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NCRC Award Brian Docs
NCRC 2012 Radio Awards Application, Documentary Bio and Program Note Producer: Brian Meagher Bio: It all began when I was six years old and I heard `Popcorn` for the first time. I remember being at the A&W Drive-In, the waitresses arriving at our car on roller skates, and this incredible song providing the soundtrack. Electronic music has provided my soundtrack ever since. Program: Synthumentary (episodes 1-3) Description: Synthumentary is a five-part look at the evolution of the electronic instruments and their place in popular culture, from the earliest electromechanical musical devices to the Moog explosion of the late 60`s and early 70`s. Synthumentary presents a survey of the landmark inventors, instruments, artists and recordings of each era. In each episode, we look at a different scene, discuss the era`s principle actors and play some of their music to illustrate the style of music made at the time. The evolution of electronic music technology is explained to frame each episode. Our aim is to provide the casual listener of electronic music with an appreciation of its possibilities and the more knowledgeable fan with at least a few nuggets of novel information. Among the subjects covered are: The Telharmonium, Theremin, The ”Forbidden Planet” Soundtrack, Raymond Scott, The Ondioline, Jean-Jacques Perrey and Gershon Kingsley, Bob Moog and the Moog music phenomena, Silver Apples, and the Canadian scene: Hugh LeCaine to Bruce Haack to Jean Sauvageau. The intro and outro theme is an original composition written and performed by members of The Unireverse for Synthumentary. The audio submitted contains excerpts from all three episodes. -
The Science Sound
The Science of Sound Education Guide Introduction: Music is Science Education Guide Acknowledgements Written and developed by Kim Leavitt, Director of Education and Community Engagement, The Phoenix Symphony and Jordan Drum, Education Assistant, The Phoenix Symphony Based on The Science of Sound Classroom Concert created and developed by Mark Dix, Violist, The Phoenix Symphony Lesson Plans created by April Pettit, General Music/Band/Orchestra/Choir, Dunbar Elementary School Funding for The Science of Sound Education Guide was provided by the Craig & Barbara Barrett Foundation 12 LearningThe Science Objectives: of Sound: AcademicTable of Connections Contents Acknowledgements 2 Table of Contents 3 Introduction: Music is Science 4 Learning Objectives : Academic Connections 5 Arizona Academic Content Standards 5 The Science Behind Sound 6 Science of Sound Lesson Plans 9 Science Lesson: Exploring Vibration and Sound Grades: 2-8 10 Music and Technology: Comparing and Contrasting Music Instruments Grades: 3-8 11 Music Lesson: Engineering Musical Instruments Grades: 2-8 12 Music and Science: Experimenting with Sound Waves Grades: 5-12 13 Music, Math & Engineering Lesson: Creating Straw Panpipes Grades: 4-8 15 Assessment Tools 16 Longitudinal Waves in Music 17 Quiz: How is Sound Produced? 18 Science of Sound Writing Prompts 19 Interactive Quiz: Name That Instrument! 20 Interactive Game: Making Music with Science 21 Venn Diagram: Instrument Families 22 Instrument Family Word Search 23 music engineering science 31 3 Introduction: Music is Science Making music is a scientific process. Scientists and historians have tried to explain the complex phenomena of music for thousands of years. Many questions exist: How is sound produced? What causes music notes to be loud or soft? Why are some notes high and others low? What is the difference between “noise” and music? The science behind how a musical instrument functions is fascinating. -
Notes for a Speech: Stories Matthew Greene Eastern Washington University
Eastern Washington University EWU Digital Commons EWU Masters Thesis Collection Student Research and Creative Works Spring 2018 Notes for a speech: stories Matthew Greene Eastern Washington University Follow this and additional works at: http://dc.ewu.edu/theses Part of the Fiction Commons Recommended Citation Greene, Matthew, "Notes for a speech: stories" (2018). EWU Masters Thesis Collection. 502. http://dc.ewu.edu/theses/502 This Thesis is brought to you for free and open access by the Student Research and Creative Works at EWU Digital Commons. It has been accepted for inclusion in EWU Masters Thesis Collection by an authorized administrator of EWU Digital Commons. For more information, please contact [email protected]. NOTES FOR A SPEECH: STORIES A Thesis Presented To Eastern Washington University Cheney, Washington In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Creative Writing By Matthew Greene Spring 2018 ii THESIS OF MATTHEW GREENE APPROVED BY ____________________________________ ________________ DATE GREGORY SPATZ ____________________________________ ________________ DATE SAMUEL LIGON ____________________________________ ________________ DATE DR. KEVIN DECKER iii MASTER’S THESIS In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Eastern Washington University, I agree that the JFK Library shall make copies freely available for inspection. I further agree that copying of this project in whole or in part is allowable only for scholarly purposes. It is understood, however, that any copying or publication of this thesis for commercial purposes, or for financial gain, shall not be allowed without my written permission. Signature Date iv Table of Contents The Bachelor Party 1 Shazaam! 20 Something Must be Done! 32 Emil Cioran at the State Fair 47 Dodger Dogs 67 Notes for a Speech 80 The Bachelor Party Jim’s bachelor party was going great until he lost his leg. -
