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Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
Uncovering the Cover
Uncovering the Cover Reading Authenticity and Subjectivity in Cover Songs Master thesis in musicology, Institute of Musicology, University of Oslo Spring, 2012 Åste Jensen Sjøvaag Contents Acknowledgements..................................................................................................................................... 3 Chapter 1. Introduction............................................................................................................................... 5 Research questions...................................................................................................................................... 6 The cover song............................................................................................................................................ 9 Theoretical concepts................................................................................................................................. 12 Method - the reading process.................................................................................................................... 24 The music.................................................................................................................................................. 29 Synopsis.................................................................................................................................................... 34 Chapter 2. “Fields of Gold”...................................................................................................................... -
A Banda "STRYPER"
PARTITURA PARA BATERIA DE: Por: Anderson Cleiton Rodrigues “CALLING ON ” 02/2013 BATERA CENTER- SBO/SP. A banda "STRYPER" A banda cristã Stryper, foi formada em 1983 pelos irmãos Michael (vocalista) e Robert Sweet (baterista) e os amigos Oz Fox (guitarrista) e Timothy Gaines (baixista, tecladista), no condado de Orange, Califórnia, E.U .A . É considerada a pioneira do gênero “Metal Cristão”. O nome “Stryper”, é referência a palavra “stripes”, do verso 5 Do capítulo 53 do livro Bíblico de Isaías. " stripes" significa "ferida", ou seja, as marcas causadas pela flagelação que Jesus Cristo viria a sofrer. Discografia: The Yellow and Black Attack (EP 1983), Soldiers Under Command (1985), The Yellow and Black Attack (1986), To Hell with the Devil (1986), In God We Trust (1988), Against the Law (1990), Can’t Stop the Rock (1991), Seven, The Best of Stryper (2003), 7 Weeks: Live in America (2003), Rebom (2005), The Roxx Regime Demos (2007), Murder by Pride (2009), The Covering (2011). Membros Atuais: Michael Sweet (vocal e guitarra), O z Fox (guitarra), Tracy Ferrie, e Timothy Gaines (baixo), Robert Sweet (bateria). Álbum “To hell with the devil” (1986) A música “CALLING ON" A canção pertence ao álbum "To hell with the devil" de 1986, o quarto da banda. Esse disco é considerado o melhor trabalho da banda e do genêro white metal em geral se tornando o ápice musical e comercial do Strype, ficando entre os top 40 da bilboard (algo então inédito para uma banda de white metal) e recebendo indicações para o Grammy. Baterista: Robert Sweet O baterista “ROBERT SWEET” Robert Sweet Lee nasceu em 21 de Março de 1960, Lynwood, Califórnia, E.U .A ., é baterista e produtor, e vocalista, no Stryper dês de 1984 até o momento. -
Without a Doubt, Stryper Is One of the Top Christian Rock Bands of All-Time, and Certainly the Most Celebrated Christian Metal Band of All Time
Without a doubt, Stryper is one of the top Christian rock bands of all-time, and certainly the most celebrated Christian metal band of all time. Comprised of Michael Sweet (vocals/guitar), Oz Fox (guitar), Tim Gaines (bass), and Robert Sweet (drums), Stryper has been rocking since 1983, and is responsible for such '80s metal classic albums as 'Soldiers Under Command,' 'To Hell with the Devil,' In God We Trust,' and such MTV hit singles/videos as "Calling on You," "Free," and "Honestly." After a sabbatical for much of the 1990's, Stryper returned strong in the early 21st century. But it was not until their 2011 covers set, 'The Covering,' that the aforementioned definitive Stryper was reinstated, as the band welcomed Gaines back into the fold. "Tim is an original member, so there's a certain magic and chemistry that you have with the original line-up, that you can't replace with someone else," explains Michael Sweet. "It's just there, it is what it is. And Tim brings that to the band. He's a very talented bass player, singer, and keyboard player. He brings a certain chemistry and energy to the band, and it takes the four of us to recreate that." Running the gamut from 1970's era classic rock (Led Zeppelin's "Immigrant Song," Deep Purple's "Highway Star," Kiss' "Shout It Out Loud," etc.) to 1980's era heavy metal (Black Sabbath's "Heaven and Hell," the Scorpions' "Blackout," "Iron Maiden's "The Trooper," etc.), 'The Covering' is certain to be a most welcomed addition to Stryper fan's album collections. -
Pg0140 Layout 1
