Sexes Split Over Textbook Revision
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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Music Street Journal - Music News & Reviews
Music Street Journal - Music News & Reviews http://www.musicstreetjournal.com/cdreviews_display.cfm?id=100068 Artists | Issues | CD Reviews | Interviews | Concert Reviews | DVD/Video Reviews | Book Reviews | Who We Are | Staff | Home Progressive Rock CD Reviews More CD Reviews Metal/Prog Metal Gentle Giant Non-Prog Santa Monica 1975 Progressive Rock Review by Bill Knispel Gentle Giant just recently celebrated their 35th anniversary with a series of reissues of their classic studio output. Alongside this series of reissues, a number of live albums and compilations have been released, of varying quality and varying interest to both the hardcore Gentle Giant fan and the nouveau audient. Santa Monica 1975 is one of these archival live releases, recorded, as the title infers, in Santa Monica California on 1 January 1975. Two additional tracks have been included to fill out the set, taken from a performance in Dallas TX on 19 March 1977. The iteration of the band featured here is generally considered to be the classic line-up; Kerry Minnear (keys, cello, vocals), Derek Shulman (vocals, sax), Gary Green (guitar), John Weathers (drums) and Ray Shulman (bass, violin, vocals). Sound quality is a bit of an issue here from time to time, most heavily seen on the album’s opening track, which sounds as if it had been recorded by a poorly aligned cassette deck on tapes covered in grape jam and under 15 feet of rushing water. This does fairly quickly resolve itself, reaching the level of a decent, but heavily generated, analogue recording of this vintage. From a positive standpoint, Santa Monica 1975 showcases a band near the top of their musical powers, playing tight and complex progressive rock heavy on multiple vocal parts, counterpoint, and layers of instrumentation playing with and against each other. -
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University of Huddersfield Repository Quinn, Martin The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980 Original Citation Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34986/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 0. A Musicological Exploration of the Musicians and Their Use of Technology. 1 The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. A Musicological Exploration of the Musicians and Their Use of Technology. MARTIN JAMES QUINN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts. -
Ray Shulmanand Gentle Giant's
RAY SHULMAN AND GENTLE GIANT'S FUNNY, PROGRESSIVE WAYS — ~ by Andy Goldenberg CC hallenging!” If I had to choose one wordto describe the music of Gentle Giant to. the uninitiated, challenging would be most apt. Arising out of the ashes of Simon Dupree And The Big Sound, a hard-working R&B unit playing the pub circuit in and out of London in the mid-60s who scoreda UK Top Ten hit in 1967 with “Kites” (B-side w/ “Like The Sun Like The Fire”), Gentle Giant releasedits self-titled debut album in 1970, consisting of a mixture of blues, rock, and soul while infusing a touch of the progressive elements that would so set apart Gentle Giant from its fellow and (unfortunately) frequently moresuccessful British counter- parts: King Crimson, ELP Yes and Genesis. The Giant would release 11 studio albums and onelive album from 1970-1980. To-state that Gentle Giant's music was progressiveis a tremendous understatement. The band’s music was an amalgamationof rock, classical and choir, as well as iree-form meestructured sha eaea slaaoo hard rock style of 1973's Octopus (short for “Octo-Opus” or “eight musical works”) Gentle Giant's music conveys a search, be it - the search for childhood, evidenced on 1972's Three Friends, or a search for truth in the political process, as on 1974's The Power And The Glory. GG’s music emotes an almost - medieval/minstrel-like feeling with the multi- tracked vocal BONERS being the band’s 7 trademark. Gentle Giant's live shows were legendary, _ - often featuring various members switching instruments. -
First International Conference of the ACADPROG Network Dedicated to Progressive Rock
CALL FOR PAPER For the First International Conference of the ACADPROG Network dedicated to progressive rock Introduction to ACADPROG Network Thanks to the initiative of Allan Moore, many researchers from various horizons have decided to create ACADPROG in 2011. From the beginning, this international network has decided to use their various fields of competences to study all the aspects of progressive rock, a style of music born at the end of the 1960s. In order for their work to acquire a certain visibility and for this new field of research to find a place within the field of popular music studies, ACADPROG is organising its first international conference on the 10th, 11th and 12th december 2014 in Dijon (France), thanks to the support of the University of Burgundy, the GC and CIMEOS laboratories and some institutional partners. Have you said prog rock ? From a musical point of view, this trend is characterised by references to classical music (from the baroque to contemporary music) as well as jazz music, through its taste for long instrumental developments and its marked interest for sound innovation. Beyond the sound aspect, this music is also inspired by literature (especially heroic fantasy and science fiction) for its lyrics and illustrations, while it also included some theatricality in its performances. While most of the groups who new international fame in the middle of the 1970s originated from Great Britain (Pink Floyd, Soft Machine, Genesis, King Crimson, Yes, ELP, Van Der Graff Generator, Jethro Tull, Roxy Music, Hatfied and the North, Supertramp, UK, Marillon etc.), a few French, Italian, North American and Japanese bands also had an international career. -