Worldnewmusic Magazine
WORLDNEWMUSIC MAGAZINE ISCM During a Year of Pandemic Contents Editor’s Note………………………………………………………………………………5 An ISCM Timeline for 2020 (with a note from ISCM President Glenda Keam)……………………………..……….…6 Anna Veismane: Music life in Latvia 2020 March – December………………………………………….…10 Álvaro Gallegos: Pandemic-Pandemonium – New music in Chile during a perfect storm……………….....14 Anni Heino: Tucked away, locked away – Australia under Covid-19……………..……………….….18 Frank J. Oteri: Music During Quarantine in the United States….………………….………………….…22 Javier Hagen: The corona crisis from the perspective of a freelance musician in Switzerland………....29 In Memoriam (2019-2020)……………………………………….……………………....34 Paco Yáñez: Rethinking Composing in the Time of Coronavirus……………………………………..42 Hong Kong Contemporary Music Festival 2020: Asian Delights………………………..45 Glenda Keam: John Davis Leaves the Australian Music Centre after 32 years………………………….52 Irina Hasnaş: Introducing the ISCM Virtual Collaborative Series …………..………………………….54 World New Music Magazine, edition 2020 Vol. No. 30 “ISCM During a Year of Pandemic” Publisher: International Society for Contemporary Music Internationale Gesellschaft für Neue Musik / Société internationale pour la musique contemporaine / 国际现代音乐协会 / Sociedad Internacional de Música Contemporánea / الجمعية الدولية للموسيقى المعاصرة / Международное общество современной музыки Mailing address: Stiftgasse 29 1070 Wien Austria Email: [email protected] www.iscm.org ISCM Executive Committee: Glenda Keam, President Frank J Oteri, Vice-President Ol’ga Smetanová, -
PSR-E243/YPT-240 Owner's Manual
DIGITAL KEYBOARD Owner’s Manual EN SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). Battery Notice: DO NOT connect this product to any power supply or adapter other This product MAY contain a small non-rechargeable battery which (if than one described in the manual, on the name plate, or specifically applicable) is soldered in place. The average life span of this type of bat- recommended by Yamaha. tery is approximately five years. When replacement becomes neces- WARNING: Do not place this product in a position where anyone could sary, contact a qualified service representative to perform the walk on, trip over, or roll anything over power or connecting cords of any replacement. kind. The use of an extension cord is not recommended! If you must use an This product may also use “household” type batteries. Some of these extension cord, the minimum wire size for a 25’ cord (or less ) is 18 AWG. may be rechargeable. Make sure that the battery being charged is a NOTE: The smaller the AWG number, the larger the current handling rechargeable type and that the charger is intended for the battery being capacity. For longer extension cords, consult a local electrician. charged. This product should be used only with the components supplied or; a When installing batteries, never mix old batteries with new ones, and cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is never mix different types of batteries. Batteries MUST be installed cor- used, please observe all safety markings and instructions that accom- rectly. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
Electronics in Music Ebook, Epub
ELECTRONICS IN MUSIC PDF, EPUB, EBOOK F C Judd | 198 pages | 01 Oct 2012 | Foruli Limited | 9781905792320 | English | London, United Kingdom Electronics In Music PDF Book Main article: MIDI. In the 90s many electronic acts applied rock sensibilities to their music in a genre which became known as big beat. After some hesitation, we agreed. Main article: Chiptune. Pietro Grossi was an Italian pioneer of computer composition and tape music, who first experimented with electronic techniques in the early sixties. Music produced solely from electronic generators was first produced in Germany in Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called MAX. August 18, Some electronic organs operate on the opposing principle of additive synthesis, whereby individually generated sine waves are added together in varying proportions to yield a complex waveform. Cage wrote of this collaboration: "In this social darkness, therefore, the work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. Other equipment was borrowed or purchased with personal funds. By the s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the s, in Egypt and France. -
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre. -
