DOCSLIB.ORG

When the Bassline Drops Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
When the Bassline Drops Free Download When the bassline drops free download CLICK TO DOWNLOAD Stream FREE DOWNLOAD: Craig David & Big Narstie - When The Bassline Drops (Joe Hunt Remix) by Joe Hunt Production Page from desktop or your mobile device. big bassline. TZ Comment by Deejay-Cheksta DnB. sick. TZ Buy When the bassline drops - Jamie Duggan & Booda remix - FREE DOWNLOAD. Users who like When the bassline drops - Jamie Duggan & Booda remix - FREE DOWNLOAD; Users who reposted When the bassline drops - Jamie Duggan & Booda remix - FREE DOWNLOAD. The free bassline loops, samples and sounds listed here have been kindly uploaded by other users. If you use any of these bassline loops please leave your comments. Read the loops section of the help area and our terms and conditions for more information on how you can use the loops. Grab your free download of When the Bassline Drops (Vokee Remix) by Craig David x Big Narstie on Hypeddit. Grab your free download of When the Bassline Drops (Vokee Remix) by Craig David x Big Narstie on Hypeddit. We use cookies for various purposes including analytics. By . Watch the video for When The Bassline Drops from Craig David's When The Bassline Drops for free, and see the artwork, lyrics and similar artists. Plus your entire music library on all your devices. Craig David has returned with a new track ahead of his sixth album release next year. ‘When The Bassline Drops’ is a collaboration with grime MC Big Narstie and premiered on BBC Radio 1Xtra. Craig has released the 'Ravers Edition' of his new single. Craig David has revealed the video for the 'Ravers Edition' of his new single ‘When The Bassline Drops’ featuring Big Narstie. Bassline Drop - Minimal Mix Snøz. 0 videos. Discover. QR CODE. Point your camera at the QR code to download TikTok. 27/11/ · Listen free to Craig David – When The Bassline Drops (When The Bassline Drops). 1 track (). Discover more music, concerts, videos, and pictures with the largest catalogue online at . 11/11/ · The bassline samples are supplied in a zip file, so you'll need to extract them before you can see them. Enjoy! Example sounds. Beat Beat Bass loop 4. Bass loop Bassline samples: click to download. Bassline samples (87MB) These samples originally appeared on Future Music magazine's cover DVD. Check out the latest issue for many more. Craig has finally revealed the official video. After weeks of teasing, Craig David has revealed the official visuals for his new single ‘When The Bassline Drops’ featuring Big Narstie. Bassline House / Speed Garage / 4x4 dj mixes & sets by Bassline House / Speed Garage / 4x4 DJ's from around the world. Download the latest Bassline House / Speed Garage / . 15/09/ · Focus on the bassline itself during the drop; you can bring in other melodies and vocals later in the track. Use the main bassline riff of your track for the drop. The bass drop is the most iconic part of a track, and, especially in a dubstep track, is often the track's "hook." Layer different bass synthesizers to create a full, rich sound for. Download our library of free bass drop sound effects to use for your next film project. Available renuzap.podarokideal.ru3 &.WAV formats. Grab your free download of When the bassline drops Jamie Duggan Booda remix FREE DOWNLOAD by Jamie Duggan on Hypeddit. Our newest offering is % License Free and will work in any modern Daw. Trip out on Dirty Bass lines, Distorted Basslines, Sub Drops and Bass Fx. All the riffs and sounds were made from the ground up so your insured to have a fresh sound set no matter which Bassline you use and abuse. 3) After a succesfull upload you'll receive a unique link to the download site, which you can place anywhere: on your homepage, blog, forum or send it via IM or e-mail to your friends. renuzap.podarokideal.ru is completely free, reliable and popular way to store files online. It has awesome drops, useful transitions, Sweep down & UP, stunning soundscapes and.. WAV - 32 BIT / Acid Bassline Loops Collection 2: There is a big part Free Vst Plugins from most advanced Developers in the world. all Vst Plug-ins are Free for Download and Adjusted to Microsoft Operating system and for Mac. Plus, if you’re looking for a free download of Royalty-Free audio loops, don’t forget that you get GB of free loops when you sign up to our weekly newsletter. You’ll be among the first to find out about our latest deals, new arrivals, blog posts, industry news and so on. Download Drop The Bassline records music label songs, singles and albums on MP3. Over one million legal MP3 tracks available at Juno Download. Drop The Bassline. Everybody love the drop! FX Drops is a collection of heavy-handed impacts that can be used at the climax of the build or make a statement at the end of your track. These are extremely useful when getting the crowds attention. Features: 50 Hard hitting impacts Royalty Free! More Info. Bass Drops Sound Kit perfect for any music producer that is looking to download free sounds, because finding bass elements online can be a real pain. This sound kit is a free download. 