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Nathan Mensah MAMT Thesis.Pdf
Preparing for the future: A description of client music preferences and musical preparedness of music therapists by Nathan A. Mensah, MT-BC A Thesis Submitted in Partial Fulfillment of the Requirement For the Master of Arts Degree Master of Arts in Music Therapy Program in the Departments of Graduate Studies and Music and Theatre Saint Mary-of-the-Woods College Saint Mary-of-the-Woods, Indiana May, 2019 Abstract Music therapists often use client-preferred music in order to build rapport with clients, decrease their anxiety, increase relaxation, and increase overall efficacy of music interventions. The American Music Therapy Association states music therapists are required to play a wide variety of genres for use in sessions. Client’s musical tastes have grown diverse due to music streaming, and some music therapists may not have the musical skills necessary to recreate these styles in sessions. Currently, there is no data to show which genres and music styles are most commonly requested by their clients, or data to show which genres music therapists feel musically prepared or unprepared to use in sessions. A survey was used to collect data from board-certified music therapists to ask about which genres their clients most commonly request, as well as which genres they feel musically prepared using in sessions. The survey’s findings were that client’s most frequently requested Children’s, Classic Country, Classic Rock, Gospel, Hymn, Oldies, and Pop Music. Respondents reported to feeling most musically prepared to use genres that were most frequently requested by their clients. Music therapists reported not feeling musically prepared to use genres associated with World Music cultures or genres requiring use of electronic or synth- based instruments such as Bachata, EDM, Funk, Heavy Metal, Hip Hop/Rap, J-Pop, K-Pop, Latin Hip Hop/Latin Rap, Latin Pop, Merengue, Punk, Reggaeton, Salsa, Ska, Trap, and Video Game Music. -
Drum Free Score
Drum free score click here to download I have included a list of some of the best free drum sheet music websites that have hundreds, if not thousands of drum tabs and sheet music out there. Some of. Virtual Drumming is a hub for free drum sheet music where you can play and learn through pdf sheets about virtual percussion. On www.doorway.ru you will. If you are looking for free drum sheet music, then you're in the right place! There are . Episode #4: All The Small Things By Blink Drum Score (Request 4). Free scores for drums, percussion. Partituras gratuitas para tambores, tam-tam, djumbe, congas. Looking for free drum transcriptions from all your favourite bands? Then look no further. Our databse of professionally produced drum charts will give you plenty. Drums free sheet music library and directory! Thousands of free sheet music downloads, music lessons, musician tips, and musical articles. Free Free Drums Sheet Music sheet music pieces to download from www.doorway.ru Collection of sheet music for drum kit (pdf format). Free Drum Sheet Music at www.doorway.ru drum music titles updated daily, largest online drum tab collection. Does anyone know any good websites with free drum sheet music? Keep in mind, Im looking for FREE, not one of those websites, where you. www.doorway.ru is the #1 source for free marching percussion sheet music, lessons and recordings! The best place to find Drum Sheet Music – Sheet Music - Drum Scores - Drum Tab, Drum Music Transcription | Search Drum Scores, Free Drum Tabs, Free. -
Flower Drum Song Little Theatre on the Square
Eastern Illinois University The Keep 1961 Shows Programs 1961 Summer 8-22-1961 Flower Drum Song Little Theatre on the Square Follow this and additional works at: http://thekeep.eiu.edu/little_theatre_1961_programs Part of the Theatre History Commons Recommended Citation Little Theatre on the Square, "Flower Drum Song" (1961). 1961 Shows Programs. 1. http://thekeep.eiu.edu/little_theatre_1961_programs/1 This Book is brought to you for free and open access by the 1961 at The Keep. It has been accepted for inclusion in 1961 Shows Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. "Central Illinois' Only Professional Equity Music Theatre" Fifth Season .h July 7th Through August 27th, 1961 Air-conditioned Grand Theatre * On the Square * Sullivan ? Guy S. Llttle, Jt. Ptassnts ! '4 RODGERS & HAMMERSTEIN'S 1 "FLOWER DRUM SONG' I August 22nd through August 27th, 1961 Who's Who in the Cast . SYLVIA COPELAND (Linda Low) re- RUSTY DORE (Sammy Fong) has been a creates the vital fun-loving Linda for the third popular performer on Broadway, TV, records, time, havinf peiformed this role previous1 at sup er clobs and summer stock. Rusty appeared the South hore Music Theatre and the dan- on sroadway with Mae West in her production nis Melody Tent in Massachusetts. Miss Cope- of DIAMOND LIL and toured the country aa land is. a versatile performer displaying talent the bookie in BELLS ARE RINGING.. We was . as a slnger. actress and pianist. Her many recently seen off-Broadway as Jake in THE cabaret and hotel singing- en agements have THREEPENNY OPERA at the Theatre DeLys taken her from Boston to ~razi?,with stops at and as the student in the Yiddish Art Theatre's Miami Beach. -
Exploring Queer Expressions in Mens Underwear Through Post Internet Aesthetic As Vaporwave