New 3-CD Sets See page 39 See page 3 See page 3 Footer goes here 3 New Releases SONGS 4 WORSHIP ULTIMATE: Table of Contents THE GREATEST PRAISE & WORSHIP SONGS OF ALL Accompaniment Tracks . .14, 15 TIME—CDS AND DVD Bargains . .20 Praise the Lord with 27 of the Collections 2–8, 20, 21, 24–35, 37, 39, back cover greatest worship songs of all time! Includes “Friend of God” Contemporary & Pop . .8–11 (Israel & New Breed); “Mighty to Folios & Songbooks . .16, 17 Save” (Laura Story); “Revelation Gifts . .21, back cover Song” (Phillips, Craig & Dean); “My Savior Lives” (New Life Worship); “Your Grace Is Enough” Hymns . .28–31 (Jared Anderson); “Holy Is the Lord” (Brooklyn Tabernacle Inspirational . .26, 27 Choir); and more. Two CDs and one DVD. Instrumental . .32, 33 $ 99 FJCD50960 Retail $13.99 . .CBD Price11 Karaoke . .23 Kids’ Music . .24, 25, back cover Movie DVDs . .A1–A36 We welcome the rising temperatures for spring and Music DVDs . .38 summer, but we hate to see the cost of gas, food, and other necessities continue to climb as well. Here you’ll find Music/Vocal Instruction . .18, 19 pages upon pages of CDs and DVDs at unbeatable New Releases . .2, 3 prices—making it affordable to splurge for friends, fami- Praise & Worship . .4–7 ly, and yourself! Enhance your personal devotions with instrumental Rock & Alternative . .12, 13 arrangements of favorite worship songs (pages 32 & 33); Southern Gospel, Country & Bluegrass . .34–37 check out our unique collector’s edition tins for fans of T-Shirts & Hoodies . .22 Irish music, wedding favorites, bluegrass gospel, Elvis, or more (page 21); and dress your family in clothing that WOW . -
“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago. -
© 2010 Brian Matthew Felix
© 2010 Brian Matthew Felix ROCK BECOMES JAZZ: INTERPRETATIONS OF POPULAR MUSIC BY IMPROVISING ARTISTS IN THE 1960s BY BRIAN MATTHEW FELIX THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Associate Professor John “Chip” Stephens, Chair Associate Professor Gabriel Solis, Director of Research Professor Jim Pugh Associate Professor Erik Lund ABSTRACT The advent of rock and roll changed the jazz world’s relationship to itself and its musical public. The popularity of jazz, in decline since the rise of bebop in the mid-1940s, was further eroded by rock and roll’s rise to prominence in the mid-1950s. By the mid-1960s, the jazz world seemed to be faced with a choice: adapt to accommodate the burgeoning new genre or risk fading further into popular irrelevance. Many jazz artists chose to ignore rock, oftentimes viewing it as a simple-minded pursuit dominated by white artists stealing from black musicians. Other artists, though, chose to engage with the new music and bring it into the jazz world by interpreting rock repertoire. In a way, this trend was no different than the time-honored jazz tradition of interpreting contemporary popular songs. Interpreting rock songs and incorporating them into their repertoire was different, though, because of the many prejudices that jazz musicians held toward rock music and the relative simplicity of rock’s musical attributes. This paper is dedicated to the in-depth study of jazz versions of rock music in the 1960s. -
Judging Covers
University at Albany, State University of New York Scholars Archive Philosophy Faculty Scholarship Philosophy Fall 2013 Judging Covers P.D. Magnus University at Albany, State University of New York, [email protected] Cristyn Magnus University at Albany, State University of New York, [email protected] Christy Mag Uidhir University of Houston Follow this and additional works at: https://scholarsarchive.library.albany.edu/cas_philosophy_scholar Part of the Philosophy Commons Recommended Citation MAGNUS, C., MAGNUS, P.D. and MAG UIDHIR, C. (2013), Judging Covers. The Journal of Aesthetics and Art Criticism, 71: 361–370. doi: 10.1111/jaac.12034 This Article is brought to you for free and open access by the Philosophy at Scholars Archive. It has been accepted for inclusion in Philosophy Faculty Scholarship by an authorized administrator of Scholars Archive. For more information, please contact [email protected]. Judging Covers Cristyn Magnus, P.D. Magnus, and Christy Mag Uidhir1 February 10, 2013 — forthcoming in The Journal of Aesthetics and Art Criticism Abstract: Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation which are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously. -
Queer Performativity and Grieving Through Music in the Work of Rufus Wainwright
TRUE LOVES, DARK NIGHTS: QUEER PERFORMATIVITY AND GRIEVING THROUGH MUSIC IN THE WORK OF RUFUS WAINWRIGHT Stephanie Salerno A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2016 Committee: Jeremy Wallach, Advisor Christian Coons Graduate Faculty Representative Kimberly Coates Katherine Meizel © 2016 Stephanie Salerno All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This dissertation studies the cultural significance of Canadian-American singer/songwriter Rufus Wainwright’s (b. 1973) album All Days Are Nights: Songs for Lulu (Decca, 2010). Lulu was written, recorded, and toured in the years surrounding the illness and eventual death of his mother, beloved Québécoise singer/songwriter Kate McGarrigle. The album, performed as a classical song cycle, stands out amongst Wainwright’s musical catalogue as a hybrid composition that mixes classical and popular musical forms and styles. More than merely a collection of songs about death, loss, and personal suffering, Lulu is a vehicle that enabled him to grieve through music. I argue that Wainwright’s performativity, as well as the music itself, can be understood as queer, or as that which transgresses traditional or expected boundaries. In this sense, Wainwright’s artistic identity and musical trajectory resemble a rhizome, extending in multiple directions and continually expanding to create new paths and outcomes. Instances of queerness reveal themselves in the genre hybridity of the Lulu song cycle, the emotional vulnerability of Wainwright’s vocal performance, the deconstruction of gender norms in live performance, and the circulation of affect within the performance space. -
The Tattooed Jesus What Would the Real Jesus Do with Pop Culture?