09/08/ · DJ Drops 24/ This DJ Drops 24/7 DJ Drop Samples Pack is a free (non-commercial) use DJ Drop sample pack from DJ Drops 24/7! If any of the included DJ Drops are used or posted online, credit and a link to our website must be used. To purchase full commercial license for these DJ Drops, head to DJ Drops 24/7 - Custom DJ Drops, DJ Intros, DJ Name Tags, and more! renuzap.podarokideal.ru is proud to offer a wide range of sample pack genres to our valued customers. Our large selection of bassline samples packs and loops for download give you the professional edge required to enhance your bassline music. So don’t go another day without adding these bassline packs to your collection. 01/09/ · Drop the Bassline Podcast ft. iNexus. An icon used to represent a menu that can be toggled by interacting with this icon. The interface is simple, organized and easy to follow. The effects, envelopes, oscillators, LFOs and filters all have their own drop down menus for an easy workflow. And it even has a built in step sequencer! Download Synister For Free. The bassline bottomline. A good bassline can make or break a track. Finding the best one for your track can. You can listen to the original song on Spotify: renuzap.podarokideal.ru?si=HLpGp3CsRzukPbXdZVpxnQ Itunes: renuzap.podarokideal.ru bassline sounds () Most recent Oldest Shortest duration Longest duration Any Length 2 sec 2 sec - 5 sec 5 sec - 20 sec 20 sec - 1 min > 1 min All libraries Monster X Andrew Potterton Stuart Duffield Samplefarm Mike Dred make this noise SI BEGG Genji Siraisi M - Idea DMX Krew The Widdler Dom Kane Don Goliath Echotek BLASTWAVE FX Eat Static. 07/05/ · meri website: renuzap.podarokideal.ru _____Buy On Amazon_____ cheapest 4G Smart phone under Rs {1} Xolo Era 2 4G with volte: http://amzn. Download and listen to new, exclusive, electronic dance music and house tracks. Available on mp3 and wav at the world’s largest store for DJs. This is an example of the bassline pattern used in old-school Progressive House Tracks. The bass hits simultaneously with the chords. Also, as the focus is on the chord progression, the bass is kept simple in terms of both its pattern and its sound characteristics. It is a basic resonated square wave playing a steady 1/8 pattern. TEMPO: BPM. STEP 1 – Create a new clip, one bar long. Freeloopsdownload website offers 1,s of Royalty-Free Loops, Samples and Sounds Sets for Vst Plugins, it's a business of selling download able Products. it is intended for Musicians, Music Producers, Composers, Film editors and Web Designers.. and use the inspiration supplied from some of the worlds Top Djs and Producers to take your music. Future Bass Drops by NoDusk Free Serum Presets, Samples, Loops.. Home; Downloads; Blog; TOS; Free Sample Packs; Marketed by a Google Ads AgencyGoogle Ads Agency. Nigel Hard - Kill Me with the Bassline remixes. Listen and stream remixes of Kill Me with the Bassline for free! Free streaming is available for Kill Me with the Bassline official remixes, promotional mixes and also unofficial and bootleg renuzap.podarokideal.ru Quality MP3 (kbps) and WAV ( or kbps) are available for downloads. If you like Kill Me with the Bassline from Nigel Hard, do check. c centre st s. Make something awesome. Go to the Bassline Mixer Track and drop a Fruity Limiter to it’s fx slot and set it as follows (I’m using low Ratio () so that the sidechain compression effect is not too ‘pumpy’ as I want the bassline to have that psy-trance type of hypnotic ‘drive’ more than that modern trance-like pumping sound). bass drop trap lite free download - Bass Drop, Trap Maze Lite, Bass Drop Drum and Bass - Sampler, loop station and keyboard synthesizer, and many more programs. 26/06/ · r/bassline: A subreddit dedicated to Bassline, a British electronic genre (sometimes referred to as bassline house, organ house, Niche or 4x4) . 29/06/ · He takes the original D'n'B track and turns it into a bassline house anthem that is sure to ramp up any crowd. Jauz has low key been dropping it in ..
