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Visible Cloaks Reassemblage
Visible Cloaks Reassemblage Visible Cloaks’ Reassemblage is a collection of delicately rendered passages of silence and sound that invokes – and invites - consciousness. The foundation of the duo’s second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI “translation,” and other generative principles that favor inclusive musical environments over the narrowly constrained. In 2010, Spencer Doran, one part of Visible Cloaks alongside Ryan Carlile, prepared the first volume ofFairlights, Mallets, and Bamboo, a mixtape indicated by Doran as “an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986.” These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music. Reassemblage evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The title Reassemblage, for example, is taken from a film essay byTrinh T. Minh-ha, which explores the impossibility of ascribing meaning to ethnographic images. The author aims to “speak nearby” rather than “speak about.” In other words, to embrace lapses of understanding, and realize that the impulse to map direct meaning across a cultural gap often results in further disconnect. In an effort to “speak nearby” rather than “speak about,” Visible Cloaks Track Listing RVNG Intl. filters and forms source material to become young again. Often the duo strip 1. Screen PO Box 20752 tonal elements of their specificity or randomize melodies so they become 2. Valve (ft. Miyako Koda) Tompkins Sq. stirring and lucid. Essential patterns emerge, conscious experience heightens. -
Redefining Radio Art in the Light of New Media Technology Through
Title Radio After Radio: Redefining radio art in the light of new media technology through expanded practice Type Thesis URL http://ualresearchonline.arts.ac.uk/8748/ Date 2015 Citation Hall, Margaret A. (2015) Radio After Radio: Redefining radio art in the light of new media technology through expanded practice. PhD thesis, University of the Arts London. Creators Hall, Margaret A. Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author 1 Margaret Ann Hall Radio After Radio: Redefining radio art in the light of new media technology through expanded practice Thesis for PhD degree awarded by the University of the Arts London June 2015 2 Abstract I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice- based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed „live‟ event to one consumed „on demand‟ by a segmented audience across multiple platforms. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
HOT NEW RELEASES A100Z1 JOHN BARRY BOOTSAUCE DOOBIE BROS TARA KEMP NEXT SCHOOL Se
GERARDO FLASHMAKERS CROSSOVERS EARPICKS BREAKOUTS WILDCARD P. ABDUL Vir/Capt MARC COHN Atl PAULA ABDUL Vir/Capt M. BOLTON Col A. B. CREATION BLACK BOX Decon/RCA A. B. CREATION Mot SIMPLE MINDS A&M FISHBONE Col Motown EMF EMI- LL COOL J Def Jam/Col LONDONBEAT R'active DEADICATED Arista See Page 10 GERARDO Inter/E-W SIMPLE MINDS A&M A B CREATION Motown DOOBIE BROS. Cap HOT NEW RELEASES A100Z1 JOHN BARRY BOOTSAUCE DOOBIE BROS TARA KEMP NEXT SCHOOL Se.. Saw J. Dunbar Theme Everyone's A... Dangerous Piece Of My Heart Funk University EMI 56206 Epic 34T-73841 N Plat NP50158 Cap 44700 Giant 4-19364 Chrys 23710 BEE GEES G. COLE CANDY DUFLER KING O.T. HILL REMBRANDTS When He's Gone Whatever It Takes Lily Was Here IDo U There's Something... WB 19369 WB 19582 Arista 2187 SBK 05367 Atco 4-98786 DEEE-LITE JELLYFISH J. MITCHELL YO-Y0 Good Beat IWanna Stay Home Come In From... You Can't Play... 40, Elek 648804 Char 4-98788 Geffen N/A E-W/Amer 98831 itt EE BEES 0"8#41.0 "WHEN HE'S GONE" The New Single Produced by • ny Gibb. Maurice Gibb. Robin Gibb Engineered by Femi liya from the album HIGH CIVILIZATION May 6, 1991 Volume 5 Issue 240 $6.00 DENNIS LAVINTHAL Publisher SINGLES Burt Alert LENNY BEER C&C Music goes #1 again, leading aColumbia Top Editor In Chief Ten charge that includes potential future #1's for 4 TONI PROFERA Executive Editor Mariah Carey and Michael Bolton. -
Music Sampling and Copyright Law