Ankh, Ujda, Seneb (Life, Strength, Health)
ANKH, UJDA, SENEB (LIFE, STRENGTH, HEALTH): “LET FOOD BE THY MEDICINE,” AN EPISTEMIC EXAMINATION ON THE GENEALOGY OF THE AFRICANA HOLISTIC HEALTH TRADITION, WITH PRELIMINARY CONSIDERATIONS IN THE CITY OF PHILADELPHIA, 1967 TO THE PRESENT A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree DOCTOR of PHILOSOPHY by Heru Setepenra Heq-m-Ta Department of African American Studies December 2016 Examining Committee Members: Dr. Nathaniel Norment, Jr., Advisory Chair, African American Studies, Temple University Dr. Greg Kimathi Carr, Afro-American Studies, Howard University Dr. Abu Shardow Abarry, African American Studies, Temple University Dr. Wilbert Jenkins, History, Temple University Dr. Mario Hollis Beatty, External Member, Afro-American Studies, Howard University © Copyright 2016 by Heru Setepenra Heq-m-Ta All Rights Reserved ii ABSTRACT The utilization of natural elements of the earth to remedy corporeal maladies dates back to the medical systems of ancient Nile Valley culture. Given the continuity and intergenerational transmission of knowledge evident in African expressions of culture, these olden naturalistic health techniques, throughout time, have continuously been used as therapeutic modalities by posterior African cultures—both continental and Diasporic. Due to its tripartite approach to healing—of mind, body and spirit— this age-old African healing tradition has gained popularity in contemporary times and is commonly known today as the locution: holistic health. The principal objective of this intellectual project is to reveal an unbroken genealogy of a thriving Africana holistic health tradition upheld by both advocates and practitioners in the field. Notwithstanding the current state of health of Africans residing in the United States, the praxis of these ancient healing customs is extant within communities which the population is predominately African. -
Rock Music Lyrics As Postmodern Poetry: Gentle Giant 'Realization'
Martin Neef (Braunschweig, Germany) Rock music lyrics as postmodern poetry: Gentle Giant 'Realization' 1. Introduction: Rock music and rock music poetry In this paper, I talk about the text Realization of the British rock band Gentle Giant, which has released records in the period from 1970 to 1980. First, I will trace the story of Gentle Giant. Then I will turn to a particular text of this band, Realization. In doing so, I will first try to prove the existence of this text and determine its limits. Then I will go into the basic structure of this text and discuss some of the thematic focuses that I will address in the chapters In a glass house, The game, und Goodbye. In effect, my aim is to argue that Derek Shulman, a member of Gentle Giant, is among the most important postmodern lyricists of the 20th century. Lyrics of rock music are not at the centre of the scientific preoccupation with literary texts. Seriously taken poetry is first and foremost written poetry. This applies at least to contemporary poetry, less to old forms of poetry. I would like to plead for rock music in general and rock music lyrics in particular to be regarded as an art form to be taken seriously in cultural studies. If postmodernism is first and foremost a historical epoch, it can undoubtedly be said that rock music is one of the genres that has experienced the greatest boom in this epoch. If the term postmodernism is to be defined more in content than in history, one should at least be prepared to concede the grade postmodern to some works of rock music. -
Artist / Bandnavn Album Tittel Utg.År Label/ Katal.Nr
ARTIST / BANDNAVN ALBUM TITTEL UTG.ÅR LABEL/ KATAL.NR. LAND LP KOMMENTAR A 80-talls synthpop/new wave. Fikk flere hitsingler fra denne skiva, bl.a The look of ABC THE LEXICON OF LOVE 1983 VERTIGO 6359 099 GER LP love, Tears are not enough, All of my heart. Mick fra den første utgaven av Jethro Tull og Blodwyn Pig med sitt soloalbum fra ABRAHAMS, MICK MICK ABRAHAMS 1971 A&M RECORDS SP 4312 USA LP 1971. Drivende god blues / prog rock. Min første og eneste skive med det tyske heavy metal bandet. Et absolutt godt ACCEPT RESTLESS AND WILD 1982 BRAIN 0060.513 GER LP album, med Udo Dirkschneider på hylende vokal. Fikk opplevd Udo og sitt band live på Byscenen i Trondheim november 2017. Meget overraskende og positiv opplevelse, med knallsterke gitarister, og sønnen til Udo på trommer. AC/DC HIGH VOLTAGE 1975 ATL 50257 GER LP Debuten til hardrocker'ne fra Down Under. AC/DC POWERAGE 1978 ATL 50483 GER LP 6.albumet i rekken av mange utgivelser. ACKLES, DAVID AMERICAN GOTHIC 1972 EKS-75032 USA LP Strålende låtskriver, albumet produsert av Bernie Taupin, kompisen til Elton John. HEADLINES AND DEADLINES – THE HITS WARNER BROS. A-HA 1991 EUR LP OF A-HA RECORDS 7599-26773-1 Samlealbum fra de norske gutta, med låter fra perioden 1985-1991 AKKERMAN, JAN PROFILE 1972 HARVEST SHSP 4026 UK LP Soloalbum fra den glimrende gitaristen fra nederlandske progbandet Focus. Akkermann med klassisk gitar, lutt og et stor orkester til hjelp. I tillegg rockere som AKKERMAN, JAN TABERNAKEL 1973 ATCO SD 7032 USA LP Tim Bogert bass og Carmine Appice trommer. -