The Tattooed Jesus What Would the Real Jesus Do with Pop Culture? Kevin Swanson GenerationswithV ision www.generationswithvision.com Copyright © 2014 by Generations with Vision Third Printing, 2015 All rights reserved. Printed in the United States of America ISBN: 978-0-9910439-6-5 Production Management: Joshua Schwisow Cover Design & Typography: Winslow Robbins Interior Layout & Design: Winslow Robbins Published by Generations with Vision 10461 South Parker Road Parker, Colorado 80134 www.generationswithvision.com For more information on this and other titles from Generations with Vision, visit www.generationswithvision.com or call 1-888-839-6132. Contents Preface 1 Introduction 3 1: Following the Trajectory 7 2: Culture Changers 26 3: Hip-Hop 32 4: Christian Kitsch 35 5: Context and Mode Matters 42 6: The Tattooed Jesus 51 7: The Cultural Command 57 8: Wise Discernment for Music in Home and Church 72 9: Entertainment and Metaphor 79 10: Worldviews at the Movies 93 11: The Ethical Level 103 12: Discerning Culture 120 Appendix: The Gen2 Survey 139 Notes 141 General Index 146 Scripture Index 150 THE TATTOOED JESUS 1 Preface Christian conservatives are finally admitting that they have lost the political war in this country. They are on the “losing side of the cultural war.” 1 There is no point in fighting the political wars, if they fail to engage the cultural wars. And, there is no use fighting the cultural wars, if they have already lost the faith and the substance of a Christian worldview. Why fight the political battles when the millennial generation is far more likely to accept homosexual marriage, socialism, and evolution?2 I understand the reticence to fight these battles. -
Baseball Sweeps Georgetown .P
, ;_x».i4->. --• • n u. sweeps last issue Baseball TUsiith* of the 1968 q>nng semester. By DOUG SCANCARELLA man pitcher Mike Boetticher five strikeouts in eight Sports Editor hurled Vol. 63. No. 21 VILLANOVA UNIVERSITY. VILLANOVA, PA. April 29. 1988 innings while not allowing a "The baseball team is in a good single run to score.. Rick Petrone spot right now," said junior and Bill Ellis both went two for shortstop Bob McCreary of his 23- three from the plate while Gary FEC report under scrutiny 15 team. "We have come together Scott knocked in three runs. as a team, played well and are now Next, the Wildcats swept four Board vnll not make decisions all at once in first place in the Big East.'* straight games from Big East rival By DANTE J. SCALA was also listed by faculty repre- "The PEC report has been The Wildcats have played well. — Pittsburgh. In the series opener News Editor sentatives as one of their concerns released at. a time when faculty Along with an overall record of 23- the Cats, behind a nine-inning regarding the report. Currently, and administrators are busy with 15, the Cats stand atop the Big pitching effort by Mike Shick, The Board of Trustees will the deadline for responses to the the many duties associated with East Southern division with a edged the Panthers 4-3. Freshman make decisions concerning the report have to be sent to the office the end of a semester and academ- conference record of 11-1. Those Jim Sears led the tedm offensively Program Evaluation Committee's of University President the Rev. -
Unlocking the Paradox of Christian Metal Music
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2013 Unlocking the Paradox of Christian Metal Music Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "Unlocking the Paradox of Christian Metal Music" (2013). Theses and Dissertations-- Music. 9. https://uknowledge.uky.edu/music_etds/9 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 and attached hereto needed written permission statements(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). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work.