CACPS UNDERGRADUATE THESIS #1, SPRING 1999 MUSIC SAMPLING AND COPYRIGHT LAW by John Lindenbaum April 8, 1999 A Senior Thesis presented to the Faculty of the Woodrow Wilson School of Public and International Affairs in partial fulfillment of the requirements for the degree of Bachelor of Arts. ACKNOWLEDGMENTS My parents and grandparents for their support. My advisor Stan Katz for all the help. My research team: Tyler Doggett, Andy Goldman, Tom Pilla, Arthur Purvis, Abe Crystal, Max Abrams, Saran Chari, Will Jeffrion, Mike Wendschuh, Will DeVries, Mike Akins, Carole Lee, Chuck Monroe, Tommy Carr. Clockwork Orange and my carrelmates for not missing me too much. Don Joyce and Bob Boster for their suggestions. The Woodrow Wilson School Undergraduate Office for everything. All the people I’ve made music with: Yamato Spear, Kesu, CNU, Scott, Russian Smack, Marcus, the Setbacks, Scavacados, Web, Duchamp’s Fountain, and of course, Muffcake. David Lefkowitz and Figurehead Management in San Francisco. Edmund White, Tom Keenan, Bill Little, and Glenn Gass for getting me started. My friends, for being my friends. TABLE OF CONTENTS Introduction.....................................................................................……………………...1 History of Musical Appropriation........................................................…………………6 History of Music Copyright in the United States..................................………………17 Case Studies....................................................................................……………………..32 New Media......................................................................................……………………..50 -
“We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise
Critical Studies in Improvisation / Études critiques en improvisation, Vol 10, No 1 (2014) “We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise Niel Scobie Introduction Outside of academic circles, “noise” often has pejorative connotations in the context of music, but what if it was a preferred aesthetic with respect to music making? In addition, what if the preferred noise aesthetic was a direct result of group improvisation? Caleb Kelly claims that “Subjective noise is the most common understanding of what noise is. Put simply, it is the sound of the complaint from a stereotypical mother screaming to her teenage son to ‘turn that noise off. To the parent, the aggravating noise is the sound of the music, while it is his mother’s’ voice that is noise to the teenager enjoying his music” (72-73). In Music and Discourse, Jean-Jacques Nattiez goes further to state that noise is not only subjective, its definition, and that of music itself, is culturally specific: “There is never a singular, culturally dominant conception of music; rather, we see a whole spectrum of conceptions, from those of the entire society to those of a single individual” (43). Nattiez quotes from René Chocholle’s Le Bruit to define “noise” as “any sound that we consider as having a disagreeable affective character”—making “the notion of noise [. .] first and foremost a subjective notion” (45). Noise in this context is, therefore, most often positioned as the result of instrumental or lyrical/vocal sounds that run contrary to an established set of musical -
Radio 3 Listings for 1 – 7 August 2020 Page 1 Of
Radio 3 Listings for 1 – 7 August 2020 Page 1 of 26 SATURDAY 01 AUGUST 2020 04:10 AM Charles Avison (1709-1770) SAT 01:00 Through the Night (m000l8zq) Concerto Grosso No.2 in G major for strings and continuo Roger Morello cello recital Tafelmusik Baroque Orchestra, Jeanne Lamon (director) Music by Ligeti, George Crumb and Brahms performed by cellist 04:24 AM Roger Morello. Presented by Jonathan Swain. Lili Boulanger (1893-1918) Nocturne for flute and piano 01:01 AM Valentinas Gelgotas (flute), Audrone Kisieliute (piano) Gyorgy Ligeti (1923-2006) Cello Sonata 04:27 AM Roger Morelló (cello) Edward Elgar (1857-1934) Serenade for Strings Op 20 01:10 AM Royal Academy Soloists, Clio Gould (director) Elisenda Fàbregas (1955) Homenatge a Pau Casals (Homage to Pau Casals) 04:39 AM Roger Morelló (cello) Johann Strauss II (1825-1899), Alban Berg (arranger) Wein, Weib und Gesang (Wine, Woman and Song) waltz 01:18 AM Canadian Chamber Ensemble, Raffi Armenian (director) George Crumb (1929-) Cello Sonata (1955) 04:49 AM Roger Morelló (cello) Francis Poulenc (1899-1963) Capriccio (excerpt Finale of 'Bal masque') 01:32 AM Wyneke Jordans (piano), Leo van Doeselaar (piano) Joan Magrané Figuera (b.1988) Tombeau 04:55 AM Roger Morelló (cello) Carl Nielsen (1865-1931) Maskerade (FS.39) - overture 01:40 AM Danish National Radio Symphony Orchestra, Michael Johannes Brahms (1833-1897) Schonwandt (conductor) Cello Sonata in E minor, Op 38 Roger Morelló (cello), Bernat Català (piano) 05:01 AM Stanislaw Moniuszko (1819-1872) 02:07 AM Flis ('The Raftsman') (Overture) -