Proclamation-6.Pdf
2 Proclamation, the Occasional Gentle Giant Magazine Proclamation, the Occasional Gentle Giant Magazine 3 Quite a few of you have been asking about bootleg PROCLAMATION audience tapes, so I MEMORIES OF Trondheim, Norway, January 1997 Welcome back, my friends, to a new issue of Proclamation. thought it might be best to give you some idea of what you might find out OLD DAYS: Proclamation 6 was meant to feature text, I still felt that the issue needed there in the mill. My good David Armas' impressive work finding more than David's article and also that as many Gentle Giant concerts that had we needed to clean up everything about friend Bolle Gregmar, a been taped as possible. At the time he the facts. In the end the issue was laid transplanted Swede who began the detective work there was aside because of other commitments of THE AUDIOTAPES little known about any tapes and the various sorts. It was never intended to now makes his home here collector network was very small. No be that way, but it was hard to continue by David Armas and Bolle Gregmar the work. Then David suddenly died, in LA, remembers the companies had as yet shown any mislabeled with the wrong dates and variables of the songs contents thereof. without seeing his work finished. interest in releasing tapes from this half- group's transformation venues, had multiple shows put on the Time is indicated by minutes/seconds forgotten band from the 70s. same tape, repeat shows labeled as other and not all run times are accurate. -
The Voice of New Music
TOM Title The Voice of New Music by Tom Johnson New York City 1972-1982 JOHNSON A collection of articles originally published in the Village Voice Author Tom Johnson Drawings HE OICE Tom Johnson (from his book Imaginary Music, published by Editions 75, 75, rue T V de la Roquette, 75011 Paris, France) Publisher Editions 75 Editors OF NEW Tom Johnson, Paul Panhuysen Coordination HélènePanhuysen Word processing MUSIC Marja Stienstra NEW YORK CITY 1972 - 1982 File format translation Matthew Rogalski A COLLECTION OF ARTICLES ORIGINALLY PUBLISHED IN THE VILLAGE VOICE Digital edition Javier Ruiz Reprinted with permission of the author and the Village Voice ©1989 All rigths reserved [NEW DIGITQL EDITION BASED IN THE 1989 EDITION BY HET APOLLOHUIS] [Het Apollohuis edition: ISBN 90-71638-09-X] for all of those whose and for all that I ideas and energies learned from them became the voice of new music, Editions 75, 75 rue de la Roquette, 75011 PARIS http://www.tom.johnson.org/ Preface Index Introduction Index Index 1972 Index 1973 Index 1974 Index Index 1975 Index 1976 Index 1977 Index Index 1978 Index 1979 Index Index 1980 Index 1981 Index 1982 Music Columns in the Voice Editions 75, 75 rue de la Roquette, 75011 PARIS http://www.tom.johnson.org/ the Western musical tradition and to remove the barriers between different cultures and various artistic disciplines. That process is still in full swing. Therefore it is of interest today to read how that process was triggered. Tom Johnson has been the first champion of this new movement in music. -
Autobiography of Lee De Forest
Father of Radio THE autobiography OF Lee de Forest r9fo WilcoxFollett Co. CHICAGO EDITORS: Linton J. Keith Arthur Brogue DESIGNER: Stanford W. Williamson COPYRIGHT, 1950, BY Wilcox & Follett Co. Chicago, Ill. All rights in this book are reserved. No part of the text may be reproduced in any form without permission of the publisher, except brief quotations used in con- nection with reviews in magazines or newspapers. PRINTED IN THE UNITED STATES OF AMERICA Father of Radio I Dedication To my old comrades and associates in the forgotten days of Wireless -to my eager assistants in the early years of the Audion and of Radio- broadcasting-to the multitudes of young men and women who loved, as I have loved, the long night hours of listening to distant signals and far-off voices-to the keen engineers who hastened to grasp the new elec- tronic tools I laid before them, creating therewith a vast new universe- to the United States Navy, which was always prompt to use my new wireless and radio devices, whose operators heard my first radiobroadcast, and whose Admirals never failed to give me welcome encouragement when it was most sorely needed-to the United States Signal Corps, whose Chiefs and Officers have from the beginning continued to be friend and guide-to the Bell Laboratories engineers who first saw the worth of the Audion amplifier-to the radio announcers who must speak what is writ- ten though their hearts be not always therein-to the brilliant pioneers in our latest miracle of Television-to the partner of my earliest wireless ex- periments, E.