DOCSLIB.ORG

Putting the Math in Math Rock Matt Chiu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Putting the Math in Math Rock Matt Chiu MTSE: 2020 Chiu Appalachian State University Putting the Math in Math Rock Matt Chiu Fig. 1 Math Rock Timeline Math Rock Playlist: https://open.spotify.com/playlist/0YMehqtnDK9X1pBsVc0ftN Fig. 2 DFT Mathematics Explained Tresillo Timeline: [1, 0, 0, 1, 0, 0, 1, 0] Fig. 3 DFT Calculation on the Tresillo MTSE: 2020 Chiu Appalachian State University ACCENT PROFILE RULES MPR 3: Event +1 wherever there is a note MPR 6: Bass Note +1 to lowest note of any 5 contiguous units PEC: Second of Two +1 to second to two adjacent notes PEC: Initial and Final Tones +1 to both ends of an adjacent string of notes Large Leaps +1 to any leap of 5 semitones or more +1 to all changes in the contour: contour is established after Continuous/Contour 2 moves in the same direction MPR 1: Parallelism +1 to parallelism projects PEC = Povel/Essens Clock (Rules) MPR = Metric Preference Rules (Lerdahl and Jackendoff) Fig. 4 Accent Profile Rule [5, 2, – 2, 2, 1, 1, 2, 1, 4, 1, 2, 1, 1, 1, 1, 1, 2, 1, 1, 1, 2, 2, 1, 1] E . Gtr. œ œ œ œ œ œ œ œ œ œ œ (Lead) & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ j œ œ ˙ œ™ œ & ™ œ ˙ ™ J J ˙ ˙ & ˙ ˙ ˙ ˙ agnitude M Component ˙ ˙ œ Fig. 5 Never Meant: Guitar 1 (top); Rhythmic Profile (bottom) MTSE: 2020 Chiu Appalachian State University [4, 2, 2, 3, 1, 2, 1, 3, 2, 3, 3, 0, 0, 5, 2, 3, 1, 2, 1, 1, 4, 2, 2, 1] E. Gtr œ œ œ œ œ œ œ œ œ œ (Gtr 2) & œ œ œ œ J œ œ œ œ œ œ œ œ œ & ˙ œ ˙œ™ œ™ ˙ œ™ ˙ ™ Never Meant: Rhythm Guitar, Rhythmic Profle Magnitude Components j x3.428 ˙. œ Fig. 6 Never Meant: Guitar 2 (top); Rhythmic Profile (bottom) f2 f3 f4/5 3 f4 f6 f9 3 f8 f12 f18 3 f16 f24 f36 3 Fig. 7 DFT Components (left); Metric Ski-Hill Graph (right) MTSE: 2020 Chiu Appalachian State University [5, 2, 2, 2, 0, 5, 1, 2, 2, 0, 5, 1, 2, 3, 0, œ & œ œ ‰ j œ œ ‰ œ ‰ œ J œ #œ #œ œ #œ Pool: Guitar, Rhythmic Profle Magnitude Components j x5 j x2.5 œ œ Fig. 8 Pool: Guitar (top); Rhythmic Profile (bottom) [4, 0, 0, 1, 0, 0, 1, 0, 2, 0, 4, 0, 0, 1, 0, 0, 2, 0, 1, 0, 3, 0, 0, 0, 0, 0, 1, 0, 2, 0] & œ™ bœ™ bœ œ œ™ bœ™ œ œ #œ™ ‰ Œ nœ œ Pool: Voice, Rhythmic Profle Magnitude j j j ( Components x10 j x5 x3.3 x2.5 œ œ (œ œ œ Fig. 9 Pool: Voice (top); Rhythmic Profile (bottom) MTSE: 2020 Chiu Appalachian State University Electric Guitar/Voice ° 7 œ œ #œ œ #œ j j 3 œ #œ 7 &8 Œ Œ J J ‰ J Ó Œ ‰ œ œ œ 8 J ‰ J 8 1) j Bass Guitar ? 7 œ œ œ œ #œ œ œ œ j 3 j #œ 7 ¢ 8 J œ œ œ œ 8#œ 8 ° 7 œ #œ œ j œ j 4 7 &8 ‰ ‰ #œ œ ‰ Œ Œ œ œ œ ‰ #œ ‰ œ 8 j ‰ j ‰ 8 2) J J #œ œ j j j ? 7 œ œ œ œ #œ œ œ œ 4 j #œ œ 7 ¢ 8 J œ œ œ œ 8#œ 8 œ œ œ j j œ œ ° 7 Œ Œ #œ ‰ #œ Ó Œ ‰ œ œ œ 5 ‰ #œ ‰ 7 3) &8 J J J 8 J J J 8 j j ? 