Load more

Recommended publications
  • Electronic Dance Music
    Electronic Dance Music Spring 2016 / Tuesdays 6:00 pm – 9:50 pm Taper Hall of the Humanities, 202 MUSC 410, 4.0 Units Instructor: Dr. Sean Nye Email: [email protected] Office Hours: Tuesdays, 3–5 p.m. in 305 MUS Description: In this decade, Electronic Dance Music (EDM) has experienced an extraordinary renaissance in the United States, both in terms of music and festival culture. This development has not only surprised and fascinated the popular press, but also long-established EDM scholars and protagonists. Some have gone so far as to claim that EDM is the music of the Millennial Generation. Beyond these current developments, EDM’s history – as disco, house, techno, rave, electronica, etc. – spans a broader chronology from the 1970s to the present. It involves multiple intersections with the music and cultures of hip-hop and reggae, among others. In this course, we will examine EDM through a dual perspective emerging from our present moment: (1) the history of global EDM, especially in Europe and the United States, between the 1970s and the 2000s, and (2) current EDM scenes in Los Angeles and beyond. To address this perspective, we will carefully read from Simon Reynolds’s classic history of rave culture, Energy Flash: A Journey Through Rave Music and Dance Culture. Additional readings will include selections from a newly published history of American EDM, Michaelangelo Matos’s The Underground is Massive: How Electronic Dance Music Conquered America. We will also have guest speakers to discuss a range of EDM cultural practices and issues. Objectives: As a course open to non-music majors, this class will attempt to enrich our experiences and critical engagement with EDM.
    [Show full text]
  • Text-Based Description of Music for Indexing, Retrieval, and Browsing
    JOHANNES KEPLER UNIVERSITAT¨ LINZ JKU Technisch-Naturwissenschaftliche Fakult¨at Text-Based Description of Music for Indexing, Retrieval, and Browsing DISSERTATION zur Erlangung des akademischen Grades Doktor im Doktoratsstudium der Technischen Wissenschaften Eingereicht von: Dipl.-Ing. Peter Knees Angefertigt am: Institut f¨ur Computational Perception Beurteilung: Univ.Prof. Dipl.-Ing. Dr. Gerhard Widmer (Betreuung) Ao.Univ.Prof. Dipl.-Ing. Dr. Andreas Rauber Linz, November 2010 ii Eidesstattliche Erkl¨arung Ich erkl¨are an Eides statt, dass ich die vorliegende Dissertation selbstst¨andig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt bzw. die w¨ortlich oder sinngem¨aß entnommenen Stellen als solche kenntlich gemacht habe. iii iv Kurzfassung Ziel der vorliegenden Dissertation ist die Entwicklung automatischer Methoden zur Extraktion von Deskriptoren aus dem Web, die mit Musikst¨ucken assoziiert wer- den k¨onnen. Die so gewonnenen Musikdeskriptoren erlauben die Indizierung um- fassender Musiksammlungen mithilfe vielf¨altiger Bezeichnungen und erm¨oglichen es, Musikst¨ucke auffindbar zu machen und Sammlungen zu explorieren. Die vorgestell- ten Techniken bedienen sich g¨angiger Web-Suchmaschinen um Texte zu finden, die in Beziehung zu den St¨ucken stehen. Aus diesen Texten werden Deskriptoren gewon- nen, die zum Einsatz kommen k¨onnen zur Beschriftung, um die Orientierung innerhalb von Musikinterfaces zu ver- • einfachen (speziell in einem ebenfalls vorgestellten dreidimensionalen Musik- interface), als Indizierungsschlagworte, die in Folge als Features in Retrieval-Systemen f¨ur • Musik dienen, die Abfragen bestehend aus beliebigem, beschreibendem Text verarbeiten k¨onnen, oder als Features in adaptiven Retrieval-Systemen, die versuchen, zielgerichtete • Vorschl¨age basierend auf dem Suchverhalten des Benutzers zu machen.
