seiner Kunst von „specific objects“ gesprochen hat: Reihen von Objekten, die nur für sich selbst stehen.. -
Keith Carlock
APRIZEPACKAGEFROM 2%!3/.34/,/6%"),,"25&/2$s.%/.42%%3 7). 3ABIANWORTHOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 'ET'OOD 4(%$25--%23/& !,)#)!+%93 $!.'%2-/53% #/(%%$ 0,!.4+2!533 /.345$)/3/5.$3 34!249/52/7. 4%!#().'02!#4)#% 3TEELY$AN7AYNE+RANTZS ,&*5)$"3-0$,7(9(%34(%-!.4/7!4#( s,/52%%$34/.9h4(5.$%2v3-)4( s*!+),)%"%:%)4/&#!. s$/5",%"!3335"34)454% 2%6)%7%$ -/$%2.$25--%2#/- '2%43#(052%7//$"%%#(3/5,4/.%/,$3#(//,3*/9&5,./)3%%,)4%3.!2%3%6!.34/-0/7%2#%.4%23 Volume 35, Number 3 • Cover photo by Rick Malkin CONTENTS 48 31 GET GOOD: STUDIO SOUNDS Four of today’s most skilled recording drummers, whose tones Rick Malkin have graced the work of Gnarls Barkley, Alicia Keys, Robert Plant & Alison Krauss, and Coheed And Cambria, among many others, share their thoughts on getting what you’re after. 40 TONY “THUNDER” SMITH Lou Reed’s sensitive powerhouse traveled a long and twisting musical path to his current destination. He might not have realized it at the time, but the lessons and skills he learned along the way prepared him per- fectly for Reed’s relentlessly exploratory rock ’n’ roll. 48 KEITH CARLOCK The drummer behind platinum-selling records and SRO tours reveals his secrets on his first-ever DVD, The Big Picture: Phrasing, Improvisation, Style & Technique. Modern Drummer gets the inside scoop. 31 40 12 UPDATE 7 Walkers’ BILL KREUTZMANN EJ DeCoske STEWART COPELAND’s World Percussion Concerto Neon Trees’ ELAINE BRADLEY 16 GIMME 10! Hot Hot Heat’s PAUL HAWLEY 82 PORTRAITS The Black Keys’ PATRICK CARNEY 84 9 REASONS TO LOVE Paul La Raia BILL BRUFORD 82 84 96 -
Popular Music in Germany the History of Electronic Music in Germany
Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann [email protected] Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop. -
TOCC0537DIGIBKLT.Pdf
ALEXANDER TCHEREPNIN My Flowering Staff A Volume of Poems by Sergei Gorodetsky Set to Music in a Cycle of 36 Songs for Voice and Piano 1 Epigraph (Op. 17, No. 1) 1:10 2 I O God of days, do not release your violins (Op. 15, No. 3) 1:55 3 II If only I could hear (Op. 15, No. 4) 1:06 4 III I contemplated you, O Andromeda 1:44 5 IV How damned is my beloved life (Op. 15, No. 2) 0:52 6 V The millstones have cooled (Op. 15, No. 5) 1:09 7 VI I love the feminine water 1:10 8 VII Forgive me the enticing mist 1:13 9 VIII Farewell, night! (Op. 15, No. 6) 1:06 10 IX The struggle to voice words (Op. 15, No. 1) 1:10 11 X In agitation, as I touch the morning lyre (Op. 16, No. 2) 1:14 12 XI I am dreaming of the country (Op. 16, No. 5) 1:00 13 XII In the wild forest (Op. 17, No. 2) 1:21 14 XIII My soul is happy to hear 1:24 15 XIV Some of the songs in my soul 1:37 16 XV Perhaps life is broken in half (Op. 17, No. 3) 1:32 17 XVI In the evening quiet hour 3:30 18 XVII I know only one thing about God (Op. 17, No. 5) 1:26 19 XVIII Lost souls! (Op. 17, No. 9) 1:51 20 XIX My endless grief (Op. 16, No. 8) 1:44 21 XX The happy laughter (Op. -
Science Fictional the Aesthetics of Science Fiction Beyond the Limits of Genre
Science Fictional The Aesthetics of Science Fiction Beyond the Limits of Genre Andrew Frost University of NSW | College of Fine Arts PhD Media Arts 2013 4 PLEASE TYPE Tl<E UNIVERSITY OF NEW SOUTH WALES Tht:tltiDittorUdon Sht•t Surname or Fenily name: Frost FIRI neme; Andrew OCher namels: Abbr&Yia~lon fof" dcgrco as given in the Unlverslty caltn<S:ar. PhD tCOde: 1289) Sd'IOOI; Seh.ool Of Media Arts Faculty; Coll999 of A ne Am Title: Science Fletfonar.: The AestheUes or SF Beyond the Limit:t of Gcnt'O. Abstract 350 words maximum: (PLEASE TYPE) ScMtnce Flcdonal: The Anthetics of SF Beyond the Umlts of Genre proposes that oonte~my eufture 1$ * $pallal e)Cl>ertence dom1nS'ed by an aesane(IC or science liction and its qua,;.genefic form, the ·$dence ficdonal', The study explores the connective lines between cultural objects suet! as film, video art. painting, illustration, advertising, music, and children's television in a variety ofmediums and media coupled with research that conflates aspects of ctitical theory, art history a nd cuttural studies into a unique d iscourse. The study argues thai three types of C\lltural e ffeets reverberation. densi'ly and resonanoe- affect cultural space altering ood changing the 1ntel'l)totation and influeooe of a cuUural object Through an account of the nature of the science fictional, this thesis argues that science fiction as wo uncJersland It, a.nd how 11 has beon oooventionally concefved, is in fact the counter of its apparent function within wider culture. While terms such as ·genre~ and ·maln-stream• suggest a binary of oentre and periphery, this lh-&&is demonstrates that the quasi-generic is in fact the dominant partner in the process of cultural production, Ocelamlon ,.~ lo disposition or projoct thnlsJdtuen.tlon I htrOby grltlt t<> I~ Ul'll\IOI'IiiY Of Now SOUIJ'I WaltS or i&& agents the rlg:tlllo ard'llve anct to INike available my ttwrsl9 or di$sertabon '" whole or in 1»Jt il'lllle \Jtlivetsay lbrsrles., at IOtmS Of tnedb, rtOW or hero <~~Ot kncwn, 5tAijod:.lo lho Jl«Mdonll ol lho Co9yrlghlt Act 1968.