7 œ œ œ œ #œ œ œ œ 5 j #œ œ 7 ¢ 8 J œ œ œ œ 8#œ 8 #œ #œ j j œ #œ ° 7 œ œ ‰ #œ Œ Œ ‰ œ œ œ ‰ ‰ œ #œ ‰ 6 œ œ J 4) &8 J #œ œ J J 8 7 j j 6 #œ œ #œ ? 8 œ œ œ œ #œ œ œ œ œ œ œ œ 8#œ œ œ ¢ J Fig. 10 Cat Fantastic: Milankovitch Cycle C = 24 Cat Fantastic: First Iteration, Rhythmic Profle C = 25 Cat Fantastic: Second Iteration, Rhythmic Profle Magnitude Magnitude j j j j j Components œ x7/12 œ x3.428 œ x2.5 œ Components œ x7 œ x3.428 C = 26 Cat Fantastic: Tird Iteration, Rhythmic Profle Magnitude j j Components œ x7 œ x3.71 Fig. 11 Cat Fantastic: Rhythmic Profiles for Milankovitch Cycle MTSE: 2020 Chiu Appalachian State University References Amiot, Emmanuel. 2016. Music Through Fourier Space: Discrete Fourier Transform in Music Theory. Springer. Callender, Clifton. 2006. “Continuous Harmonic Spaces” JMT 51(2): 277–332. Callender, Clifton, Ian Quinn, and Dmitri Tymoczko. 2008. “Generalized Voice-Leading Spaces.” Science 320. Cateforis, Theo. 2002. “How Alternative Turned Progressive: The Strange Case of Math Rock” in Progressive Rock Reconsidered, ed. by Kevin Holm-Hudson, 243–260. New York, NY: Routledge. ———. 2018. “Total Trash: Analysis and Post Punk Music.” JPS 30(4): 95–112. Chiu, Matt. 2018. “Metric Forms through Fourier Space.” Boston University Masters Thesis. Covach, John. 1997. “Progressive Rock ‘Close to the Edge,’ and the Boundaries of Style” in Understanding Rock: Essays in Musical Analysis, ed. John Covach and Graeme M. Boone, 3–31. New York, NY: Oxford University Press. Large, Edward W., and Mari Riess Jones. 1999. “The Dynamics of Attending: How People Track Time-Varying Events.” PR 106(1). London, Justin. 2004. Hearing in Time: A Psychological Aspects of Musical Meter. OUP. Milne, Andrew J., David Bugler, Steffen A. Herff. “Exploring the space of perfectly balanced rhythms and scales.” JMM 11(2). Osborn, Brad. 2010. “Beats that Commute: Algebraic and Kinesthetic Models for Math Rock Grooves.” Gamut 3, no. 1 ———. 2011. “Understanding Through-Composition, in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres.” Music Theory Online vol 17, no. 3 (October). Temperley, David. 2018. The Musical Language of Rock. New York, NY: Oxford University Press. Quinn, Ian. 2006. “General Equal-Tempered Harmony: Introduction and Part I.” Perspectives of New Music vol. 44, no. 2: 114–158. Yust, Jason. 2015. “Schubert’s Harmonic Language and Fourier Phase Space.” Journal of Music Theory vol. 59, no. 1. ———. 2019. “Stylistic Information in Pitch-Class Distributions.” Journal of New Music Research vol. 48, no. 3. ———. Forthcoming. “Steve Reich's Signature Rhythm, and an Introduction to Rhythmic Qualities.” Music Theory Spectrum. .