    [Show full text]
  • BEAUTIFUL NOISE Directions in Electronic Music
    BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape.
    [Show full text]
  • Ministry of Sound the House That Garage Built Cd
    Ministry of sound the house that garage built cd The House That Garage Built Minimix. Ministry of Sound. Loading. As an original 93 kiss fm listener this. Find a Various - The House That Garage Built first pressing or reissue. Ministry Of Sound – MOSCD Format: 3 × CD, Compilation, Mixed. This item:The House That Garage Built by Various Artists Audio CD £ Label: Ministry of Sound; ASIN: B00L5QKAKI; Other Editions: Audio CD | MP3. Find album reviews, stream songs, credits and award information for The House That Garage Built - Various Artists on AllMusic - This epic 3 CD album encapsulates the sounds of original UK Garage, New York inspired House through to the evolution of today's new skool House hits plus all. Buy The House That Garage Built from our CDs range at Tesco direct. We stock a great range of products at everyday prices. Clubcard points on every order. Ministry of Sound: The House That Garage Built. by Various Artists. Publication date Language English. See also MusicBrainz (release). Stream The House That Garage Built Minimix by Ministry of Sound from desktop or your mobile device. Various Artists-The House That Garage Built CD Box set Very Good. £ item 1 - Ministry Of Sound UK Presents - House That Garage Built. £ Buy it now. Purchase The House That Garage Built by Ministry of Sound on CD online and enjoy having your favourite Dance & Electronic music delivered. Ministry Of Sound - The Annual Box set Various Artists [3 X CD] MINISTRY OF SOUND ONE - 3 X CDS HOUSE GARAGE TRANCE 90S OLDSKOOL. Ministry of Sound presents The House That Garage Built.
    [Show full text]
  • 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.
    [Show full text]
  • Dance Music Manual This Page Intentionally Left Blank Dance Music Manual Tools, Toys and Techniques
    Dance Music Manual This page intentionally left blank Dance Music Manual Tools, Toys and Techniques Second Edition Rick Snoman AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 2009 Copyright © 2009, Rick Snoman. Published by Elsevier Ltd. All rights reserved The right of Rick Snoman to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system or transmit- ted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone ( ϩ 44) (0) 1865 843830; fax ( ϩ 44) (0) 1865 853333; email: [email protected]. Alternatively you can submit your request online by visiting the Elsevier website at http://elsevier.com/locate/permissions, and selecting Obtaining permission to use Elsevier material Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein British Library Cataloguing in Publication Data snoman, Rick The dance music manual : tools, toys and techniques.