Mens underwear :Exploring queer expressions in mens underwear through post internet aesthetic as Vaporwave. Master in fashion design Mario Eurenius 2018.6.09. 1. Abstract This work explores norms of dress design by the use of post internet aesthetics in mens underwear. The exploration of underwear is based on methods formed to create a wider concept of how mens underwear could look like regarding shape, color, material and details. Explorations of stereotypical and significant elements of underwear such as graphics and logotypes has been reworked to create a graphical identity bound to a brand. This is made to contextualize the work aiming to present new options and variety in mens underwear rather than stating examples using symbols or stereotypic elements. In the making of the examples for this work the process goes front and back from digital to physical using different media to create compositions of color, graphic designs and outlines using transfer printer, digital print, and laser cutting machine. Key words: Mens underwear, graphic, colour, norm, identity, post internet, laser cut. P: P: 2 Introduction to the field 3 Method 15 What is underwear? 39 Shape, Rough draping Historical perspective 17 Male underwear and nudity 41 From un-dressed to dressed 18 Graphics in fashion and textiles 42 Illustrator sketching 19 Differencesin type and categories of mensunderwear 43 shape grapich design 2,1 Background 3.1 Developement 45 collection of pictures 49 Colour 20 Vaporwave 50 Rough draping Japanese culture 21 Mucis 55 Rough draping 2 22 -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Issue No. 39 September/October 2016 3 Videogames Have Become Bonafide EYE Entertainment Franchises
Press Play LÉON Lewis Del Mar Luna Aura Marshmello NAO and more THE STORM ISSUE NO. 39 REPORT SEPTEMBER/OCTOBER 2016 TABLE OF CONTENTS 4 EYE OF THE STORM Press Play: How videogames could save the music industry 5 STORM TRACKER Roadies Roll Call, Kiira Is Killing It, The Best and the Brightest 6 STORM FORECAST What to look forward to this month. Award Shows, Concert Tours, Album Releases, and more 7 STORM WARNING Our signature countdown of 20 buzzworthy bands and artists on our radar. 19 SOURCES & FOOTNOTES On the Cover: Martin Garrix. Photo provided by management ABOUT A LETTER THE STORM FROM THE REPORT EDITOR STORM = STRATEGIC TRACKING OF RELEVANT MEDIA Hello STORM Readers! The STORM Report is a compilation of up-and-coming bands and Videogames have become a lucrative channel artists who are worth watching. Only those showing the most for musicians seeking incremental revenue promising potential for future commercial success make it onto our as well as exposure to a captive and highly monthly list. engaged audience. Soundtracks for games include a varied combination of original How do we know? music scores, sound effects and licensed tracks. Artists from Journey (yes, Journey) Through correspondence with industry insiders and our own ravenous to Linkin Park have created gamified music media consumption, we spend our month gathering names of artists experiences to bring their songs to visual who are “bubbling under”. We then extensively vet this information, life. In the wake of Spotify announcing an analyzing an artist’s print & digital media coverage, social media entire section of its streaming platform growth, sales chart statistics, and various other checks and balances to dedicated to videogame music, we’ve used ensure that our list represents the cream of the crop. -
The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
Music Concentration Requirements Writing in the Student’S Concentration File in ASK
Music 1 ● One upper-level course in musicology or ethnomusicology Music ● Any three upper-level courses, including graduate-level courses Additional Electives (according to student interest) Four additional elective courses, may include: Chair ● Up to four half-credit courses in performance - AMP music instruction Emily I. Dolan and/or Ensemble Participation (2 credits) ● Up to two courses outside of the department The study of music—a phenomenon known to all people in all ages— ● One music course below the 1000 level lies naturally at the heart of a liberal education. The Department of Music at Brown provides an ideal environment for such an education, with its Senior Project integrated faculty of scholars, performers, composers, and theorists. All music concentrators will choose a culminating experience for their The curriculum of the Department of Music combines studies in history, senior year, either a capstone project or honors project. This may take theory, ethnomusicology, and musicianship with courses in composition, the form of a performance, scholarly study, or original creative work. All technology, and performance. Application merges with analysis, creation students will have a primary advisor for their Senior Project. The work may with cultural study, and multimedia experiments with broad meditations on be done independently of a course for credit, as an independent study, or sound, in a unique department that welcomes all. within the framework of an existing course. For additional information, please visit the department's website: https:// Additional Notes www.brown.edu/academics/music/ All concentration substitutions and/or exceptions must be approved by the concentration advisor in consultation with the Director of Undergraduate Studies. -