Load more

Recommended publications
  • MTO 17.3: Osborn, Understanding Through-Composition
    KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. Understanding Through-Composition in Post- Rock, Math-Metal, and other Post-Millennial Rock Genres by Brad Osborn 2011 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Osborn, Brad. 2011. “Understanding Through-Composition in Post- Rock, Math-Metal, and other Post-Millennial Rock Genres.” Music Theory Online 17, no. 3 Published version: http://www.mtosmt.org/issues/mto.11.17.3/ mto.11.17.3.osborn.pdf Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml This work has been made available by the University of Kansas Libraries’ Office of Scholarly Communication and Copyright. Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres (1) Brad Osborn NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.php KEYWORDS: form, through-composition, rock, experimental rock, post-millennial rock, art rock, post-rock, math-metal, progressive rock, Radiohead, Animal Collective, The Beatles ABSTRACT: Since the dawn of experimental rock’s second coming in the new millennium, experimental artists have begun distancing themselves from Top-40 artists through formal structures that eschew recapitulatory verse/chorus conventions altogether. In order to understand the correlation between genre and form more thoroughly, this paper provides a taxonomic approach to through-composition in several post-millennial experimental rock genres including post-rock, math-metal, art rock, and neo-prog.
    [Show full text]
  • Teacher Biographies
    0 Teacher Biographies Guitar & Bass Teachers Eric Brewer ...................................................................................................... 1 Chris Bumbera ................................................................................................. 2 Mike Dattilo ..................................................................................................... 3 Preston Lindey ................................................................................................. 4 Stephen Maynard ............................................................................................. 5 Dan Monacella ................................................................................................. 7 Mike Moore ..................................................................................................... 8 Zack Orr ........................................................................................................... 9 Drum Teachers Steve Barone .................................................................................................. 10 Tory Shatto .................................................................................................... 11 Brian Strobel .................................................................................................. 12 Band & Orchestra Teachers Jim Caspar ..................................................................................................... 13 Elva Newcomer-Kocher ...............................................................................
    [Show full text]
  • Xiami Music Genre 文档
    xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop .........................................
    [Show full text]
  • Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83) * David B
    Volume 21, Number 1, March 2015 Copyright © 2015 Society for Music Theory Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83) * David B. Easley NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.easley.php KEYWORDS: punk rock, hardcore, genre, popular music, riff, repetition, form, musical meaning, Bad Brains, Black Flag, Dead Kennedys, Minor Threat ABSTRACT: This article explores the structures of guitar riffs in early American hardcore punk rock and their role in the creation of meaning within the genre. Drawing upon a corpus analysis of recordings by Bad Brains, Black Flag, Dead Kennedys, and Minor Threat, the article begins by outlining the main ways in which guitar riffs are structured. Many reflect a structural basis in what I call “riff schemes,” organizing patterns of physical repetition and physical change made by a guitarist’s fretting hand. There are four main types, which are defined by the location of repetition within the riff (at the beginning or at the end) and whether the type of repetition is exact or altered: (1) Initial Repetition and Contrast, (2) Statement and Terminal Repetition, (3) Statement and Terminal Alteration, and (4) Model and Sequential Repetition. These schemes may also play an expressive role in song narratives of energy, intensity, and aggression, all of which are common tropes in oral histories of hardcore. In the final part of the article, I present analyses of two songs that demonstrate this use: Minor Threat’s “Straight Edge” and Black Flag’s “Rise Above.” Received July 2014 Introduction [1.1] American hardcore punk rock—or simply “hardcore”—is a subgenre of punk that first emerged in the late 1970s as a response to the “punk rock revolution” created by bands such as the Sex Pistols and the Ramones ( Blush 2010 , 14).
    [Show full text]
  • Winter 2018/2019
    N December 2018 January/February 2019 Volume 47, No. 2 Winter Orgy® Period 95.3 FM The Metropolitan Opera broadcast season begins December 1st. 11:00 am MEMORIAL CHURCH SERVICE WHRB Program Guide Preacher: Prof. Jonathan L. Walton, Plummer Professor of Christian Morals and Pusey Minister, The Memorial Church of Winter Orgy® Period, December, 2018 Harvard University. Anthems: Palestrina, Missa Aeterna Christi Munera. with highlights for January and February, 2019 12:30 pm AS WE KNOW IT 1:00 pm THE WARHORSE ORGY Time divisions below are approximate. Saturday, December 1 Strauss: Also Sprach Zarathustra, Op. 30; Järvi, Scottish Na- tional Orchestra (Chandos) midnight FUNK IT UP J. S. Bach: Suite for Orchestra No. 3 in D, S. 1068; Gardiner, A celebration of the Parliament-Funkadelic collective. Music English Baroque Soloists (Erato) that rocks, hip-hops, psychedelifies, and, most of all, funks. Ever Mozart: Symphony No. 41 in C, K. 551, “Jupiter”; Marriner, since Parliament-Funkadelic was founded by George Clinton in Academy of St. Martin-in-the-Fields (Philips) a Detroit barbershop, the world has never been the same. UFOs, Copland: Fanfare for the Common Man; Bernstein, New York afrofuturism, and alien invasions, all set to a beat that will drive Philharmonic Orchestra (Sony) you wild. Mendelssohn: Concerto for Violin and Orchestra in e, Op. 64; 5:00 am HISTORICAL WOMEN OF THE BLUES Vengerov, Masur, Leipzig Gewandhaus Orchestra (Teldec) Because the blues is a genre of music many associate with Tchaikovsky: Piano Concerto No. 1 in b-flat, Op. 23; Horowitz, men, the significant women who have shaped blues culture often Toscanini, NBC Symphony Orchestra (RCA Victor) go unnoticed.
    [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]
  • 'The Undiluted Squash of Uk Math Rock'
    58 ‘ T H E U N D I L U T E D S Q U A S H O F U K M A T H R O C K ’ T H E P E R F O R M E R ’ S V I E W O F A R C T A N G E N T F E S T I V A L Joe O'Connell 2 E U S Drawing upon ethnographic fieldwork, this audio piece and S I accompanying essay examine the ways in which ArcTanGent 3 L O Festival is perceived and experienced by performers within V the largely underground UK math rock scene. The fieldwork took the form of a small-scale project at 2017’s event, engaging three UK bands of differing levels of experience of the festival (which I label ‘novice’, ‘intermediate’ and ‘veteran’) to develop an understanding of their approaches to performance and how this impacts upon their development and standing within the scene. As heard in the interview extracts presented in the audio piece, the findings of the project expose similarities, but also some notable differences, in each subject’s experience of ArcTanGent: for example, while it provides a valuable opportunity for a novice band, there is a sense of routine felt by veterans. Two important correlations are evident in their experiences. The first is the way in which ArcTanGent provides an ‘unreal’ experience in comparison with the everyday existence of each band, with one participant going so far as to suggest that it gives ‘a slightly falsified sense of how popular you are as a band when you come here’ (Alpha Male Tea Party 2017a; audio 8.48).
    [Show full text]
  • Matt G-Y Chiu Slides: Code: Introduction Introduction
    putting the math in math rock matt g-y chiu Slides: Code: https://tinyurl.com/wqztm87 introduction introduction TTNG, 2008 “Chinchilla” introduction “extensive use of asymmetrical … time signatures” Cateforis 2002, 244 introduction “cyclical repetition of ostinati” Osborn 2010, 43 introduction discrete Fourier transform (DFT) introduction outline 1. math rock(s) 2. DFT Introduction 3. methodology 4. analysis of… “Never Meant” by American Football “Pool” by Tricot “Cat Fantastic” by TTNG 1. math rock(s) 1. math rock(s) 1. math rock(s) 1. math rock(s) 1. math rock(s) “Emotional hardcore” math-emo { 1. math rock(s) math-emo { “twinkle” topic (Howie, 2019) 1. math rock(s) emo metal math math-emo math-metal https://open.spotify.com/playlist/0YMehqtnDK9X1pBsVc0ftN math rock(s)? https://open.spotify.com/playlist/0YMehqtnDK9X1pBsVc0ftN math rock(s)? https://open.spotify.com/playlist/0YMehqtnDK9X1pBsVc0ftN math rock(s)? https://open.spotify.com/playlist/0YMehqtnDK9X1pBsVc0ftN 1. math rock(s) math-emo 1 3 “emo-ness” 2 math-metal 2. DFT walkthrough 2. DFT walkthrough The Discrete Fourier Transform Input (DFT) v = (n0,…,n11) Output length/2 non-trivial Fourier Components: fn DFT Magnitude Phase | fn | ϕn 2. DFT walkthrough Lewin 1959, 2001: Interval Function Quinn 2007; Callender 2007 Yust 2015; Amiot 2016: harmonic geometries and spaces Callender, Quinn, and Tymoczko 2008; Tymoczko 2008: relating DFTs to voice leading and set-class similarities Yust 2019: describing stylistic trends between composers Chiu and Kahrs 2020: chord spacing and timbre Milne, Burger, and Herff 2017; Chiu 2018; Yust forthcoming 2. DFT walkthrough 2. DFT walkthrough Input v = (n1,…,n8) [0, 0, 0, 0, 0, 0, 0, 0] / ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Output 4 Fourier Components: fn Magnitude Phase | fn | ϕn 2.
    [Show full text]
  • Jfx Band Most Extensive Art and Entertainment Calendars Available Anywhere
    -----------------------------------------Spins --------------------------------------- Wooden Nickel F***ing Panthers CD of the Week Learning to Die BACKTRACKS Churubusco, Indiana’s F***ing Alice in Chains Panthers have a penchant for four- Dirt (1992) letter words, punk rock bravado and metal guitar blasts. They want you to Alice In Chains were formed in know they’re mad, and they have de- late 1987 by guitarist Jerry Cantrell livered their list of complaints inside and singer Layne Staley during the first a new album titled Learning to Die. wave of the grunge music scene. They The first thing that hits you on Learning to Die is a four-count became known to mass audiences with on a hi-hat. Then a punk rock blast of guitar and drums that would 1990’s Facelift which featured the sin- fit nicely on a sampler of early 80s D.C. bands like Black Flag. gle “Man In The Box.” Their second long-play release, Dirt, took Like Black Flag, F***ing Panthers scream the punk rock manifesto them from clubs to arenas practically overnight. through a bloodied and beaten megaphone while winning metalheads From the heavy opener in “Them Bones” to “Would,” Dirt over with a sonic blast of fuzzed out guitar noise, making Greg Ginn tore up FM radio with Sabbath grooves and an obvious heroin $5.99 very proud I would imagine. In other words, they walk the fine line vibe behind the nasty guitar of Cantrell. between hardcore and metal. And they do it well. “Dam That River” keeps the heavy pace before the record First track, “Call of the Panther,” is a bruised and beaten rocker settles down with the almost autobiographical addiction anthem, SUNNY TAYLOR exclaiming to the world, “Life is a sexually transmitted disease / Hu- “Down In The Hole.” This track features great bass from Mike EP manity is a cancer.” Lead screamer Josh T delivers these words as if Starr and the fantastic drumming of Sean Kinney.
    [Show full text]
  • Traditions of Punk and the Politics of Empowerment
    Anyone Can Do It: Traditions of Punk and the Politics of Empowerment By Pete R.W. Dale Re-submission for PhD ICMuS Newcastle University 2010 Blank page ii Anyone Can Do It: Punk, Folk and the Politics of Empowerment Contents Title Page Page i Contents Page Page iii Introduction page vi Chapter One page 1 i. What Is Punk? Style vs. Substance page 2 ii. What Is Folk? Getting the Folk ‘Us’ in Focus page 27 iii. Punk as Folk: Two Sides of the Same Coin? page 57 iv. Chapter Conclusion page 84 Chapter Two page 88 i. Punk, Avant-gardism and Novelty page 90 ii. Marxism, Anarchism and the Issue of Universality page 119 iii. Justice to Come and the Micromatic Recoil page144 iv. Chapter Conclusion page 183 Chapter Three page 189 i. An Original Re-Birth? page 191 ii. There Is No Authority, But… : Anarcho-punk page 195 iii. Indie-Pop Ain’t Noise Pollution: The Cutie Movement page 231 iv. Chapter Conclusion page 269 iii Chapter Four page 275 i. Still Birth? page 277 ii. The Arrival of a New, Renegade, Girl-Boy Hyper-Nation: Riot Grrrl page 284 iii. Delivering the Groceries at 128 Beats per Minute: Math Rock page 326 iv. Chapter Conclusion page 366 Conclusion page 369 Bibliography page 389 iv Blank page v Introduction When the word punk is invoked, a majority of people – in the UK, at least – will think of the Sex Pistols, safety pins through the nose and other such bands and signifiers from the late 1970s. The purpose of this research, in large part, is to show that punk has in fact been a persistent and consistent tradition in the decades since.