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • Felix Issue 1074, 1997
    ELECTION RESULTS NEW SECTION FEATURE Underground The full story Student Radio music, dance pages 1 2 Network and clubs And Then There Were Four... Imperial College was unlikely that the students have fraud was part of any finally elected a kind of organised cam- president and paign, but rather "more deputy president likely by accident than (clubs and soci- by design". The defeat- eties). At the fourth ed candidate, Mark time of asking, Baker, also said that he Andrew Heeps was was satisfied that the returned as presi- result was reached dent and Charlie fairly. Joynt DP(CS^) Several people Tuesday evening. have privately voiced The results were concerns over the dominated by a medical block vote. cross-campus med- Whilst it was elsewhere ical block vote. noted that the South Andrew Heeps, a Kensington/medical third year medic divide was disappoint- from the Charing ing, the conclusion on Cross site of ICSM, who to vote for polled 57% of the appears to have been overall vote, in com- reached by a split deci- parison to the South Charlie |oynt, the new Deputy President {CSS} back to sion in an unofficial Kensington based back with Andy Heeps, now the President of ICU. St. Mary's executive candidate Mark Inset: Rob Clark (DP F&S) and Jeremy Thomson (Felix committee meeting. Baker (Computing Editor) elected last March. Main photo: Froggy continues on page 2 UG4), who man- aged only 37.6% of the overall vote, block vote. He expressed sadness despite managing almost 70% of over the South Kensington turnout, the more populated but seemingly only 744 out of nearly well over THIS WEEK'S more apathetic South Kensington 7,000 students.
    [Show full text]
  • Kalbod Goshaie Janrhae Mosighi(Pdf)
    2 ﮐﺎﻟﺒﺪﮔﺸﺎﻳﯽ ژاﻧﺮﻫﺎی ﻣﻮﺳﻴﻘﯽ ﭘﻮرﻳﺎ ﻣﻔﺘﻮن [email protected] 3 ژاھی ه : ر ن :ن ، ر ان وم آور: " ژاھی $#":ل،راک ، ھ$.-پ ، ,+ز،پ و )$ه ه:رن 12ت :/-ان: آ,4$3 ران 1387 12ت ظھی : 184 ص. 978 - 964 - 9353 68- :5- 8, و;9$ :9- ": :$. >ع: $#" ھ= – /ر? و # رده ,ی 4ه : 1387 2 ک 7 مML 3470 A رده ,ی د" : /63 781 =ره ," +" : 1152015 ژاھی ر ن [email protected] ﺷ : آ,4$3 ران ل پ : 1388 پ : اول طا : آرش B زاده و()' و %$#" آرا : E +خ ﺷ+رن : 2000 2 F$=9 : 3200 /ن =ره ,8: 5- 8- 93536 - 964 - 978 [email protected] " آ,4$3 ران: /-ان - I$,ن /92 طووس - I$,ن $=د - K زدھL - Jک 12 - واM 4 . 4 =ره /=س: 09126051710 – 88739148 4 , ) 9 9 ---------------------- ------ ----- ---------------------- # /رN2 اي ا,اO از ھ ------------------------ -- -------- -14 -14 دوران رو -------------------------------------------- 21 21 دوران ر$Qم --------------------------------------------- 22 22 :$QKم ------------------------ -------------------------- 22 22 رR $ر در اان ------- --- ----- - 23------------------------ $#S $ Oر Popular ------------- --- --- ------ - 24-------- $#O پ Pop -------------- ------------- --- ---- --------- 28 28 30------------- --- ------- --- ------------------- Trance T/ 31--- --- ------------- -- ------------------------- Techno U/ ,+ز Blues ------------------------------ - -------- ---- ------ 36 36 QWَ ,+ز Jazz blues -------- -------- ------ ---- 37------------- $#Jazz QWَ O ------------------ ---- --- --- ------------- 37-- و$ Progressive Jazz QWَ - ---- -- -- --------- ------- 41 41 Xل Soul --------------------------- --- -- -----
    [Show full text]
  • Data Specifications and Collection V2 ​
    D2.3 – Data specifications and collection v2 ​ st May 31 ,​ 2019 ​ Author/s: Thomas Lidy (MMAP), Rémi Mignot (IRCAM), Manos Schinas (CERTH), Christos Koutlis (CERTH), Vasiliki Gatziaki (CERTH), Polychronis Charitidis (CERTH), Manios Krasanakis (CERTH), Symeon Papadopoulos (CERTH) Contributor/s: Quimi Luzón (BMAT) Deliverable Lead Beneficiary: MMAP This project has been co-funded by the HORIZON 2020 Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use, which may be made of the information contained therein. FuturePulse D2.3 Data specifications and collection v2 2 Deliverable number or D2.3 – Data specifications and collection V2 supporting document title Type Report Dissemination level Public Publication date 31-05-2019 Author(s) Thomas Lidy (MMAP), Rémi Mignot (IRCAM), Manos