Contributors
Contributors Roy Ascott is the founding director of the international research network Planetary Collegium (CAiiA-STAR), Professor of Technoetic Arts at the University of Plymouth (England), and Adjunct Professor in Design/Media Arts at the University of California at Los Angeles. He conducts research in art, technology, and consciousness and edits Technoetic Arts. He pioneered the use of cybernetics and telematics in art at the Venice Biennale and Ars Elec- tronica, among others. His most recent publication is Telematic Embrace: Vi- sionary Theories of Art Technology and Consciousness, edited by Edward A. Shanken (University of California Press, 2003). The address of his Web site is <http://www.planetary-collegium.net/people/detail/ra>. Anna Freud Banana began her art career producing batik fabrics and wall hangings but switched to conceptual/performance work with her Town Fool Project in 1971. Through the Banana Rag newsletter, she discovered the In- ternational Mail Art Network (IMAN) which supplies her with banana ma- terial, a sense of community, and affirmation of her conceptual approach. Whether publishing or performing, her intention is to activate her audience and to question authorities and so-called sacred cows in a humorous way. In- ternational Performance/Events and exhibitions on walls, from 1975 to pres- ent, are detailed at <http://users.uniserve.ca/~sn0958>. Tilman Baumgärtel is a Berlin-based independent writer and critic. His re- cent publications include Games. Computerspiele von KünstlerInnen Ausstellungs- katalog (Games. Computergames by artists. Exhibition Catalogue) (2003); Install.exe: Katalog zur ersten Einzelausstellung des Künstlerpaars Jodi bei Plug-In, Basel, Büro Friedrich, Berlin, und Eyebeam, New York (Catalogue for the first solo show of the art duo Jodi at Plug-In, Basel, Büro Friedrich, Berlin, and Eyebeam, New York) (2002); net.art 2.0 Neue Materialien zur Netzkunst / net.art 2.0 (New Materials toward Art on the Internet) (2001); net.art Materi- alien zur Netzkunst (2nd edition, 2001); lettische Ausgabe: Tikla Maksla (2001). -
Daša Drndi Grad Kao Esej: Daša Drndić
ISSN 1331-7970 dvotjednik za kulturna i društvena zbivanja • zagreb, 4. studenoga 2,,4., godište VI, broj 141 cijena 12,00 kn; za BiH 2,5 km; za Sloveniju 320 sit Tabloidizacija javne sfere Grad kao esej: Daša Drndić 3. Zagreb World Music Festival NEBO 2004. 3. Zagreb World Popaganda: Negativland, Ron English Mari Boine i band, Norveška, Gradsko kazalište Komedija 19. 11. 2004., Mari Boine i band, Norveška, Gradsko kazalište Komedija 19. 11. cmyk 2 VI/141, 4. studenoga 2,,4. info/najave Gdje je što? Info i najave 2-4 Priredio Milan Pavlinović U žarištu Utrka prema Razgovor s Georgeom P. Landowom Katarina Peović Vuković 5 Prema kulturnoj strategiji Rijeke Biserka Cvjetičanin 7 Razgovor s Gordanom Vilović Nataša Govedić 8-9 Priopćenje za Pola ure kulture 10 Zarez – ječer, danas, sutra Zoran Roško 10 apsolutnoj Kome je stalo do medijske istine? Bojan Munjin 11 Viva - ima li života na tržištu ženskih časopisa? Maša Grdešić 12 Razgovor s Jasminom Redžepovićem Grozdana Cvitan 14-15 Satira budućnosti Tko plaća porez smije se i drogirati The Onion 6 Riječi i stvari Boris Beck Plodovi mora (aforizmi) Jandre Drmić 6 Kako sam preživio premijeru Željko Jerman 43 Guzit ću vas, pušit ćete Neven Jovanović 44-45 Treći program Hrvatskog radija, br. 59 i 60, 2001., gl. ur. Esej Ukleti svjedoci Daša Drndić 13 Ratko Vince Vizualna kultura Razgovor sa Sinišom Majkusom Gioa-Ana Ulrich 16 Kulturalna autopsija Ana-Marija Koljanin 17 Uzbudljivije od rollercoastera Silva Kalčić 18 reæi program Hrvatskog radija oèito gubi utrku Film sa životom, ali uvijek je dobrodošao, makar i Revija animatora amatera Marina Kožul 19 20 antedatiran za tri godine. -