The Wiki Music Dataset: a Tool for Computational Analysis of Popular Music
The Wiki Music dataset: A tool for computational analysis of popular music Fabio Celli Profilio Company s.r.l. via sommarive 18, 38123 Trento, Italy Email: fabio@profilio.co Abstract—Is it possible use algorithms to find trends in monic and timbral properties that brought changes in music the history of popular music? And is it possible to predict sound around 1964, 1983 and 1991 [14]. Beside these research the characteristics of future music genres? In order to answer fields, there is a trend in the psychology of music that studies these questions, we produced a hand-crafted dataset with the how the musical preferences are reflected in the dimensions intent to put together features about style, psychology, sociology of personality [11]. From this kind of research emerged the and typology, annotated by music genre and indexed by time MUSIC model [20], which found that genre preferences can and decade. We collected a list of popular genres by decade from Wikipedia and scored music genres based on Wikipedia be decomposed into five factors: Mellow (relaxed, slow, and ro- descriptions. Using statistical and machine learning techniques, mantic), Unpretentious, (easy, soft, well-known), Sophisticated we find trends in the musical preferences and use time series (complex, intelligent or avant-garde), Intense (loud, aggressive, forecasting to evaluate the prediction of future music genres. and tense) and Contemporary (catchy, rhythmic or danceable). Is it possible to find trends in the characteristics of the genres? Keywords—Popular Music, Computational Music analysis, And is it possible to predict the characteristics of future genres? Wikipedia, Natural Language Processing, dataset To answer these questions, we produced a hand-crafted dataset with the intent to put together MUSIC, style and sonic features, I. -
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3. -
Music & Film Memorabilia
MUSIC & FILM MEMORABILIA Friday 20th March at 4pm On View Thursday 19th March 10am-7pm and from 9am on the morning of the sale Catalogue website: WWW.LSK.CO.UK Results available online approximately one hour following the sale Buyer’s Premium charged on all lots at 20% plus VAT Live bidding available through our website (3% plus VAT surcharge applies) Image this page: 528 Chartered Surveyors Glenn Pearl – Music & Film Memorabilia specialist 01284 748 625 Land & Estate Agents Tel: [email protected] Auctioneers & Valuers Email: 150 YEARS est. 1869 www.lsk.co.uk C 501 505 510 A late 19th century French violin, having a two A Columbia portable wind-up gramophone, 40 x A Honer Verdi I piano accordion, in fitted case. piece maple back, with ebony finger board and 28cm. £20-40 rosewood pegs, bearing a label for T. Baur, Luthier, £30-50 Mirecourt 1899, 36cm (excluding button.) 511 £200-300 506 A Fender Squier Strat electric guitar in black with A 1920’s mahogany cased Dulcetto table top white scratch plate no. ICS 11134095 with soft 502 gramophone, patent no. 10497, 46 x 52cm, carry case, together with a Fender Frontman A Hall Gisborne Defiance B electroplated two together with various gramophone records. (2) 15G amplifier. (2) piece trombone, no. 18052, in fitted case bearing £40-60 £60-80 a label for Bloomfield & Co., 7 Rosebery Road, Ipswich. 507 512 £30-50 A Baile piano accordion, in fitted case. A Thorens TD 166 turntable, w.43, d.34, h.15cm. £30-50 £40-60 503 A late 19th century simulated rosewood cased 508 513 music box, the 5 inch cylinder playing eight airs, A pair of Boosey & Co Ltd rosewood two piece A Quad 33 pre-amp, serial no. -
The Underrepresentation of Female Personalities in EDM
The Underrepresentation of Female Personalities in EDM A Closer Look into the “Boys Only”-Genre DANIEL LUND HANSEN SUPERVISOR Daniel Nordgård University of Agder, 2017 Faculty of Fine Art Department of Popular Music There’s no language for us to describe women’s experiences in electronic music because there’s so little experience to base it on. - Frankie Hutchinson, 2016. ABSTRACT EDM, or Electronic Dance Music for short, has become a big and lucrative genre. The once nerdy and uncool phenomenon has become quite the profitable business. Superstars along the lines of Calvin Harris, David Guetta, Avicii, and Tiësto have become the rock stars of today, and for many, the role models for tomorrow. This is though not the case for females. The British magazine DJ Mag has an annual contest, where listeners and fans of EDM can vote for their favorite DJs. In 2016, the top 100-list only featured three women; Australian twin duo NERVO and Ukrainian hardcore DJ Miss K8. Nor is it easy to find female DJs and acts on the big electronic festival-lineups like EDC, Tomorrowland, and the Ultra Music Festival, thus being heavily outnumbered by the go-go dancers on stage. Furthermore, the commercial music released are almost always by the male demographic, creating the myth of EDM being an industry by, and for, men. Also, controversies on the new phenomenon of ghost production are heavily rumored among female EDM producers. It has become quite clear that the EDM industry has a big problem with the gender imbalance. Based on past and current events and in-depth interviews with several DJs, both female and male, this paper discusses the ongoing problems women in EDM face.