Schinas (CERTH), Christos Koutlis (CERTH), Vasiliki Gatziaki (CERTH), Polychronis Charitidis (CERTH), Manios Krasanakis (CERTH), Symeon Papadopoulos (CERTH) Contributor(s) Quimi Luzón (BMAT) Reviewer(s) Eva Jaho (ATC), Quimi Luzón (BMAT) Keywords music data, data collection, API, REST, database, music platforms, broadcast data, social media, music content, music knowledge base, data management, data exchange formats Website www.futurepulse.eu CHANGE LOG Version Date Description of change Responsible V0.1 29/03/2019 First deliverable draft version (based on v1) Thomas Lidy (MMAP) V0.2 02/05/2019 Second deliverable draft version Thomas Lidy (MMAP) V0.3 06/05/2019 Additions/comments
    [Show full text]
  • Dancing to Repetitive Beats Hillegonda C. Rietveld
    Machine possession: Dancing to repetitive beats Hillegonda C. Rietveld To be published in: Olivier Julien And Christophe Levaux (Eds) (2018) Over And Over: Exploring Repetition In Popular Music London and New York: Bloomsbury Academic Enter Through a focus on the electronic machine aesthetic in genre variants of techno music, this chapter addresses affective relationships between repetitive beats associated with electronic dance music culture, and a technoculture that is centered on the accelerated data flows of electronic information and communication technologies.1 The argument here is partially underpinned by a consideration of contemporary media forms as “structures of feeling,” which are symptomatic, in that they provide indices of complex social processes . they are also productive, in the sense that do not represent social processes, so much as they participate actively in these processes and help to constitute them. (Shaviro 2010: 2) In this context, media works “are machines for generating affect . They generate subjectivity” (ibid.: 3). An additional cue is taken from the suggestion by Jacques Attali that music is prophetic, articulating social structures as they emerge. Representation against fear, repetition against harmony, composition against normality. It is in this interplay of concepts that music invites us to enter, in its capacity as the herald of organizations and their overall political strategies—noise that destroys orders to structure a new order. (Attali [1977] 1985: 20) Developed in parallel with conceptual thinking about the technoculture, techno music is of particular relevance here. Its musical aesthetic is characterized by the textures of its instrumental electronic sounds (without the emulation, or simulation, of acoustic instruments2), which may, as I argued previously (Rietveld, 2004), be regarded as a type of interface between the human subject and the machine.
    [Show full text]
  • Scary Monsters and Pervasive Slights: Genre Construction, Mainstreaming, and Processes of Authentication and Gendered Discourse in Dubstep
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-18-2013 12:00 AM Scary Monsters and Pervasive Slights: Genre Construction, Mainstreaming, and Processes of Authentication and Gendered Discourse in Dubstep Kyle Fowle The University of Western Ontario Supervisor Keir Keightley The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kyle Fowle 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Fowle, Kyle, "Scary Monsters and Pervasive Slights: Genre Construction, Mainstreaming, and Processes of Authentication and Gendered Discourse in Dubstep" (2013). Electronic Thesis and Dissertation Repository. 1203. https://ir.lib.uwo.ca/etd/1203 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. SCARY MONSTERS AND PERVASIVE SLIGHTS: GENRE CONSTRUCTION, MAINSTREAMING, AND PROCESSES OF AUTHENTICATION AND GENDERED DISCOURSE IN DUBSTEP (Monograph) by Kyle Fowle Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Popular Music and Culture The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Kyle Fowle 2013 ii Abstract This thesis examines discourses on dubstep, a currently popular form of electronic dance music (EDM). The thesis identifies discursive patterns in the received historical narrative of EDM and explores how those patterns may or may not manifest themselves in the current discourses on dubstep.
    [Show full text]