PROBES #5 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > PROBES With this section, RWM continues a line of programmes PROBES #5 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. This fifth programme sets the scene for a wide range of very different approaches Curated by Chris Cutler, PROBES takes Marshall McLuhan’s to the exploration of timbre and looks at ways of modifying or preparing the conceptual contrapositions as a starting point to analyse and traditional piano. expose the search for a new sonic language made urgent after the collapse of tonality in the twentieth century. The series looks at the many probes and experiments that were 01. Summary launched in the last century in search of new musical resources, and a new aesthetic; for ways to make music In the late nineteenth century two facts conspired to change the face of music: adequate to a world transformed by disorientating the collapse of common practice tonality (which overturned the certainties technologies. underpinning the world of art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical Curated by Chris Cutler resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new PDF Contents: aesthetics able to follow sound and its manipulations beyond the narrow confines 01. Summary of ‘music’. This series tries analytically to trace and explain these developments, 02. Playlist and to show how, and why, both musical and post-musical genres take the forms 03. -
Variations #8
Curatorial > VARIATIONS ‘Variation’ is the formal term for a musical composition based VARIATIONS #8 on a previous musical work, and many of those traditional methods (changing the key, meter, rhythm, harmonies or The Relationship tempi of a piece) are used in much the same manner today by sampling musicians. But the practice of sampling is more When music can be confused for an object, a recording replacing the action it than a simple modernization or expansion of the number of describes, we are simultaneously promised total control while confronted with options available to those who seek their inspiration in the music that challenges the idea of the individual author (or the pleasure of music refinement of previous composition. The history of this music as a thing that can be owned). Despite, or due to this tension, as illegal art of traces nearly as far back as the advent of recording, and its collage goes mainstream, we find ownership of all personal expression more emergence and development mirrors the increasingly self- concentrated and removed from those who produce it than ever before. The conscious relationship of society to its experience of music. convergence of mainstream and social media platforms sidelines traditional Starting with the precedents achieved by Charles Ives and record labels and sparks new sub-genres from mashups to vaporwave, but also John Cage, VARIATIONS presents an overview of the major reinforces the perception of music as consumable entertainment. How are we landmarks in Sampling Music, following examples in being retrained to our new environment by an aesthetic that has become so twentieth century composition, folk art and commercial pervasive as to turn itself nearly invisible? Never conclude a historical narrative in present time. -
VARIATIONS #1 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > VARIATIONS With this section, RWM continues a line of programmes VARIATIONS #1 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. Transition 'Variation' is the formal term for a musical composition based The first episode of this overview of appropriative collage in music covers the on a previous musical work, and many of those traditional years 1909 through 1961, beginning with Charles Ives, who composed in a cut methods (changing the key, meter, rhythm, harmonies or and paste style with sheet music in a way that anticipated what later composers tempi of a piece) are used in much the same manner today would do with multi-track tapes and mixers. We skip through decades to arrive at by sampling musicians. But the practice of sampling is more 'Twisting The Dials', the Happiness Boys' 1928 tribute to late night radio surfing, than a simple modernization or expansion of the number of before moving to John Cage's proto-sampling pieces for radio and tape, 'Credo In options available to those who seek their inspiration in the US' and the 'Imaginary Landscapes'. We witness the million-selling cut-in records refinement of previous composition. The history of this music of Buchanan and Goodman and the resulting lawsuits, Richard Maxfield's tape cut-ups of a sermonizing preacher, and conclude with James Tenney's dedicated traces nearly as far back as the advent of recording, and its dissection of a single recording of Elvis: 'Collage No. 1', the first remix . emergence and development mirrors the increasingly self- conscious relationship of society to its experience of music.