    [Show full text]
  • Kmnr 89.7 Fm
    KMNR 89.7 FM Winter Semester 2001 Program Schedule Call: 341.4272 Email: [email protected] Online Requests: http://www.umr.edu/~kmnr Sunday Monday Tuesday Wednesday Thursday Friday Saturday am anarcho-agitprop metal, hard/classic rock rock, punk, jazz, hard rock, metal, punk new, indie, punk industrial, metal rock post/classic rock, rock THURSDAY rock help me Overthrow AMBER alternative Elvis has left the Wushu building, and NIGHT perky girl iamin TRICHROMES gonetothe God Radio bar... SHUTDOWN is dead HELL Mike T. Aaron Joel B. Don Kurt Katie Mike everything classic rock new, post, punk, am hard rock, ska Music for Sofa Have You the King Found Indecisive Jebus? Dave Paul Jay post rock, jam, folk, rock, hip-hop 6:00 eclectic 6:00 indie rock, hardcore, classic rock 6:00 everything am jazz, blues local Eatthis, Fievel goes localBig Al’s SLOBODAN Radio Bitchin’ AND The Early Show suckaduck! THE PARTY Jason Melissa anesthesia Broadcast RANGERS ska 8:30 Joel F. classic rock 8:30 Dan Bianca rock, classic rock classical new rock, ska 9:00 Allan classic rock 9:00 am I’ve Heard The power pop, 9:30 Phish phans, 12FU He Has A Very punk Shirts off Donkey Small Penis FIN From Rolla Mirage Now Punch - With Love Mike E. Matt A. Nick Omar Andy Cathy trance, acid 11:30 punk, hard classic rock, 11.30 funk, folk, jazz, 11.30 funk, reggae, jazz, Sachin bluegrass pm new, classic rock jazz, drum & bass rock, metal, ska mo-town jam, blues etc. 12:00 hip hop, ska, reggae OM MANI AVAILABLE FOR PUBLIC Jump Back FUNK LICK HERE REHAB IS FOR PADME .
    [Show full text]
  • ©Copyright 2010 Bradley T. Osborn
    ©Copyright 2010 Bradley T. Osborn Beyond Verse and Chorus: Experimental Formal Structures in Post-Millennial Rock Music Bradley T. Osborn A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2010 Program Authorized to Offer Degree: Music University of Washington Graduate School This is to certify that I have examined this copy of a doctoral dissertation by Bradley T. Osborn and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Chair of the Supervisory Committee: ___________________________________________________ Áine Heneghan Reading Committee: __________________________________________________ Áine Heneghan __________________________________________________ Jonathan Bernard ___________________________________________________ John Rahn ___________________________________________________ Lawrence Starr Date: ________________________________________ In presenting this dissertation in partial fulfillment of the requirements for the doctoral degree at the University of Washington, I agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of the dissertation is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for copying or reproduction of this dissertation may be referred to ProQuest Information and Learning, 300 North Zeeb Road, Ann Arbor, MI 48106-1346, 1-800-521-0600, to whom the author has granted “the right to reproduce and sell (a) copies of the manuscript in microform and/or (b) printed copies of the manuscript made from microform.” Signature________________________ Date____________________________ University of Washington Abstract Beyond Verse and Chorus: Expermental Formal Structures in Post-Millennial Rock Music Bradley T. Osborn Chair of Supervisory Committee: Dr.
    [Show full text]