BORN, Western Music
Western Music and Its Others Western Music and Its Others Difference, Representation, and Appropriation in Music EDITED BY Georgina Born and David Hesmondhalgh UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London All musical examples in this book are transcriptions by the authors of the individual chapters, unless otherwise stated in the chapters. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Western music and its others : difference, representation, and appropriation in music / edited by Georgina Born and David Hesmondhalgh. p. cm. Includes bibliographical references and index. isbn 0-520-22083-8 (cloth : alk. paper)—isbn 0-520--22084-6 (pbk. : alk. paper) 1. Music—20th century—Social aspects. I. Born, Georgina. II. Hesmondhalgh, David. ml3795.w45 2000 781.6—dc21 00-029871 Manufactured in the United States of America 09 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper). 8 For Clara and Theo (GB) and Rosa and Joe (DH) And in loving memory of George Mully (1925–1999) CONTENTS acknowledgments /ix Introduction: On Difference, Representation, and Appropriation in Music /1 I. Postcolonial Analysis and Music Studies David Hesmondhalgh and Georgina Born / 3 II. Musical Modernism, Postmodernism, and Others Georgina Born / 12 III. Othering, Hybridity, and Fusion in Transnational Popular Musics David Hesmondhalgh and Georgina Born / 21 IV. Music and the Representation/Articulation of Sociocultural Identities Georgina Born / 31 V. -
Michael Isaacson Collection
MICHAEL ISAACSON COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gail E. Lowther, spring-summer 2018 1 Photograph of Michael Isaacson with Samuel Adler (ca. 1972). Photograph by Louis Ouzer, from Michael Isaacson Collection, Box 31, Folder 13 Photograph of Michael Isaacson conducting the Israel Pops Orchestra during recording session for the Museum of Jewish Heritage (1997). From Michael Isaacson Collection, Box 31, Folder 14. 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 8 INVENTORY Series 1: Manuscripts and Sketches Sub-series A: Numbered Works . 14 Sub-series B: Orchestral Arrangements . 58 Sub-series C: Unnumbered Manuscripts . 62 Series 2: Papers Sub-series A: Correspondence. 95 Sub-series B: Composition Projects . 101 Sub-series C: Lectures and Pedagogical Materials . 119 Sub-series D: Writings . 124 Sub-series E: Professional Papers . 128 Sub-series F: Milken Papers . 159 Sub-series G: Milken Recording Project . 166 Sub-series H: Photographs and Images . 174 Series 3: Publicity and Press Materials Sub-series A: Scrapbooks . 179 Sub-series B: Concert Programs . 187 Sub-series C: Press Clippings . 190 Series 4: Library Sub-series A: Study Scores . 200 3 Sub-series B: Literature. 232 Series 5: Audio-Visual Materials Sub-series A: 5” Reel-to-Reel Audio Tapes . 233 Sub-series B: 7” Reel-to-Reel Audio Tapes. 233 Sub-series C: 10.5” Magnetic Tape. 236 Sub-series D: 12” LPs . 236 Sub-series E: 7” EPs . 237 Sub-series F: Cassette Tapes . 238 Sub-series G: Compact Discs (CDs) . 253 Sub-series H: Digital Audio Tapes (DATs) . -
2006 Pennsylvania 10-1
in y jinsk Ni on of a Faun no r e Aft y b d e t a n Do e g Ima Corbis–Bettmann 3, 2006 Pennsylvania 10-1 h, t g ur 34th annual convention of 34th convention annual The National Flute Association Association Flute The National ittsb ugus P A ICONS The National Flute Association 34th annual convention Pittsburgh 2006 ICONS The National Flute Association, Inc. PRSRT STD 26951 Ruether Ave., Suite H US POSTAGE PAID Santa Clarita, CA 91351 PERMIT NO. 312 SANTA CLARITA, CA 34th annual convention of The National Flute Association ICONS August 10-13, 2006 Pittsburgh, Pennsylvania Nijinsky in Afternoon of a Faun Image Donated by Corbis–Bettmann August 2006 Dear Fellow Convention Attendees: On behalf of the officers, board, and staff of the National Flute Association, it is my distinct pleasure to welcome you to Pittsburgh and our 34th convention, ICONS! Please take every opportunity to greet and meet the many ICONS of our flute world gathered together to celebrate music and the flute. Absorb teaching ideas; discover new performers, flute-related products, and repertoire; renew and make new friendships while exchanging ideas with the vast family of flutists that is our National Flute Association. Begin your convention experience by attending either the meeting for first-time convention goers or the meeting for convention volunteers. Get involved right away while meeting new members. We need you! Begin Thursday morning with our official Annual Meeting so you may greet your officers and board members, meet candidates for office, and hear the latest news of our association. -
Cover Art Celebration of Israel a MESSAGE from the MILKEN ARCHIVE FOUNDER
Cover Art Celebration of Israel A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews fi rst arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. While much of this music had become a vital force in American and world culture, even more music of specifi cally Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture.